of his oil pictures, and many fragments of his frescoes transferred to wood or canvass from their original walls for which they were painted. There are other frescoes still well preserved in some of the palaces of Milan, as in Casa Silva. But his principal works are the series from the History of the Virgin and the Life of Christ in the church of the Madonna at Saronno, some of which were completed in 1525. There is another great series in the Franciscan convent at Lugano, but now somewhat injured. Several of the European galleries, foreign and Italian, possess good examples of Luini's oil paintings. The date of his death is not known; he was still living in 1530, and may have survived that date several years.—His son, Aurelio, who is said to have assisted his father in some of his works, was also a good painter—the best of his time in Milan, according to Lomazzo—and was skilled in perspective and landscape. He died in 1593, aged only sixty-three, according to tradition.—Evangelista, another son, was a good decorative painter, who was still living in 1585. If these two painters assisted their father in his works, they must have been born long before 1530, or their father must have long survived 1530.—(Lomazzo, Trattato, &c.; Lanzi, Storia Pittorica, &c.)—R. N. W.
LUITPRAND. See Liutprand.
LUKASZEWITCH, Joseph, a Polish historian, born about 1800. In 1820 he was named librarian to the Raczinski library at Posen. He there made great efforts to popularize Polish literature, and founded two journals, one literary, the other political and liberal. His historical works are held in high esteem, being based on a careful study of original documents.
LUKIN, Lionel, inventor of the life-boat, was a native of Essex, and born about 1742. He was for many years a prosperous coach-builder in Long Acre, London. In November, 1785, he took out a patent for the first life-boat, having previously tested its efficacy. Its main defect lay in its liability to be disabled by the staving in of the sides, a defect remedied in the lifeboat of Mr. Greathed. invented soon afterwards. The priority of Mr. Lukin's invention was contested, and in 1806 he published the "Invention, construction, and uses of Unimmergible Boats, stated in a Letter to his Royal Highness the Prince of Wales," afterwards George IV., who had shown some degree of interest in his life-boat. Mr. Lukin died in London in 1834.—F. E.
LULLY or LULLI, Jean Baptiste de, the musician preeminent in the foundation of the French opera, was born at or near Florence in 1633; he died at Paris, March 22, 1687. Guichard, who was concerned with Cambert and Perrin in the original establishment of the Académie Royale, and was interested to depreciate Lully because the patent had been transferred to him, states him to have been the son of a poor miller. He is, on the contrary, mentioned in the Gazette de France of May, 1661, which announces his appointment as "surintendant et compositeur de la musique du roi," as Sieur Lully, a Florentine gentleman; which account is corroborated by his letters of naturalization dated in the following December, wherein he is stated to be the son of Laurent Lully, a Florentine gentleman, and of Catherine del Serta; and is further confirmed by his marriage contract of July, 1662, which is signed by the king, the queen, and the queen-mother, and which gives the same description of him. While we make due allowance for the resentment of Guichard, we must also admit the possibility of Lully's having misrepresented his own genealogy, in order not to shock the sensitiveness of his royal patron, by acknowledging the obscurity of his family. As an Italian, his name of course must have been Lulli; but he always signed himself Lully, and his name is so spelled in the documents above referred to, and in the contemporaneous prints. Lully learned to read and write of a Franciscan friar, who taught him also the rudiments of music, and showed him how to play on the guitar. The boy's natural vivacity attracted the notice of the Chevalier de Guise, who was travelling in Italy in 1644, and who induced Lully's parents, whether gentle or simple, to let him take him to Paris, to serve as page to the king's niece, Mlle. de Montpensier. The princess, little pleased with the appearance of the young Italian, would not allow him to be about her person, and so made him, instead of a page, an under scullion. He solaced himself in this menial condition with an old fiddle, on which he used to play song and dance tunes for his own amusement, and to the diversion of his kitchen comrades. He was overheard by a courtier, who described his musical talent to the princess, and she had him placed under proper instruction. Besides practising the violin, Lully now applied himself to the study of the clavicin and of composition, in which his teachers were Metru, Roberdet, and Gigault—all organists of the church of St. Nicolas-des-Champs. His progress was rapid and he was soon admitted into the princess' band of musicians; but he lost this appointment, for setting to music an indecent epigram upon his mistress. Lully's disgrace did not long hinder his preferment. In the year 1652 he was appointed one of the king's "Grande bande de 24 violons," and he so signalized himself in this capacity by his playing and by his composition of airs for the performance of the band, that a new band was instituted, to be under his direction, which, for distinction from the other, was called "Les petits violons." He was a severe taskmaster over this band, whom he had to teach almost entirely from the commencement; and was so violent in his temper, that he would break a player's instrument about his shoulders, who played out of tune. But his ambition was so great, and his teaching so effectual, that before long this new band more than rivalled the other. He composed the music for several Divertissements—a species of masque comprising singing and dancing, in which the king and the court used to perform; and he occasionally took part in the representation of these, either as a dancer on the stage (when he appeared under the name of Baptiste), or as a player in the orchestra. He became a great favourite of Louis XIV., who appointed him his private secretary, besides conferring upon him the important advantages before cited. He married the daughter of Michel Lambert, a lutinist and teacher of singing, whose lessons were immensely in vogue; he was also a composer of chansons, greatly esteemed at that time. He was born in 1610, and died in 1696. In 1664 Lully made the friendship of Moliere, and wrote from that time the music for his comedies. He also occasionally acted comic parts in these pieces, for which he evinced great talent; his effective performance of M. de Pourceaugnac having once been the means of his regaining the king's countenance, when he had been for a time out of favour. The successful attempt of Cambert, in conjunction with the Abbé Perrin and the Marquis de Sourdiac, in 1669, to institute a French opera on the model of the Italian performances which Cardinal Mazarin had introduced in Paris, was naturally a stimulus to Lully's ambition. Accordingly, he took advantage of a quarrel between the marquis and his partners, to obtain a reversion of the patent in his own favour, which is dated March, 1672, and which rendered permanent the establishment of the Académie Royale de Musique. The first production of Lully's undertaking was the opera of "Les Fêtes de l'Amour et de Bacchus," which seems to have been put together in haste for the opening of the theatre, since it is chiefly composed of pieces that had been written for Moliere's comedies. This was followed in successive seasons by eighteen other works of the same class, none of which were unadmired, and some obtained the utmost popularity, and held possession of the stage for at least a hundred years. It was of course an advantage to the composer to have the co-operation in these operas mostly of Quinault; and when not of him, of Corneille or Fontaine, whose literary pre-eminence gave importance to every production in which they were concerned. He was, however, so despotic in the enforcement of his own views of dramatic effect, that he would oblige even these distinguished men sometimes to rewrite a scene again and again—it is said to the number of twenty times—before he would set it to music; and to this positive requisition of words which entirely suited his purpose, may largely be attributed the great merit of his dramatic productions. It must have been sufficiently vexatious to men whom the world acknowledged as poets, after having passed through the twofold ordeal, first, of the king's approval of their subject, and second, of the approbation of their finished poem by the Académie de France, to be obliged to reconstruct their work; and the more so, as their credit for the production was to be almost wholly absorbed in that of the composer. No musician, however, can work conscientiously upon an opera who has not free range for his ideas, and the concessions of these famous dramatists is therefore an example to all lyrical writers for the stage. Lully further exerted himself to secure completeness and unity of effect in his operas, by designing the dances and teaching the dancers. He arranged also the scenic contrivances, and instructed the singers, who, at a time when music was not generally cultivated, had scarcely any qualifications for performance besides their fine voices, until the composer had fitted them for the task. When
