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LIN to contemporary history. Suffice it to say, that in conducting it Mr. Lincoln's polestar was the maintenance of the Union, to which all other considerations were subordinated. He was again chosen president in 1864; and early in 1865 the capture of Richmond put an end to the war. But he fell a victim to the policy which a sense of duty had impelled him to pursue. On the evening of the 14th of April he had gone to a theatre in Washington, in company with Mrs. Lincoln, when an actor, John Wilkes Booth, fired a shot at him, which lodged in the brain, and he died the following morning. Mr. Lincoln's tragic end, combined with his many virtues and patriotism, will ever render his name venerated.—F. E.  LIND,, M.D., F.R.S., fellow of the Royal College of Physicians, &c., a distinguished physician of the last century, designated "the Father of nautical medicine," was born at Edinburgh in 1716, and entered the medical service of the navy in 1735, in which he served afloat for twelve years. In 1753 Dr. Lind published his celebrated work on scurvy, which passed through three editions. The book everywhere bears the stamp of great learning, industry, and research, as well as of vast personal observation of the disease. In 1757 the well-known "Essay on the Means of Preserving the Health of Seamen in the Royal Navy" appeared. This unquestionably gave rise to many most important reforms in the victualling, clothing, and management of the seamen, as well as in the general internal economy of ships of war. In the second edition, which was published in 1767, he described a means of averting one of the greatest distresses to which seamen are subject—the want of fresh water at sea—by a simple process of distillation of salt water, which rendered it sweet and potable. In the third edition, which was called for in 1774, he fully established his claim to this discovery, which had in the interval been claimed by others. In 1758 he was appointed physician to the royal naval hospital at Haslar. Here he published two dissertations on fevers and infections; and in a second edition in 1774 he added observations on the jail distemper, and the proper method of preventing the infection. His next and last work, which appeared in 1768, entitled "An Essay on the Diseases incident to Europeans in Hot Climates, with the method of preventing their fatal consequences," &c., reached a fourth edition in 1788. In this work, which could only have emanated from a man of large experience and unwonted powers of observation, Dr. Lind contends, with his usual clearness and force, that in all climates sickness is derived from the soil; is confined to particular seasons and situations; and that by care and attention much may be done, even in hot climates, to prevent and mitigate the effects of disease. Before his death, which took place in 1794, Dr. Lind had the gratification of seeing many of the great results of his labours achieved. His writings had clearly indicated what attention to the simple laws of nature could effect upon the health of a ship's crew; and the voyage of Cook in the years 1772-75, in which one death only out of a crew of one hundred and eighteen persons occurred, set the question at rest. Armed with the overwhelming proofs in favour of the efficacy of lime juice in scurvy given in Dr. Lind's great work, as well as by the powerful advocacy of Dr. Trotter to the same effect. Dr. Blair and Sir Gilbert Blane, physicians to the medical board in 1795, urged upon Earl Spencer, then first lord of the admiralty, the necessity of including this invaluable prophylactic in the common dietary of our navy, and of requiring a more careful attention to cleanliness, ventilation, &c., in ships. With the exception of some of the polar voyages, scurvy has since been practically banished from our fleets, and the seamen of our navy have reached a standard of health enjoyed by no other class.—J. O. M'W.  * LIND, ), who stands by common consent at the head of living soprano singers, was born in Stockholm on the 8th of February, 1820. Her father, we believe, was an advocate of respectable character and moderate circumstances. She was a pleasing and modest child, and from her earliest days was passionately fond of melody. One day when she was five or six years of age, a Swedish actress accidentally heard her singing, and was so surprised by the marvellous purity of her voice, and the talent and native skill displayed in its management, that she spoke of it to Herr Crœlius, a music-master resident in Stockholm. He heard the child sing, and instantly determined on presenting her to the Count Pücke, as a candidate for admission to the musical-school attached to the theatre royal, of which he was the manager. The Count Pücke at first made some difficulties; but after hearing her sing, was even more astonished than Herr Crœlius had been, and consented to her admission. She accordingly entered the conservatory at this early age, and was placed under the tuition of Erasmus Berg, a profound and skilful musician. After studying under this master for several years, the public were surprised one evening at seeing a child appear in a vaudeville, in which she had to sing. This child was Jenny Lind. Such was her success that she became a public favourite, and after a short time began to appear in opera. At this period of her life everything seemed to bid fair for the future, and the child looked forward to the day in which she might hold a high position in her art. This, however, was a dream, which was destined to be dispelled by a misfortune to which she had not looked forward. It was the loss of her voice, when she was about fourteen years of age. She was compelled to retire from the theatre, and again practise her art alone, and in the privacy of her own apartments. At length her voice returned to her; but it was no longer the voice which she once had, nor had it yet acquired the wonderful beauty and purity which now marks it. She now left Stockholm and proceeded to Paris, where she placed herself under the tuition of Signor Garcia, the father of the famous Malibran and the master of so many distinguished vocalists of the present day, who, however, at first little foreboded the future eminence which his pupil was to obtain, greeting her on being presented to him with the discouraging remark—"Mon enfant, vous n' avez plus de voix;" and very frequently has he said—"If Lind had more voice at her disposal, nothing could prevent her becoming the greatest of modern singers; but as it is, she must be content with singing second to many who will not have one half her genius." Her voice, nevertheless, gradually strengthened, and she was at length summoned back to Stockholm. Here she again entered the theatre, and speedily became again a public favourite in Sweden. But during her residence in Paris she had made the acquaintance of Meyerbeer, the celebrated composer. This great man had discovered her rare qualities, and he obtained for her an engagement at the royal theatre of Berlin, and wrote for her his opera, The Camp of Silesia, while she was as yet almost unknown. At first she made little impression upon the public, for her voice had not yet completely returned to her. One evening, however, when she was singing in Robert le Diable, she felt that it had returned, and inspired by the consciousness, sang the music of Alice with such a force and power, combined with the sweetness to which the public had become accustomed, that she electrified them, and astonished Meyerbeer, who from that moment regarded her as the first of modern singers. Everything was now changed with her. She rapidly progressed in public estimation, and her reputation soon spread through the whole of Germany. Soon after this a musical festival was held at Bonn, upon the Rhine, and the queen of England, who was then on a visit to his Prussian majesty, attended it. Jenny Lind was engaged at the festival; and the English critics who attended it wrote back such warm accounts of her genius, that it was not difficult to foretell that she would soon come to England. Accordingly, towards the end of the year, 1845, M. Belinaye came to Berlin, and through the medium of Lord Westmoreland, was presented to Jenny Lind, whom he had the satisfaction of engaging to appear under Mr. Lumley's management the following season. Mademoiselle Lind had previously involved herself in an engagement with Mr. Bunn, the lessee of Drury Lane, from which she had withdrawn in consequence, as she alleged, of failure in Mr. Bunn's part of the contract. As he, however, threatened her with law proceedings, it appeared probable that the apprehension of them would prevent her from coming to England. This obstacle, however, was got over; and Jenny Lind appeared for the first time at her majesty's theatre on the 4th of May, 1847. The accounts of Jenny Lind's short but triumphant career in Germany, and the extraordinary enthusiasm which she had everywhere created, had made her an object of much interest in the musical circles of London. During the period of suspense as to her arrival it gradually became a topic of conversation every day more and more general and engrossing, till the name of Jenny Lind was in every body's mouth, not only in the metropolis, but throughout the whole kingdom, before she had set her foot on our shores. By the time she made her appearance the curiosity about her had become unbounded; and on the night of her debût the theatre presented a scene of excitement probably never surpassed. She appeared in the character of Alice, in an Italian 