LAMORICIEBE. 724 LAMP. He was, liowcvpr, conipelled to surrondcr his whole force to tlio Sanliniun fjoneral Ciahiini, at Ancoua, after having been defeated at Castel- fidarilo, September IS, 1800. He returned to Franee, and died near Amiens, September 11, 1SG5. LAMOKMAIN, la'niGr'maN', Wiliielm Ger- main ( ITiTO-KUS) . An Austrian Jesuit, born at La Moire Meiinie, a village near Luxenibvirg. He joined the Jesuits in 1500 at Briilin. In 159G he was ordained priest, in 1023 he became i)rin- cipal of the 'ienna College, and next year he was made eonfessnr to the Eni])eror Ferdinand II. He published l-'cnUnmuU II. VirtiitcK (lO.'i"), wliieli a]ipeared in the following year under the title of Idcfi Priiiciiii.i ('ltrif:linni. His eorre- epondenee with Km])eror Ferdinand and his fam- ily was puldished by Dudik (1877). LA MOTTE,, la mot, Antoine Houdar de (]C7'2-1731). A French author and critic, born in Paris. His first work, a comedy, IjCs ori- fjiimux (1693), was a failure, but he continued to produce operas, ballets, and tragedies, one of which, Iiif-s de Casiro (1723), was .successful for many years. He was admitted to the Aeadem.v in 1710. and two years afterwards became blind. His /'('flexions siir hi crU'ujUc (1715) has some value. One edition of his works appeared in 1754, (Eiirrcs rhuisies in 1811, CEuvres de th^dtre in 173(1. and Lrllrcs in 1754. LA MOTTE-FOUQtJE. See FoUQUfi. LA MOTTE-VALOIS, va'lwii', Jeanne de Lrz DE Saixt RftsiY, Comtesse de (1750-91). A French ailventuress. See Diamond Necklace, The Affair of the. LAMOUREUX, la'mTKT're'. CiiARLE.s (1834- 99). A Freni-h violinist and eonduetor. l)orn in Jlordeaiix. He studied at the I'aris Conserva- tory, and won the first prize for violin in 1854. He afterwards played first violin at the Opera, and founded a society for chamber music. In 1873 he organized the SociCtg de I'Harmonie Sacree, which in 1875 gave the first performance of the Mcxxirih in Paris. In 1870 he became assistant ooiKluetor, and in 1S7S first conductor at the Opera. In 1880 he was made a knight of the Legion of Honor. His inauguration of the Noiircniix conrrrls in 1881 was a continuation of the work begun by Colonne. Many new com- posers, particularly Wagner, had their first hear- ing in Franee at these concerts. He produced the operas Lohengrin and Tristan und Isolde for the first time in Paris, and proved himself a good interpreter of German nuisic. He died in Paris. LAMP ( from Lat. ?ompns. Ok. XoMTtis, torch, from '.iJ.-n-Fi.v, Iiimpein, to shine). A contriv- ance in which is burned some substance, usually a liquid, whose llame is characterized by illunii- ■nating power. The most primitive lamps were probablv the skulls of animals, in which fat was Inirned, while certain sea-shells were also em- ployed for this purpose. When pottery and metal began to be used, the principle of these natural lamps was for a long time retained, as seen in ancient Egj'ptian, Greek, and Roman lamps, and in the stone cups and boxes of northern nations. Such lamps were called Jiiehn'i by the Greeks and Iiirrrnfr by the Eomans, and various modifications of the form are frequently found in the ruins of Greek and Roman cities; very considerable numbers have been obtained from the excavations of Tarsus and of Pompeii and Hereulaneum. The prin- ciple in all is the same. At first these liurrno; were made of unglazed pottery, and only with one wick-hole : but better material and more elaborate forms were introduced, and their light- giving ]iower was increased by their being made to hold several wicks, from two to twelve. The wick used in this lam]) was generally made of fiax-tow: .sometimes, however, of rushes and other vegetalde fibres. Among the northern nations of anti(iuity lamps were in use, but the diirerence of climate necessitated a different kind of lamp. The limpid oils of the present day were unknown. The solid fat of various animals was their chief illuminating material, except on the seacoast. where seal and whale oil occasionally hel|ied them. Small open stone pots, afterwards ex- changed for metal, were used, and being partly filled with grease, a wick was thrust down through the middle, and. being lighted, consumed the fat as it melted. Stone cups of this kind are occasionally dug up in Scotland and else- where; in principle" they are the same as the padelle. used in Italian illuminations, and the old grease-pots which once formed tlie foot- lights of theatres. The Eskimos form square boxes of soapstone, and use them in the same way. No great improvement took jilaee in the con- struction of lamps until the beginning of the nineteenth century. Taste had been shown in the designs, but the principle remained the same — a wick absorbing oil from the reservoir of the lamp to supply itself during combustion, and without modification or improvement, unless it be that effected by the invention of Argand in 1784. (See Arcand.) In 1803 Carcel. another Frenchman, made an improvement on the lamp by applying clockwork, which acts by raising tiie oil up tubes in connection with the wick, so that the latter is kept continually soaked. Tlie introduction of mineral oils — known under the various names of paraffin oil, petroleum, kerosene, naphtha, coal oil, etc. — has superseded (he use of animal oils and vegetable oils for lighting ))urposes. These oils, being much more volatile than animal and vegetable oils, rise freely into the wick and keep it saturated with- out the use of any mechanical devices. Another advantage is their cheapness. One great diffi- culty with the mineral oils at first was that, without careful preparation, they are apt to give oflf inflammable vapors at a low_ temper.ature, which give rise to dangerous explosions. This has been obviated by processes of rectification which get rid of the lighter and more volatile ingredi- ents. Another diffieulty was to make the oil burn without smoke, for. being very rich in carbon, an abundant supply of oxygen is necessary. The kind of lamp found to efi'eet this purpose'best was introduced into Great Britain from Germany about 1850. and. with minor im- provements, the form is still adhered to. The body of the lamp is a reservoir of glass or other material for the oil ; into this a brass wick-holder is screwed, the wick being raised or lowered l)y means of a rack and pinion. The peculiarity of the kerosene lamp is a dome-shaped cap sur- roimding the wick-tube, and having a slit run- ning across it, through which the flame issues.
