Page:Dictionary of National Biography volume 33.djvu/279

Rh of the moon made by him at Hawkhill, in a letter to Maskelyne 14 Dec. 1769, was also read before the Royal Society (ib. p. 363). On 6 Nov. 1770 he was admitted a fellow of the College of Physicians, Edinburgh, and in 1772 he published a ‘Treatise on the Fever of 1762 at Bengal,’ translated from his inaugural dissertation. Pennant expresses himself greatly indebted to Lind for the true latitude of Islay, and for a beautiful map of the isle, from which he derived his measurements (Tour to the Hebrides, ed. 1790, p. 262). Lind accompanied Mr. (afterwards Sir) Joseph Banks [q. v.] on his voyage to Iceland, the expedition setting sail 12 July 1772. A paper by him, on a portable windgauge, was read before the Royal Society 11 May 1775, and printed with a letter from him to Colonel Roy, in which he alludes to a wind-gauge sent by him to Sir John Pringle (Phil. Trans. lxv. 353). He was elected a fellow of the Royal Society of London 18 Dec. 1777. About the same time he seems to have settled at Windsor, where he afterwards became physician to the royal household. Whether he obtained much of a private practice is doubtful. ‘With his love of Eastern wonders and his taste for tricks, conundrums, and queer things,’ says Madame d'Arblay, ‘people were afraid of his trying experiments with their constitutions, and thought him a better conjuror than a physician.’ When the coffin of Edward IV was opened and examined at Windsor in 1789, Lind made an analysis of the liquid found in it. In 1795 he printed in 12mo, at his private press at Windsor, ‘The Genealogy of the Families of Lind and the Montgomeries of Smithson, written by Sir Robert Douglas, Baronet, author of the “History of Scotland.”’ Charles Knight mentions mysterious little books which Lind printed from characters which he called ‘Lindian Ogham,’ cut by himself into strange fashions from battered printing-types given to him by Knight's father. Dr. Burney describes Lind as extremely thin—‘a mere lath;’ and in her ‘Diary’ Miss Burney (afterwards Madame d'Arblay) refers to his collection of drawings and antiquities, and to his ‘fat handsome wife, who is as tall as himself, and about six times as big.’ His sweetness of disposition is generally acknowledged. Shelley, when at Eton, became intimate with Lind, of whom he said, ‘I owe to that man far, ah! far more than I owe to my father; he loved me, and I shall never forget our long talks, where he breathed the spirit of the kindest tolerance, and the purest wisdom.’ On one occasion Lind, according to the doubtful testimony of Hogg, was the means of preventing Shelley from being consigned by his father to a private madhouse. Hogg's further statement that Lind was Shelley's ‘Mentor in the art of execrating’ his father and George III may safely be rejected, since Lind was devotedly attached to the king. He ‘lives in Shelley's verse,’ as the old hermit in ‘Laon and Cythna’ and as Zonoras in the fragment ‘Prince Athanase.’ He died at the house of his son-in-law, William Burnie, esq., in Russell Square, London, on 17 Oct. 1812. His wife was Ann Elizabeth Mealy. 

LIND, JOHANNA MARIA, known as, and afterwards as Madame (1820–1887), vocalist, was born at Stockholm on 6 Oct. 1820. Her father was the son of a lace manufacturer, and her mother, whose maiden name was Anna Maria Fellborg, and who had been married before to Captain Radberg, kept a day-school for girls. From 1821 to 1824 the child was placed in the charge of an organist and parish clerk, some fifteen miles from Stockholm, and after spending the years 1824–8 with her parents, she was again sent away in the latter year to live in the Widows' Home in the town. Here she was heard singing to her cat by the maid of Mlle. Lundberg, a dancer at the opera, who persuaded the mother to allow Jenny to be taught singing. An introduction to Croelius, court secretary and singing-master at the Royal Theatre, led to her being admitted into the school attached to the theatre in 1830. She studied there under Berg, who succeeded Croelius in 1831, and performed in no less than twenty-six parts of different kinds before the date on which she made the discovery that she was fitted for a great operatic career. This was on 7 March 1838, when she first appeared at the Royal Theatre as Agathe in ‘Der Freischütz.’ Euryanthe and Pamina were added to her repertory in the same year, and in 1839 she sang the whole part of Alice in ‘Roberto,’ in a por-