le alluded
to, is as follows: _A new and complete dictionary of the English and
German languages, compiled with especial regard to the American idiom
for general use; containing a concise grammar, &c., &c._: by WILLIAM
ODELL ELWELL.

* * * * *

CARL HEIDELOFF, whose exquisite work on the architectural ornaments of
the Middle Ages, should entitle him to the gratitude of every student of
mediaeval art, will publish, before the end of this month, by Geigar of
Nuremberz, a folio, illustrated with the finest steel engravings,
entitled _Architectonic Sketches, and complete buildings, in the
Byzantine and Old German styles_.

* * * * *

It has long been a mooted point among the philosophers of the beautiful
in Germany whether the art of gardening was a legitimate branch of
aesthetic culture. Bouterweck denied that the artificial perversions of
an old-fashioned French garden had the slightest relation to art, but
admitted that the _Landschafts-gartenkunst_, or art of landscape
gardening, might very properly be ranked with painting and sculpture.
Thiersch passes the subject by in silent contempt, while Tittman, whose
work on beauty and art is fast becoming a universal hand-book of
aesthetics, declares, on the other hand, that it is, even more than
architecture, closely allied to the study of the beautiful, since its
object is far less directly connected with human wants, and more nearly
related to the attractive and fascinating. Herr Rudolph Siebeck would
appear, however, to have put the question for a time at rest, by a work
at present publishing by Voigt, in Leipsic, entitled _Die Vildende
Gartenkunst, in ihren modernen Formen_, which, as he very correctly
asserts, "embraces in one comprehensive theory all those laws of the art
of gardening which aesthetics present, by the application of natural and
artificial methods, in order to plan and execute walks and grounds,
according to the dictates of a refined taste." In pursuance of this
great aim, Herr Siebeck, (who was, by the way, formerly the imperial
Russian court-gardener at Lazienka, and is at present council-gardener
at Leipsic,) after completing his education as a practical gardener,
scientifically studied the higher principles of his art at the
universities of Munich and Leipsic, both of which, but particularly the
former, have long been celebrated for the facilities which they afford
for this study. After