DICTIONARY OF MUSIC - El Atril

784 LURLINE LUTE
great-grandfather ot Nicolas, was a violin-maker
here. His son Laurent, born 1696, established
himself in the trade at Luneville (1751-1756)
and Orleans (1756-1762). Feani;oi.s, son of
Laurent, first worked with his father at Luneville,
and in 1758 migrated to Stuttgart, where
he remained for twelve years as fiddle-maker in
ordinary to the Grand Duke of Wiirteniberg.
In 1770 he returned, and settled at Orleans.
He was the father of two sons, Nicolas, the
' French Stradivarius, ' born at Stuttgart in 1 7 5 8
and Frani;ois, in his time a reputable bowmaker,
born at Orleans in 1774. Nicolas began
his career early. We have good instruments
made by him at Orleans (Rue d'llliers), before
he had completed his twentieth year. These
juvenile instruments are cheap in Paris at 600
francs.
In 1794 Nicolas Lupot removed to Paris and
set up a shop in the Rue de Grammont (1798-
1803). He afterwards removed to the Rue
Croix des Petits Champs, where he made those
famous copies of the great Italian makers on
which his reputation rests. Lupot wisely dropped
all pretensions to originality, and became the first
of copyists. His favourite pattern was the
Stradivarius :
his few copiesof Guarnerius violins
are less successful. Many instruments are signed
with his autograph. He made several quintets
of two violins, two tenors, and bass, to which
he sought to give a perfect unity of tone and
appearance. These C[uintets fetch fancy prices :
but any Lupot violin dated from 1805 to 1824
is worth from 1000 to 1200 francs. The violoncellos
are rarer : a handsome one is worth 2000
francs. Nicolas Lupot ranked in his time as
the first of his trade in Europe. Spohr, who
long played on one of his violins, recommends
him as a maker. His weakest point is his
varnish. He emploj^ed several kinds : the
usual one is a thick and not very transparent
oil varnish, which is sometimes badly dried, and
presents a rough and lumpy appearance. Lupot
died in 1824. His business descended to his
the
son - in - law, Charles Francis Gand ; and
present well-known makers, Gand and Bernardel,
21 Rue Croix desPetits Champs, correctly describe
themselves asthe 'AucienneMaison Lupot, 1798.'
Fran9ois Lupot, the bow-maker, and brother of
Nicolas, invented the 'coulisse,' or metal groove
attached to the ' nut,' and carefully fitted to the
stick, on which it works. He died in 1 837, leaving
as his successo]" Dominique Peccate, who ranks
Strasburg in 1523, and led a somewhat wandering
life, dying at the Carthusian house near
Freiberg - im - Breisgau, in 1537. He was the
author of Musicae l7istitutio^ies, 1515, also of
Musurgia, 1536, the latter work mainly a trans-
lation into Latin of Virdung's Musica getutseht.
His name appears as the composer of a threepart
organ piece in Kleber's organ TahuloXur-
Budi, with the date 1516. j. R. M.
LUSINGANDO, or LUSINGHIERO,
literally 'flattering' or 'coaxing,' wlience its
musical meaning comes to be ' in a soft, tender
manner,' resembling Amoroso in character,
with i^erhaps a hint of coquetry in it, except
that the latter is generally used at the beginning
of movements, and the former as applying
only to a short passage. Beethoven uses it in
the Quartet, op. 131, in the slow movement
(No. 4), where the entry of the second subject
is marked 'Andante moderato e lusinghiero.'
Lusingando is a very favourite direction of
"Weber's, occurring in the Piano Sonata, op. 4,
first movement, ' tranquillo e lusingando,' in
L' invitation a la Valse, where the coquettish
second subject reappears pianissimo in C major,
and in several other places. Chopin uses it in
the Rondo in F (in 3—4 time). M.
LUSTIGE WEIBER VON WINDSOR, DIE.
See Merry Wives of Windsor.
LUTE (Fr. Luth ; Ital. Liuio or Leuto
Germ. Laule ; Dutch Lull ; Spanish Laud ;
Port. Alauch). A large and beautiful stringed
instrument with a long neck and fretted fingerboard
; at one time much in use, but now
obsolete. In medieval Latin the lute is called
Testudo and the guitar Cithara^ both inaccurate
identifications of ancient Greek instruments of
very different construction. [See Lyre.] The
lute is of Oriental origin, and its Arabic name
is Al'ud—from which its European names are
derived by the omission of the initial vowel
of the definite article Al.^ The Portuguese
Alaiide alone retains it. The lute became
known throughout the West in the time of the
Crusades. We class the Russian Kohsa as a
lute : while the Balalail-a of the same country
is of the guitar kind. As in the viol da gamba
and violoncello, the formal difference between
a lute and a guitar is to be found in the back,
which in the lute is pear-shaped and in the
guitar is fiat. The lute is without ribs, which
are essential to the framing of the guitar.
[See Guitar.]
The invention of stringed instruments with
as the best bow-maker after Tourte. E. J. P.
LURLINE. Grand legendary opera in three finger-boards, or the neck serving as a finger-
acts ; words by E. Fitzball, music by W. Vincent board, precedes the earliest historical monuments.
Wallace. Produced at the Royal English Opera, Tlie long-necked Egyptian Xefer was certainly
Covent Garden, Feb. 23, 1860. G.
LUSOINIUS, Ottomar (Nachtgall), born
1487 at Strasburg, a pupil of Hofhaimer, was
depicted in thefourthdynasty ; and wall-painting
of the time of Moses, preserved in the British
Museum, shows tliat it then had frets. We
organist at Strasburg in 1515, and afterwards observe a similar instrument in Assyrian monu-
canon of St. Stephen's, Vienna. Owing to the ments, and the Hebrew Nehel has been supposed
Reformation troubles he was obliged to leave
1 In the same way El-arz, the cedar, became in English Larch.