revived in 1715; by himself, 'Orphée' (1690), a failure; and with Marais, 'Alcide,' 5 acts, successfully produced in 1693, and revived as 'La Mort d'Hercule' in 1705, as 'La Mort d'Alcide' in 1716, and again under its original title in 1744. He also composed with Colasse a 4-act ballet, 'Les Saisons,' the memory of which has been preserved by one of J. B. Rousseau's satires; and a cantata, 'Le Triomphe de la Raison,' performed at Fontainebleau in 1703.
His brother, Jean Louis, third son of the great composer, and a musician of considerable promise, died in 1688, aged 21. His father's court appointments devolved on him, and on his death his brother became 'Surintendant' and 'Compositeur de la chambre du roi,' to which posts he owed the slender reputation he succeeded in acquiring.
LUMBYE, Hans Christian, Danish composer of marches and dance-music, born 1808 [App. p.706 "May 2, 1810"] in Copenhagen. Like Strauss and Lanner he had an orchestra, which, when not travelling professionally, has been engaged since 1848 at the Tivoli near Copenhagen. Besides his many marches and dances ('Krolls Ballklänge'; 'Eine Sommernacht in Danemark '; 'Der Traum des Savoyarden,' etc.), still popular, he composed an opera 'Die Hexenflöte.' On his retirement in 1865, he was created a Kriegsrath. He died March 20, 1874. His son Georg now enjoys nearly as great a popularity in Copenhagen as his father once did.
LUMLEY, BENJAMIN, born in 1812, was bred to the law, and in Nov. 1832 admitted a solicitor. Being concerned for Laporte he became mixed up with the affairs of the Opera, and on Laporte's death in 1841 was induced to become its manager. Pursuing a policy initiated by his predecessor, he gave prominence to the ballet to the neglect of the opera, and in a few years had so alienated his performers that at the end of the season of 1846 nearly the whole of his principal singers, band, and chorus, seceded and joined the newly formed establishment at Covent Garden. The popularity of Jenny Lind sustained him during the next three seasons; and after her retirement from the stage in 1849, the return of Sontag to public life enabled him to maintain his position for a time, but afterwards the fortune of the house waned, until, at the end of the season of 1852, the manager was compelled to close the theatre until 1856, when the burning of Covent Garden induced him again to try his fortune. He struggled on for three seasons, but at the end of 1858 was forced to submit. He produced during his period of management the following operas for the first time in England—Donizetti's 'Figlia del Reggimento,' 'Don Pasquale,' 'Linda di Chamounix,'and 'Favorita'; Verdi's 'Ernani,' 'Attila,' 'Nabucco,' 'Traviata,' 'Trovatore,' and 'Masnadieri'; Costa's 'Don Carlos,' and Halevy's 'Tempesta': and introduced, among others, the following singers Jenny Lind, Tadolini, Frezzolini, Cruvelli, Parodi, Castellan, Johanna Wagner, Piccolomini, Tietjens, Gardoni, Calzolari, Fraschini, Giuglini, Fornasari, Ronconi, and Belletti. After his retirement he returned to his original profession. In 1864 he published an account of his managerial career, under the title of 'Reminiscences of the Opera' (Hurst and Blackett, 1864). He died March 17, 1875.
LUPO, Thomas, violinist, was one of the musicians of James I. and afterwards entered the service of Prince Henry at a salary of £40 per annum. In 1607 he assisted Dr. Campion in the composition of the music for his masque on the marriage of Lord Hayes. [See Campion.] On the death of Prince Henry he was retained by his brother Charles. In 1614 he contributed two pieces to Leighton's 'Teares or Lamentacions.' In 1622, having 'by casual means fallen into decay,' he petitioned Prince Charles for an advance of £30 'to satisfy his creditors,' which he obtained, as well as a further advance of £20 on May 17 of the same year. He continued in Charles's service after his accession, and held his post for many years. His name occurs in two warrants dated Dec. 20, 1625, and April 17, 1641, exempting the King's musicians from payment of subsidies. He composed anthems, madrigals, songs and fancies, some of which are preserved in the MSS. in the library of Christ Church, Oxford. Joseph Lupo, probably a relative, was a composer of fancies, and author of commendatory verses prefixed to John Mundy's 'Songs and Psalmes,' 1594.
LUPOT, Nicolas, the most famous of French violin-makers. The family came from the village of Mirecourt in the Vosges mountains, which has for three centuries or more been the seat of a violin manufacture. Jean Lupot, the greatgrandfather of Nicolas, was a violin-maker here. His son Laurent, born 1696, established himself in the trade at Luneville (1751–1756) and Orléans (1756–1762). François, 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 Wirtemberg. In 1770 he returned, and settled at Orléans. He was the father of two sons, Nicolas, the 'French Stradivarius,' born at Stuttgart in 1758, and François, in his time a reputable bow-maker, born at Orléans in 1774. Nicolas began his career early. We have good instruments made by him at Orléans (Rue d'Illiers), before he had completed his twentieth year. These juvenile instruments are cheap in Paris at 500 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 copies of 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 quintets fetch fancy
