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SCH at a festival at Magdeburg in 1825; "Pharaoh" was brought out at Nuremburg in 1828, at the festival in honour of Albert Durer; and Schneider is also the author of the following works of the same class—"Todtenfeier;" "Christus das Kind;" "Christus der Meister;" "Absolom;" "Gideon;" and "Gethsemane und Golgotha." His treatise on harmony, based with slight modifications on the system of Wogler, appeared in 1820; a second edition of this ingenious work was issued in 1827, and a translation of it was immediately printed in England. His "Organist's Handbook" was printed in 1829-30. Schneider was created doctor of music by the university of Halle.—His brother, Gersdorf, October 28, 1789. He passed from the teaching of his father to that of Unger, the organist at Zittau; he succeeded his brother as organist to Leipsic university in 1811, which post he resigned on being appointed organist of the church of St. Peter and St. Paul at Görlitz, in 1812. Greatly interested in the renowned organ by Gasparini, belonging to this church, he examined carefully its structure, and thus laid the foundation of that knowledge of the principles of organ-building which caused his opinion to be sought by the best manufacturers of Germany; he gave his first organ concerts in 1816, and his frequent public performances were very celebrated; in 1825 he left Görlitz to enter upon the office of court organist at Dresden; he visited London in 1854, but disappointed the expectations the great reputation of his playing had raised here. He is skilled on many instruments, and in his younger days occasionally conducted and sang tenor at the same performances; and he has published a few compositions for the organ and some pieces of church music.—His younger brother, *, was born at Gersdorf in July, 1797; had the same masters as his brothers; was appointed organist at Sorau in Lusatia in 1817, and changed this for the same office at Hirschberg in Silesia in 1825; he is less celebrated as a player than his brother Gottlob.—G. A. M.  * SCHNETZ,, French historical painter, and director of the French academy at Rome, was born at Versailles, April 14, 1787. He was a pupil of David, but worked later in the ateliers of Barons Gros and Gerard. He obtained the prize of Rome in 1819. The works of M. Schnetz are very numerous, and embrace every branch of historical art. He received a great many government commissions, and there are consequently many large paintings by him, scenes of national history, battle-pieces, &c., in the galleries of Versailles; in the provincial museums and town-halls; and several religious pieces in Notre Dame, the Madeleine, and other Parisian churches; and in the cathedral of Tours and other churches in country towns. M. Schnetz has remained faithful to the traditions of David and the French academicians of that day. He is not an artist of original genius, but he is looked up to with great respect by his countrymen; and alike by his works, his teaching, and his position, he has exercised considerable influence on French art. He was nominated a knight of the legion of honour in 1825, and officer in 1843. In 1840 he was appointed director of the Academy at Rome. In 1837 he was elected to succeed Baron Gerard in the Institute (Académie des Beaux-Arts).—J. T—e.  SCHNORR VON KAROLSFELD,, an eminent German painter, was born at Leipsic, 26th March, 1794. He was the son of Johann, or Hans Schnorr von Karolsfeld, director of the Leipsic art-academy—born 1764; died 1842—an artist of great industry and versatile talent—painter in oil, in watercolours, and in crayons, and engraver in two or three different manners. Under him Julius received his elementary training, and in 1810 entered the school of painting at Vienna. In 1815 he went to Rome, and there became associated with Overbeck, Cornelius, Schadow, and the other German art-students, whose proceedings have so powerfully influenced recent art.—(See .) Among these Schnorr soon took a prominent position. He was one of the three (Overbeck and Cornelius being the others) engaged to paint the frescoes of the Villa Bartholdy: his share was the illustration of Ariosto. He also whilst at Rome painted several scriptural subjects in oil. Here he was introduced to Ludwig of Bavaria, who, when he ascended the throne in 1825, invited Schnorr to Munich, and gave him commissions for the decorations of the new palace, the execution of which occupied the next twenty years of his life. The first was a series of fresco illustrations of the Nibelungenlied, but these were shortly after laid aside in order to adorn that portion of the palace called the Saalbau with large paintings in encaustic, illustrating the history of Charlemagne, Frederic Barbarossa, and Rudolph of Hapsburg. These occupy three magnificent halls, named respectively after the heroes whose history is depicted in them. The first two rooms contain each six large compositions, and two of somewhat smaller size; the third four large paintings. Round each room is a series of small pictures in a frieze. The designs for all the large, and some of the small paintings, were made and the cartoons prepared by Schnorr; in the painting he was assisted by his pupils. On the completion of this great task, which occupied above ten years, Schnorr returned to the Nibelungen series. These cover the walls of the ground floor, including the entrance hall, and five grand saloons; and illustrate in twenty large and several smaller pictures the chief events in the German epic. As in the previous series, the cartoons were all prepared by Schnorr, but in painting these he had still more assistance from his pupils. They are among the chief of the modern frescoes of Germany, and, perhaps partly on account of the subjects, they are said to enjoy a larger measure of popularity with the painter's countrymen than any of the others. They are undoubtedly works of real power and earnestness of purpose, and display great artistic knowledge. Whether they will retain the high place assigned to them by some critics, time alone must determine. Schnorr von Karolsfeld had been, in 1827, appointed professor of painting in the Munich Academy. In 1846, his great works at Munich drawing to a close, he accepted the post of director of the Dresden Gallery and professor in the Academy. Here in the intervals of his official duties he continued to paint, but found his chief employment in making the drawings for his popular Bible-pictures ("Die Bibel in Bildern"), 4to, Leipsic, 1852, &c., a series of large engravings on wood too well-known from the English reprints to need further reference. He died at Dresden, April 13, 1853. He was one of the ablest, the most intellectual, and. perhaps, the least mystical and affected of the great painters whose advent formed so remarkable an epoch in the art-history of Germany; and all things considered, he will probably rank among the foremost painters of his time.—J. T—e.  SCHNURRER,, a German divine and Orientalist, was born at Cannstadt, 28th October, 1772. After having completed his academical course at Tübingen, he visited the principal universities of Germany, and everywhere formed literary connections with the foremost biblical scholars of the day. He then obtained a chair at Tübingen, where he was successively raised to the highest academical offices and honours. But in 1817 he was dismissed for political reasons, and retired to Stuttgart, where he died 9th November, 1822. He particularly excelled as an Arabic scholar.—K. E.  SCHNYDER VON WARTENSEE,, a musician, was born at Lucerne in 1786. Being of noble family, he inherited an office in the government of his canton; but the revolution of 1798 changed the course of his destiny. Always fond of music, he practised the violin, the violoncello, and the double basse; but it was not until 1803 that his father would allow him to study the pianoforte, to fit him to adopt music as a profession. He had no means of obtaining theoretical instruction at Lucerne; so he went to Zurich in 1810, and to Vienna in 1811. Beethoven, in the case of many others, refused to give him lessons in composition; Schnyder therefore placed himself under Kienlen, kapellmeister at Baden, near Vienna, and remained with him until 1814. He then became a volunteer in the Swiss army against France, which he left when peace was established. In 1816 he was engaged as professor of music in the seminary of Pestalozzi, at Yverdun, but quitted this place in 1817 to fix himself at Frankfort on-the-Maine. There, in 1827, he founded an extensive school for singing. He converted his castle of Wartensee, on the lake of Sempach, into an educational institution, in which music formed a prominent feature of the course. Schnyder was much esteemed as a theorist, and his tuition was widely sought. He contributed many articles upon music to the Cecilia and Leipsic Musikalische Zeitung; he was also acknowledged as a poet. Among his musical compositions are the opera of Fortunat, produced in 1829, several choral works, songs, and instrumental pieces. He died in 1868.—G. A. M  SCHOEFFER,, commonly ranked among the inventors of printing, was born in the beginning of the fifteenth century at Gersheim in Hesse Darmstadt, and in early life is said to have gained a living as a copyist in Paris. His connection with the art of printing, so far as it is ascertained, dates from about 
 * , is a famous organist. He was born at