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, Flemish, French (Breton-French, Lorraine-French, Provencal), Gothic and Visi-Gothic, and Greek and Greek-Latin, Modern Greek, Georgian or Iberian, Cretian or Rhetian, Illyrian, Indo-oriental (Angolese, Burmese or Avian, Hindostanee, Malabar, Malayan, Sanscrit), English (Arctic, Breton or Celtic, Scotch-Celtic, Scotch, Irish, Welch), Italian (Fineban dialect, Maltese, Milanese, Sardinian, Sicilian), Kurdistanee or Kurdic, Latin, Maronite and Syriac Maronite, Oceanic (Australian), Dutch, Persian, Polish, Portuguese (various dialects), Slavonian (Carniolan, Serbian, Ruthenian, Slavo-Wallachian), Syriac, Spanish (Catalan, Biscayan), Russian, Turkish, Hungarian, Gipsey. The French historian MICHELET, deprived of his professorship in the College of France, is devoting himself more than ever to literature. His last work, of which an authorized translation has just appeared in London, is _The Martyrs of Russia_. MICHEL NICOLAS, one of the ablest among the French theologico-ethical writers, has published a translation of the _Considerations on the Nature and Historical Developments of Christian Philosophy_, by Dr. RITTER, of the University of Gottingen. M. SCHONENBERGER, a music-publisher at Paris, has purchased from the heirs of Paganini the copyright of his works, and is now publishing them, under the editorial supervision of M. ACHILLE PAGANINI, the son of the great violinist. The edition will comprise every thing that he left behind in writing. Hector Berlioz speaks with enthusiasm in the _Journal des Debats_ of the two grand concertos which have just appeared, one of them containing the marvellous rondo of the _campanella_. Berlioz speaks in high praise of Paganini's genius as a composer. A volume would be required, he says, to indicate the new effects, the ingenious methods, the grand and noble forms which he discovered, and even the orchestral combinations, which before him were not suspected. In spite of the rapid progress which, thanks to Paganini, the violin is making at the present day in respect of mechanical execution, his compositions are yet beyond the skill of most violinists, and in reading them it is hardly possible to conceive how their author was able to execute them. Unfortunately he was not able to transmit to his successors the vital spark which animated and rendered _human_ those astonishing prodigies of mechanism. M. PHILARETE CHASLES, one of the literary critics
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