When he came back to England, he was commissioned by S. J. Arnold, proprietor of the English opera-house, to write an opera for the inauguration of his new theatre (the present Lyceum), which was then in course of erection. The subject chosen, Nourjahad, was an old drama of Arnold's, which had been played with small success many years before, and it underwent little modification, beyond the insertion of some songs, &c., to adapt it for its lyrical purposes. The absence in this libretto of opportunity for dramatic music, was unfortunate for the young composer, who was to found his fame as an operatic writer upon the setting of his initial work. His natural and finely-cultivated talent, however, was not to be repressed, as was proved by the abundant beauties in Nourjahad, which was produced in July, 1834, though the success of the music was clogged by the uninteresting character of the drama. Still this opera must be considered as having opened a modern school of dramatic music in England; and the several composers who have won reputation in the course thus cleared for them, owe a debt of gratitude to Loder as the pioneer of their fortune. In 1835 Loder wrote for the same theatre music to a drama by Oxenford, called the Dice of Death. It was after this that he entered into an engagement with Dalmaine & Co., by which he had to furnish them with a new composition every week. A consequence of this arrangement was, the production of the beautiful twelve sacred songs, dedicated to Sterndale Bennett, which alone might have established the high pretensions of their composer. A less happy result of his weekly compact was, that when he had supplied the publishers with a large number of songs, duets, and so forth, they, in order to give publicity to these, had a drama constructed to incorporate them, which, under the name of Francis I., was brought out at Drury Lane in 1838, with only such success as might be expected from the circumstances of its concoction. Loder's best dramatic work, "The Night Dancers," was first performed at the Princess' theatre in 1846; it was reproduced at the same establishment in 1850, and revived at Covent Garden in 1860. The cantata of "The Island of Calypso" was written in 1850 for a series of performances, at her Majesty's theatre, called the national concerts; but the dissolution of the management prevented its production, and it was first heard at the New Philharmonic concerts in 1851. "Puck," a ballad opera, was given at the Princess' in 1848; and "Raymond and Agnes," an opera of far higher pretensions, was brought out at Manchester in 1855, and again at the St. James' theatre in London in 1859; but, on the latter occasion, with so contemptible a performance that no one could judge of its merit. Loder has also written several unpublished quartets for string instruments, which show his consummate musicianship; many interesting pieces of pianoforte music; and an enormous number of single songs—among the most popular of which are "The Brave Old Oak," and "The Old House at Home;" and among the most deep of purpose, the "Invocation to the Deep." His perfect knowledge of the orchestra and mastery in its treatment, give a rare grace and power to his music, which in this kind of colouring is not to be surpassed. He was for some years engaged as conductor at the Princess' theatre, and subsequently at Manchester; for which office he evinced the greatest ability, and save for the foible of unpunctuality, he would have been unrivalled in this capacity. About 1856 he was attacked by mental infirmity, which for a long time deprived him of the use of his faculties. Recovered from his calamity, he has not yet done anything to prove the full restoration of his powers; but let us still hope that this admirable musician has not terminated a career in public, which hitherto has been far from unimportant in the progress of his art.—G. A. M.
LODGE, Edmund, a herald, antiquary, and biographer of eminence, was born in Poland Street, London, on the 13th of June, 1756, his father being the rector of Carshalton in Surrey. In 1772 he became a cornet in the king's own regiment of dragoons, but ere long quitted the military service, and in 1782 obtained the office of blue mantle pursuivant-at-arms. He was promoted to the dignity of Lancaster herald in 1793, and to that of Norroy king-at-arms in 1822. Sixteen years later, and but one year before his death, he succeeded to the office of Clarenceux king-at-arms. He died at his house in Bloomsbury Square, 16th January, 1839, in his eighty-third year, and was buried in the vaults of St. George's, Bloomsbury. His "Illustrations of British History," published in 3 vols. 4to, 1791, is an admirably edited selection from the Talbot, Cecil, and Howard papers in the college of arms. As a collection of materials for subsequent writers it has proved a mine of wealth. The memoirs attached to Chamberlaine's Imitations of Original Drawings by Holbein, published in 1792-1800, were written by Mr. Lodge. In 1810 he published anonymously "The Life of Sir Julius Cæsar and his Descendants" in quarto. After this careful apprenticeship in memoir writing, Mr. Lodge in 1821 published his most celebrated work, the "Biographies to the Portraits of Illustrious Personages of Great Britain." Notwithstanding the tory bias of the writer, the elegance, terseness, and vigour of these memoirs make them models of biographical composition. The Annual Peerage known by his name was the production of two ladies, to whom he benevolently gave the use of a title, which they did not abuse by any gross inaccuracies.—R. H.
LODGE, Thomas, dramatist, poet, and prose writer, was born about 1563, probably in London, where it is certain that he was reared. He was the second son of Sir Thomas Lodge, a worshipful grocer of London, who was lord mayor in 1542. He entered in 1573 Trinity college, Oxford, where he distinguished himself by his poetical compositions, and in 1578 was admitted into the Society of Lincoln's inn. He does not seem, however, to have been called to the bar, but to have devoted himself to literature. His first known work, "A Reply to Stephen Gosson's School of Abuse, in defence of Poetry, Musick, and Stage Plays," 1579-80, was suppressed before publication, "probably," says Mr. David Laing, "in consequence of the usual license being refused; but a few copies had found their way into private circulation, without title-page, preface, or name of the author." Only two copies of the original tractate are known to exist. His next work was the "Alarum against Usurers," 1854—a curious piece, unveiling the devices of Elizabethan usury—to which was appended a novelette, "The Delectable Historie of Forbonius and Prisceria;" and a poem, half satire, half elegy, "Truth's Complaint over England." In 1587 or 1588 he made one of an expedition to "the islands of the Terceras and the Canaries," and during it he wrote his romance of "Rosalynde; Euphues' Golden Legacie," London, 1590—famous for having furnished Shakspeare with the plot of As you Like it. He now probably united with his friend Robert Greene in the composition of the "Looking-glass for London and England," played in March, 1592; and about the same time wrote his original historical drama, "The Wounds of Civil War, lively set forth in the true Tragedies of Marius and Scilla," not published until 1594. His restless and adventurous disposition led him once more to sea in Cavendish's second and unfortunate expedition of 1591-92. During Lodge's absence his friend Robert Greene published, at his request, his "Euphues' Shadow," 1592, and then dying, bequeathed to its author some good advice in the well-known posthumous Groat's-worth of Wit, bought with a Million of Repentance. Poems, tales, and pamphlets followed from Lodge's pen from 1592 to 1596, about which time or a little later he studied medicine at home and abroad, taking his degree of doctor of physic at Avignon. In 1602 he was incorporated in that capacity in the university of Oxford, and he practised in London with reputation, though apparently his practice brought him little fortune. So late as 1616, he withdrew for a time to the continent to avoid, it is suspected, arrest for debt. In 1602 he published a translation of Josephus, which went through several editions; in 1603, a professional work, a "Treatise of the Plague;" and in 1614, a translation of "the Workes both Morrall and Natural" of Seneca. He died in London in 1625, "of the plague, I think," says Anthony Wood. Lodge's prose works, apart from his tales, are curious chiefly for their indications of contemporary manners. As a poet, however, he is very distinguished. "In Lodge," Sir Egerton Brydges justly remarks, "we find whole pastorals and odes which have all the ease, polish, and elegance of a modern author." For a full account of Lodge's life and writings, the reader is referred to Mr. David Laing's introduction to the reprint of the "Defence of Poetry," &c., which he edited in 1853 for the Shakspearian Society. There have been various other modern republications from Lodge's works—among them one of "Rosalynde," by Mr. J. P. Collier, in Shakspeare's Library—London, 1841.—F. E.
LODI, Calisto da, the son of Giovanni Piazza, was born at Lodi about 1500, and became one of the most distinguished of Titian's scholars; his works are dated from 1524 to 1556. He is particularly distinguished as a colourist in fresco, in which respect, according to his countryman Lomazzo, he had no superior.
