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He studied theolo^ and was ordained priest in 1786, after which he retired to Brives and spent his leisure in the study of entomology. In 1788 he returned to Paris, where he lived till (uiven out by the Revolution. Al^ough not a pastor, he was arrested with several other priests, sentenced to transportation, and sent in a cart to Bordeaux in the summer of 1 792. Before the veaael sailed, however, Latreille made the acquaintance of a physician, a fellow-prisoner, who had obtained a specimen of the rare beetle, Necrobia ruiicoUis, It was through this discovery that Latreille became ac- quainted with the naturalist, Bory de Saint- Vincent, who obtained his release.

He was again arrested in 1797 as an 4tnigrif but was once more saved by influential friends. In 1799 he was placed in char^ of the entomological department of the Museum of Natural History in Paris, and was elected a Member of the Academy in 1814. In 1829 he was appointed professor of entomolo^ to succeed Lamarck. From 1796 to 1833 he published a great number of works on natural history. He was the real founder of modern entomology.

His lesser treatises and articles for various en- cyclopedias are too numerous for detailed mention here; details of them will be found in "Biographie g^n^rale", XXIX, and in Carus-Engelmann, ''BibUo- theca zool.", II ^Leipziff, 1861). In his "Prdcis des caract^res g^n^nques dies Insectes" (Brives, 1795), and ''Genera Crustaceorum 'et Insectorum" (4 vols., Paris, 1806-09), Latreille added very lai^ly to the number of known genera, and he rendered an incom- parable service to science by grouping the genera into families, which are treated in the complete work "Histoire naturelle g^^rale et particulidre des Crus- tac^ et Insectes" (14 vols., Paris, 1802-06). But his two most, conspicuous writing on this subject of natural classification are: "Considerations sur Tor- drenatureldesanimaux" (Paris, 1810), and *' Families naturellesdur^sne animal" (Paris, 1825). His last work was "Cours d'Entomologie" (2 vols., Paris, 1831-33).

neiteren Nahtrwiaaenschaft (Freiburs, 1904); Bubckbarot, Oetchichte der Zoologie (Leipzig, 1907}.

J. H. ROMPEL.

Latria (Xarpc/a) in classical Greek originally meant "the state of a hired servant" (^Isch., "Prom.", 966), and so service generally. It is used especiaUy for Divine service (Plato, " Apol.". 23 B). In Cnristian^ literature it came to have a tecnnical sense for the' supreme honour due to God alone, in contradistinc- tion to the inferior honour due to His servants, the angels and saints. This latter was styled dulia" (a. v.). Etymologically, however, there is no reason wny latria should be preferred to designate supreme honour; and indeed the two words were often used indiscriminately. The distinction is due to St. Augustine, who says:  Latria . . . ea dicitur ser- vitus quae pertinet ad colendum Deum" (De Civ, Dei, X, i). (See Adoration; Wohship.)

T. B. SCANNELL.

Latulipe, Eue Anicet. See Temiscaming, Vicar- iate Apostolic op.

Lauda Sion. — ^The opening words (used as a title) of the sequence composed by St. Thomas Aquinas, about the year 1264, for the Aiass of Corpus Cnristi. (See Corpus Christi, Feast of.) That the sequence was written for the Mass is evidenced by the sixth stanza: Dies enim solemnis agitur In qua mensae prima recolitur Hujus institutio. (["for on this solemn day is again celebrated the first institution of the Supper"). The authorship of the sequence was once attributed to St. Bonaventure; and Gerbert^in his " De cantu et musica sacra", declaring it

redolent of the style and rhyUimic sweetness chaise teristic of the verse of this saint, moots the question whether the composition of the Mass of the feast should not be ascribed to him, and of the Office to St. Thomas. The fact that another Office had been com<* posed for the local feast established by a synodal decree of the Bishop of Lidge in 1246 also led some writers to contest the ascription to St. Thomas. His authorship has been proved, however, beyond ques- tion, thinks Martdne (De antiq. rit. eoel., IV, zxx), by the dissertation of No£l Alexandre, which leaves no doubt (minimum dubUandi acrupulum) in the matter. There is also a clear declaration (referred to by Car- dinal Thomasius) of the authorship of St. Thomas, in a Constitution issued by Sixtus IV (1471-1484), ana to be found in the third tome of the '' Bullarium noviasi- mum Fratrum PrsBdicatorum". In content the great sequence, which is partiy epic, but mostiy didactis and lyric in character, summons all to endlesB praise of the Blessed Sacrament of the Altar (lines 1-15); assigns the reason for the commemoration of its in- stitution (lines 16-30); gives in detail the CathoKo doctrine of the Sacrament (lines 31-62): "Dogma datur Christianis", etc.; shows the fulfilment ai an- cient types (lines 63-70): "£cce panis angdcniim'S etc.; prays the Good Shepherd to feed and guard us here and make us sharers of the Heavenl;^ Table here- after (lines 71-80) : ** Bone pastor, panis yeare" eto. Thioughout the long poem the rhythmic flow is ea^y and natural, and, strange to say. especially so in the most didactic of the stansas, aespite a scrupulous theological accuracy in both thought and phrase. The saint "writes with the full panoply under his singing-robes"; but always the melody is perfect, the condensation of phrase is of crystalline clearness, the imction is abunoant and, in the closing stsmzas, of compelling sweetness. A more detailed description of the content of the ' ' Lauda Sion " is not neoessarj^ bere» since both Latin text and English version are given in the Baltimore " Manual of Prayers", p. 632.

In form, the seauenoe follows the rhythmic and stanzaic build of Acfam of St. Victor's " Laudes crucis attollamus", which is given by present-day hymnolo*- gists as the type selected by St Tnomas for the ' * Lauda Sion ". Thus the opening stanzas of both sequences have the form:

which is continued through five stanzas. In the sixth stanza the form changes in the " Lauda Sion " to: "Dies enim solemnis agitur" etc.. as quoted above; and in the "Laudes crucis" to the iaentical (numerical) rhythms of:

Dicant omnes et dicant singuli,

Ave salus totius sseculi

Arbor salutifera. Both sequences then revert to the first form for the next stanza, while in the following stanza both alter the form to:

in which all three Unes are in the same rhjrthm. Both again revert to the first form, the " Lauda Sion" having ten such stanzas, the ^ ' Laudes crucis ' ' twelve. We next come to a beautiful stanzaic feature of the sequences of Adam, which is imitated by the " Lauda Bion ". The stanzaic forms thus far noticed have comprised three verses or Unes. But now, as if the fervour of bis theme had at length begun to carry the poet beyond