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106 before the war; and received from the Emperor Napoleon a gold snuff-box set with diamonds. He is decorated with many orders both of North and South Germany. In the summer of 1876 he met with a serious mountain accident in Switzerland, by which several of his companions were killed and he himself severely wounded. He has however completely recovered. Lauterbach's style unites the best peculiarities of the Belgian school, great polish and elegance, with the breadth of tone and earnestness of the Germans. [ P. D. ]

LAVENU,, son of a flautist and music-seller, born in London in 1818. He was a pupil of the Royal Academy of Music, where he studied composition under Bochsa and Potter. Before leaving the Academy he was engaged as a violoncellist at the Opera and the Westminster Abbey Festival of 1834. He was also in business as a music-seller in partnership with his stepfather, Nicholas Mori, the eminent violinist, after whose death, in 1839, he continued the business alone for a few years. During this time he published a few songs and short pianoforte pieces composed by himself. His opera 'Loretta, a Tale of Seville,' words by Bunn, was produced at Drury Lane Nov. 9, 1846, with success. Dissatisfied with his position, Lavenu emigrated to Australia, obtained the post of director of the music at the Sydney Theatre, and died at Sydney, Aug. 1, 1859. [ W. H. H. ]

LAVIGNE,, born at Besançon March 23, 1816, received his early musical education from his father, a musician in an infantry regiment. On Jan. 24, 1830, he was admitted a pupil of the Conservatoire at Paris, where he studied the oboe under Vogt, but was obliged to leave on May 3, 1835, on account of his father's regiment being ordered from Paris. He resumed his position on Oct. 17, 1836, and obtained the first prize in 1837. He was for several years principal oboe at the Theatre Italien at Paris. In 1841 he came to England, and appeared as oboe soloist at the Promenade Concerts at Drury Lane, and has now for some years been a member of Mr. Charles Halle's orchestra at Manchester. He addressed himself with great earnestness to applying to the oboe the system of keys which Boehm had contrived for the flute, and devoted several years to perfecting the instrument. This admirable player has great execution and feeling; but what he is most remarkable for is his power and length of breath, which by some secret known to himself enables him to give the longest phrases without breaking them. [ W. H. H. ]

LAWES,, son of William Lawes, was born at Dinton, Wiltshire, probably in Dec. 1595, as he was baptized Jan. 1, 1595–6. He received his musical education from Giovanni Coperario. On Jan. 1, 1625–6 he was sworn in as epistler of the Chapel Royal, and on Nov. 3 following, one of the gentlemen, and afterwards became clerk of the cheque. In 1633 he joined his brother William and Simon Ives in composing the music for Shirley's masque, 'The Triumphs of Peace,' and in the same year furnished music for Thomas Carew's masque, 'Cœlum Britannicum,' performed at Court, Feb. 18, 1633–4. In 1634 he composed the songs for Milton's masque, 'Comus,' produced at Ludlow Castle on Michaelmas night, in that year, Lawes performing the part of the Attendant Spirit. (Both Hawkins and Burney have printed 'Sweet Echo,' one of the songs in 'Comus.' The whole of the songs are in the British Museum, Add. MS. 11,518.) It is probable that the friendship between Milton and Lawes had its origin in Comus.



Henry Lawes taught music to Lady Alice Egerton—'The Lady' of the masque. In 1637 appeared 'A Paraphrase vpon the Psalmes of David. By G[eorgej S[andys]. Set to new Tunes for private Devotion. And a thorow Base, for Voice or Instrument. By Henry Lawes'; and in 1648 'Choice Psalmes put into Musick for Three Voices … Composed by Henry and William Lawes, Brothers and Servants to His Majestie. With divers Elegies set in Musick by several friends, upon the death of William Lawes. And at the end of the Thorough Base are added nine Canons of Three and Four Voices made by William Lawes.' A copper-plate portrait of Charles I, believed to be the last published in his life time, accompanies each part, and amongst the commendatory verses prefixed to the work is the sonnet, addressed by Milton to Henry Lawes in Feb. 1645–6, commencing 'Harry, whose tuneful and well measured song.' Lawes composed the songs in the plays and poems of William Cartwright, and the Christmas songs in Herrick's 'Hesperides.' In 1653 he published 'Ayres and Dialogues for One, Two and Three Voyces,' with his portrait, from which the above is taken, finely engraved by Faithorne, on the title. This was received with such favour as to induce him to issue two other books with the