I.t'TEOCORALTIA. 



tary HFM*|M tgtMd an easeotial pert of a good education, but it hM 

 to b*M partially survdd by ti> guitar: nevertheless, tie salaried 

 of Mta.* I* still eontinued in tk Chanel Roral. though the place 

 Tke derivation of the word i* probably to be traced to 



UM Teutonic //. wn-ooe, modified, It ha* p****d into all the European 



siiisssi -hilisr nuiili nr iihir "In The 



MMl.li 



i 



> or otherwise. 

 K. a lute. 



:..-. 



W do not ma** with any notice of this instrument, so named 

 UM tin* of Hurt*, who. 



, who. ludicrously enough, compares tho 



sUed Aptre of a perao. Mfttte( under dropsy to the farm of the 

 Into, .The (hap* ol th. body nd principal or lower neck may be seen 

 in our wood-engravinc of the Anrii-I.fr*. Meneane, in his ' Harmoni* 

 Universe!!* ' <16M)7<Uorib** the lute a* consisting of three |rU : the 

 !*>, nude of Or ; the tedy or Mb, ol the nine wood, or oedar, con- 

 rooted of nine eanvex ril* joined ; and the *nr, on which WM fixed 

 the nnger-board, of hard wood, baring nine freU made of cat-gut To 

 Iheee w to be added the k~d or era*, in which the pegi or aero 

 were nlaeed. Thomaa Mace, a celebrated teaeher of the lute, in 

 i work entitled If usieks If onumenf(l7>, agreee in the deecrip- 



tion giren by the learned French monk, addingagreat number of other 

 particulars relative to the oonctruction and uee of the instrument : 

 to thia remarkable folio we refer thoae who are deairoiu of minute 

 information on the subject. We shall here only atate, from the name 

 writer, that the lute had at first six strings, or rather eleven, for the 

 8v largest were doubled; but that the number waa gradually increased 

 till it reached twenty-four. He tell* ui that in hi* time a very choice 

 instrument fetched the lum of 10W.. which may be considered aa equal 

 to 4001 of our preaent money. (ABCO-LoTE; GUITAR.] 



The notation for the lute, theorbo, Ac., called the tablature, differed 

 entirely from that of other instruments. " The chords," aayi Sir J. 

 Haw kin*, are represented by a corresponding number of line*, and on 

 theee are marked the letter* a, b, e, Ac., which letter* refer to the frets 

 on the neck of the instrument. The time of the note* is signified by 

 mark* orar the letter* of a hooked form, that answer to the minim, 

 crotchet, Ac. Thia i* the French tablature ; but the Italian*, and also 

 MM Spaniard*, till of late yean, made use of figures instead of letters." 

 There were many kinds of tablature, but being now obsolete and for- 

 gotten it i* unnecessary to add anything further concerning them. 

 LUTEOCOBALTIA. [COBALT, ^WIIH<M.IOU Compouiul* of.] 

 LOTEOOALLIC ACID, a peculiar acid extracted from nut-galls by 



'.. 



LtTTEOLIN is a non-axotised colouring principle found in the woad 

 (Rneda tomb). It is volatile and crystallisable. 



LUTES, in chemistry, are substances employed in various operations 

 for closing the joints of apparatus, and especially for connecting retorts 

 and receiver*, so as to prevent the eacape either of the vapour or gaaes 

 generated during distillation or sublimation. The term lute is also 

 applied to the external coating of clay and Band, or other substances, 

 applied to glass retort*, in order that they may support a high tempe- 

 rature without fusing or cracking. For operations on the large scale, 

 aa the distillation of aquafortis, hydrochloric acid, &c., common plastic 

 clay is a sufficiently good lute. Sometimes it has been recommended 

 to use what I* termed fat lute, but this generally only in small distilla- 

 tions, a* of nitric acid : this lute i* prepared by mixing dried and 

 powdered pipe-clay into a paste with linseed oil; and the joint i* 

 further secured, both where this lute is used and in many other cases, 

 by tying it over with moistened bhuMi r. 



In most operations, however, a mixture of pipe-clay and meal, as 

 Unseed meal or almond powder, is quite sufficient, when secured by 

 bladder, for any purposes, either when acids or ammonia are to be 

 distilled. In luting common stills, in which oils or water are merely 

 distilled, linseed meal and watr, made into a paste, form an effectual lute. 



In luting, or rather coating, glass retorts, in order to enable them to 

 sustain high temperature*, Btourbridge clay or Windsor loam mixed 

 with tow have been used ; but they require long drying, and are apt to 

 crack. Th* simplest mode i* that of brushing the retort over with a 

 paste of pip* clay and water, lifting land upon it, drying it quickly in 

 the ash pit of the sand beat, then covering it again with clay and sand, 

 and repeating the alternate applications and drying till the coating is 

 Judged raffinnitly thirk. 



An excellent lute for these purposes consist* of a mixture of Stour 

 bridge clay and asbestos, made into a paste with water. 



LtTiniNK <C H.N), an alkaloid iaomeric with <ol*idi*<, fotm.l in 

 bone-oil, tad also formed during the distillation of dnohonine. It i* A 

 volatile oily body, lighter Una water, and forms very soluble aalta with 

 most of UM add*. 



I.VI'lAN MODE, pform.l 



I.YXX, a cotMleUatfon of Hereliui, situated directly in front of 

 Tn* Major, the bead of the animal being half way between a Ursej 

 Mijurls utd Capell*. Iu principal stars are as follow* : 





N*. I* Cstalefa* 

 of British 



8 



- 



'- I 



8178 



i ... 



MiiBltuds. 



4 

 4 



4 

 4 



KINO-AT-ARMS. [HFIULD.] 

 LYRA (th.- Harp), one of the old oonstellatlom, i 



the old constellations, representing the 



lyr* of Mercury (Aratus), or of Orpheus (Hyginus). It is surrounded 

 by Cygnus, AquiU, Heroules, and the head of Draco. Its brightest 

 tar, Lyr*i, slso called Vega, is a conspicuous object. If n ! 

 drawn through the middle of Cassiopeia, the pole-star, and the mi.1.1!.- 

 of Una Major, this star may be seen nearly in the prrpendk. 

 that line drawn through the pole-star. When Aqulla is known, a linn 

 drawn through it* four neighbouring stars, , /}, a, and y, will pas* 

 through Lyns. It* principal stars are as follows : 



Character. 



a 



No. In Cataloftw 

 ofFlamstocd. 



3 

 10 

 II 



14 



No. In Catalogue 



of British 

 Association. Magnitude. 



BU5 



6420 

 MM 



(48] 



i 

 I 

 i 

 I 



LYRE (Arfpa), a musical instrument of the stringed kind, known, 

 under various names, from the earliest historical period. The Oreeka 

 ascribe its invention, some to Hermes, some to Apollo; but it is 

 possible that they may have had it from the Egyptians, and the 

 Egyptians from Asia. Indeed Holy Writ leads us to conclude that it 

 was of antediluvian origin. Jubal, the seventh only in descent from 

 Adam, was " father of all such as handle the harp and organ ; " and a* 

 by the word harp we are to understand either the lyre itself, or some 

 instrument analogous to it, we must, on such authority, grant to the 

 son of Lameoh the merit of being its inventor. In our version of the 

 Scripture, tinnor (T133) is rendered by the word karp, while the 

 Septuagint and Vulgate give the Hebrew term a Greek form KiMpa, 

 Mara, a word generally, though we believe erroneously, supposed to 

 be synonymous with \6fu, or lyre. Erroneously, we say, because it i* 

 our opinion that lyre and cithara (or guitar) were generic terms ; the 

 first being the parent of all instruments of the harp kind, having no 

 neck or finger-board ; the last, of all those furnished with a neck, and 

 which finger-board probably was divided by freta. [Q'jiTAR ; HARP.] 



Fig. 1. 



It is true that in all the remains of Grecian art, no instrument with 

 a neck is to be found. Artists perhaps preferred the more compact 

 and elegant form of what is now called the Grecian lyre. The same 

 taste descended to the modern* ; witness the statue of Handel formerly 

 n Vauxhall Gardens, a* Dr. Burney well remarks. Montfaucon tells us 

 that he had examined the sculptured representations of six hundred 

 ancient lyres and citharas, and found not one with a neck. But had 

 the learned father who was a most excellent and indefatigable anti- 

 quarylived in the present day, he would have met with abundnnt 

 evidence in Egypt to prove that instrument* with necks instrument -i 



Fig. J. 



of the guitar kind, such a* were subsequently called luta existed at 

 east three thousand years ago. The three-stringed guitar, say* Sir J. G. 

 Wilkinson (' Manner* and Customs of the Ancient Egyptians '), we* in 

 n*t at the earliest period of the Egyptian history; "those at the 

 Pyramids are apparently of a date long prnvioiis to Owtasen, or the 



