LULLY, or LULL!, JEAN-BAPTISTE, the father of French dramatic music, was the son of a miller, and born at Florence in 1633. Showing in his infant years a strong propensity for music, a kind hearted monk taught him the use of the guitar, an instrument then as common in Italy at it is now in Spain. Having attracted the notice of the Chevalier Guise, he was by that nobleman recommended to Mademoiselle de 3lontpensier, niece of Louis XIV., as a page, and sent to Paris in his fourteenth year; but his ready wit and talent found no favour in the eyes of the princess, for they were not set off by either a good figure or n pleasing countenance ; ho was placed therefore in the kitchen, and commenced hia life of activity in the humble capacity of marmiton, or scullion. This degradation however did not much discourago him. lie had previously acquired some knowledge of the violin, and now dedicated every spare moment to it. Ilia devotion and industry were crowned with success. The report of his skill quickly ascended to the apartments of the princess, who placed bim under an able master, and he eoon was numbered among the king's twenty-four violins. He now aspired to the rank of com poser, and having produced some airs which "with ravished ears the monarch heard," he was individually summoned into the royal presence, commanded to perform himself the compositions which had excited no much pleasure, and from that moment the road to pro motion and honour was opened to him. He was immediately placed at the head of a new band. denominated 'Les Petits Violons,' which soon eclipsed the famous Nude des Vingt•Quatre.
Lully now was engaged to write music for the Ballets, entertain meats of a mixed kind much admired at court. But Louis, ambitious of rivalling the grand operas not long before established at Venice, and encouraged in his design by the Cardinal Mazsrin, founded in 1660 the Academie Royale de Muaique, an institution which has ever since continued to flourish. At the head of this, Lully, who had been
appointed Surintendant de la Musique de la Chambre du Roi, was soon placed, and being associated with Quinault, the admirable lyric poet, carried into effect the king's wishes to their utmost extent. His abilities and exertions were not suffered to remain unrewarded besides the glory of complete success he acquired a handsome fortune, and was raised to the honourable rank of Secraaire du Roi. The proud seer6taires hesitated at admitting a marmitou into their num ber. Lully complained to the king. "I have honoured them, not you," said the monarch, "by putting a man of geuiva among them." On the recovery of Louis from a severe operation Lully composed a Te Demo, and during a rehearsal of it, while heating the time, to the band with his cane, he struck his foot a violent blow, which was followed by serious consequences, and having put himself into the hands of a quack, his life paid the forfeit of his credulity. He died in Paris In 1687, where, in the church des Petits Peres, his family erected a splendid monument to his memory. In his last illness he was attended by a priest, who refused him the consolations of the Church unless he consented to destroy the opera on which he was engaged. He complied : the manuscript was committed to the flames. A friend, entering shortly after, reproached him for having listened to a dreaming Jansenist. "Hush I hush I" whispered the composer, "I have another fair copy of the work in my drawer." As a composer, Lully takes a very high rank. To him music is Indebted for some of its greatest improvements, and his works display genius tempered by sound judgment. Even Handel acknowledged that he modelled his overtures after those of Lully; and Purcell did not hesitate to profit by many hints afforded by the nineteen operas composed by the favourite of Louis le Grand.