version of Meyerbeer's Robert le Diable. She had never before sung in Italian, and her pronunciation was not very pure; but this slight defect was lost in the many excellencies. Her performance, whether regarded as a dramatic representation or a vocal exhibition, transcended the most highly-wrought expectations. The enthusiasm of the public was beyond description, and went on increasing to the end of the season, during which, besides Alice, the parts which she chiefly performed were Anima in La Sonnambula; and Maria in La Figlia del Reggimento. The influx to the theatre was unprecedented. Enormous sums were paid for the boxes, and multitudes travelled from the most distant parts of the country to obtain a single hearing of the "Swedish nightingale." In the following season (1848), Jenny Lind continued to be the great, almost the sole object of attraction. The "Lind mania," as it was called, raged without diminution, and was even heightened by the concerts which she subsequently gave in all parts of the United Kingdom, where, besides dazzling and enchanting the public by her vocal powers, she gained all hearts by splendid deeds of beneficence, and a thousand traits of an amiable character. In 1849 she again came to England; and Mr. Lumley, it appeared, had depended upon her for his theatre. But it turned out that she had determined to abandon the stage, and to sing in future only at concerts. She appeared, however, a few nights, as was said, for the sake of the theatre, and was received with unabated enthusiasm; but she then withdrew, and has never since appeared on the stage. In September, 1850, Jenny Lind visited the United States, and gave upwards of a hundred concerts in all parts of the country, exciting everywhere an unparalleled enthusiasm. Soon after the termination of these concerts she was married in Boston, Massachusetts, in February, 1852, to Mr. Otto Goldschmidt of Hamburg, a young pianist of distinction, who had accompanied her during a part of her tour, and they shortly afterwards returned to Europe. They then fixed their residence at Wimbledon, near London.—E. F. R.
LINDA or LINDANUS, Wilhem Damasus van, a famous Roman catholic controversialist and prelate, born at Dordrecht in Holland in 1525. After studying at Louvain, he visited France to obtain a better knowledge of Greek and Hebrew from Mercerus and Turnebus. On his return to Louvain he was ordained, and soon after was appointed to lecture on the scriptures at Dillingen, where he continued three years, and laboured with success. In 1556 we find him once more at Louvain, where he received his doctor's degree. Several ecclesiastical appointments of importance were conferred upon him, among which was that of inquisitor of the faith in Holland and Friesland, a post in which he displayed sufficient zeal and severity to win the favour of the bigoted and cruel Philip II., who nominated him to the see of Ruremonde, a new creation; but it was some years before he could take possession. In 1558 he published his "De optimo genere interpretandi Scripturas," in three books; and in 1563 his "Panoplia Evangelica, seu de verbo evangelico," in five books. His subsequent works are very numerous, and at this day of little value except as illustrative of the controversies of his time. In 1568 Lindanus visited Rome, and also at a later period, in 1588, when he was named bishop of Ghent. He died in 1588, greatly esteemed for his learning, zeal, and industry.—B. H. C.
LINDE, Samuel Bogumil Gott, the author of the great Polish dictionary, was born at Thorn in 1771, the son of Swedish parents. Being appointed professor of Polish at Dresden university, he devoted himself to the study of the language he professed to teach; and after twenty-one years of assiduous labour, and with pecuniary assistance from Count Zamoyski and others, he produced his Lexicon, in 6 vols. 4to, 1807-14. Linde died at Warsaw on the 8th of August, 1847.—R. H.
* LINDENSCHMIT, Wilhelm, German painter, was born at Mainz in 1806. He received a good classical education in the gymnasium of his native city, and learned the rudiments of design from his father, Johann Lindenschmit, a medalist of reputation. In 1823 he entered the Art Academy of Munich, and in the following year that of Vienna. He painted at first classical and religious subjects, the latter in the manner of Cornelius, at whose recommendation he was employed by the Crown-prince Ludwig to paint some of the frescoes in the arcades of the Hofgarten, Munich. He painted, 1829-31, in the church at Sindling, near Munich, a large fresco of the "Peasants beating off the Austrians, 1805," which was lithographed by Hohe. Other important works which he executed for Ludwig were several frescoes in the interior of the royal palace; in the loggia of the Pinacothek; and a series of subjects from early Saxon history in the halls of the castle of Hohenschwangau. His later pictures, whether in fresco or oil, have been mostly taken from early German history; but he has also painted many religious subjects. His works exhibit a considerable amount of historical knowledge, and are studiously correct in the costume and accessories.—J. T—e.
LINDLEY, John, one of the most distinguished of modern English botanists, was born on the 5th of February, 1799, at Cotton, near Norwich, where his father had a nursery garden. He prosecuted his early studies at the grammar-school of Norwich. He exhibited in youth a strong predilection for botany. and in 1819 he translated Richard's work on the Analysis of Fruits. This was followed in 1820 by his "Monograph on Roses," with drawings executed by himself. He subsequently wrote a paper on Pomaceæ, and a monograph of the species of digitalis. In Hooker's Flora Scotica he gave a notice of the organography of Lemna, and he aided Loudon in his Encyclopædia of Plants. He became a warm advocate of the natural system in botany, and he did a great deal to develope it in Britain. In 1830 there appeared his "Introduction to the Natural System," which, along with the "Elements of Botany," was a great help to students. These two works constitute important class-books. In his "Icones Plantarum" he gave a view of the arrangement of plants. His "Introduction to the Structure and Physiology of Plants," 2 vols. 8vo, was a valuable Contribution to science in 1832. He published also a "Synopsis of the British Flora," and a "Flora Medica," containing descriptions of medicinal plants. In 1846 appeared his laborious and valuable work entitled "The Vegetable Kingdom," in which he gives full details relative to the classes and orders of plants, with an account of their economical and medicinal uses. It is a standard work on the subject of classification. The natural order Orchidaceæ was specially studied by Lindley, and his work on the genera and species of that family is one of the highest authority. The drawings are by Francis Bauer. He did not confine his attention exclusively to the wants of scientific men, but he made botany popular by his writings. His "Ladies Botany," "School Botany," article "Botany" in the Library of Useful Knowledge, and his papers in the Penny Cyclopædia, evince the desire he felt to diffuse among all classes the knowledge of the first principles of science. The application of botany to horticulture has been developed in his "Theory of Horticulture," and he has shown the important bearing which a knowledge of physiology and structure has on the common operations of the garden and the field. He acted for many years as editor of the Botanical Register, in which drawings of recently introduced plants were given along with their characters and mode of cultivation; and from its commencement he edited in a most able manner the horticultural part of the Gardener's Chronicle, which occupies the first place in its own department. Palæontological botany was also studied by him, and he published along with Hutton the "Fossil Flora of Great Britain," containing delineations of the plants found in various stratified rocks. Besides these works he published "Collectanea Botanica," or figures and botanical illustrations of rare and common exotic plants; reports of plants which have grown in the Chiswick garden; observations on the natural laws which govern the production of double flowers; remarks on the principal questions debated in the philosophy of botany; a key to structural, physiological, and systematic botany, for the use of classes; description of Victoria regia; sertum orchidaceum, or a wreath of the most beautiful orchidaceous flowers; and a sketch of the vegetation of the Swan River. He also contributed numerous papers to the Transactions of learned societies. He was appointed professor of botany in University college, London, in 1829, and he continued to discharge the duties of the chair till 1860, when he resigned. He was also lecturer on botany at the Royal Institution, and at the Apothecaries' garden at Chelsea. He long acted as secretary of the Horticultural Society, and edited their Transactions and Proceedings. The university of Munich conferred on him the degree of doctor of philosophy in 1832. He was a fellow of the Royal, Linnæan, and Geological Societies, and a member of many foreign scientific societies. He died 1st November, 1865.—J. H. B.
LINDPAINTNER, Peter Joseph, a musician, was born at Coblentz, December 8, 1791, and died at Stuttgart in August,
