LAURENTIE, PIERRE S. 



LEMAlTRE, FREDERICK. 443 



twenty-six academies and learned societies, and 

 was regarded as the real founder of Indian 

 archwology as a science. Among his numerous 

 works the following are the most important: 

 With August \Villu-lm von Schlegel, his former 

 teacher, he published a collection of fables, 

 entitled " Hitopadosa" (1829-'31). Alone he 

 publish, .! .Jayadeva's " Gitagovinda " (1837), 

 Qjmnoisopnista, sivo Indicts Philosophise 

 Documenta " (1837), and an " Anthologia San- 

 scrita," with a glossary, (1837). The "Institu- 

 tiones Linguae Pacriticae " are of considerable 

 importance, while the " Indischo Alterthums- 

 kunde " (1844-'62) is generally regarded as his 

 principal work, laying the foundation of this 

 science. Among his other important works 

 are: "Zur Geschichte der griechisciien und 

 indo-soythischen K6nige in Baktrien, Kabul 

 und Indien" (1888), "Die altperiischen Keil- 

 inschriften " (1836), and " Beitrage zur Deu- 

 tungder Eugubinisehen Tafeln " (1833). Among 

 hi- essays for journals the most important is 

 41 Uobor die lykischen Inschriften und die alten 

 Spraehen Kleinasiens" (in vol. x. of Zeit- 

 schrift der dtutvchen morgenlandisehen Gesell- 

 tchajl). He also contributed a number of es- 

 says to Indisohe Bibliothek, Rheinischea Mu- 

 seum, and the journals of the societies of which 

 he was a member. 



LAURENTIE, PIERRE SEBAITIEX, a French 

 author and journalist, born January 21, 1793; 

 diei February 9, 1876. Having completed his 

 collegiate education, he devoted his attention 

 to the study of political economy, history, and 

 philosophy. He was a college professor in 

 1814. He went to Paris in 1810 and sought 

 an opportunity to develop his opinions through 

 the public press, having previously made a 

 profession of royalism. He connected himself 

 with the public press, and founded the Quoti- 

 dienne and other Paris newspapers of that day. 

 Daring his connection with the press he in- 

 curred a prosecution at law, in which he was 

 defended by the eminent advocate M. Berryer. 

 From this period he was almost constantly be- 

 fore the public, until the year 1859. He possessed 

 a fertile genius, and great energy in literary 

 labor. His published works are quite volumi- 

 nous. They were brought out at intervals from 

 the year 1822 to 1863, and earned for their 

 author an enviable reputation in the world of 

 letters. Among them are: " Etudes Litt6raires 

 et Morales sur les Historiens Latins," "De 

 la Justice au Dix-neuvi&me Sidcle," " Histoire 

 des Dues d'Orl6ans," " Ilistoire de France par 

 Epoques," " Histoire de PEmpire Rotnain," 

 " Rome," etc. 



LEMAlTRE, FREDERICK, one of the best and 

 most popular actors of the nineteenth century, 

 born in Havre, in July, 1798; died January 

 26, 1876. His father and mother being them- 

 selves renowned comedians, he was destined 

 to follow the same family profession. After 

 having thoroughly studied classical literature, 

 he learned declamation at the Conservatoire of 

 Puds, where the celebrated Lafoy, discovering 



in him the material for a great artist, devoted 



to him particular attention. IK- made lib tint 

 appearance at the Odeon; but, in Hpite of 

 Talma's wartn sympathies, be watt refused a 

 place among the staff of this theatre, and wai 

 forced to play at other theatres till IHUii, when 

 he was engaged tor the Odeon, and played in 

 " Narcisse " and " Theraraene." At the end of 

 the year he appeared at the Porte Saint-Mar- 

 tin, where he at once achieved a prominent 

 reputation with " Trente Ans, ou la Vie d'un 

 Joueur." Not willing to attach himself for a 

 long period to any particular theatre, he wan- 

 dered from place to place during his whole 

 artistic life. " Les Com6diens " and " Peblo," 

 at the Ambigu, and '' La Murechale d'Acre " 

 and "Le Moine," at the Odeon, filled the years 

 1830 'and 1831. In 1832 he created his im- 

 mortal character of Robert Macaire, in the 

 play of that name, and of which he was the 

 author, associated with Autier and 8t.-Amand. 

 In 1834 Alexandre Dumas and Victor Hugo 

 added to his already immense celebrity with 

 "Richard d' Arlington " and "Lucrezia Bor- 

 gia." In 1835 he made a tour in England, 

 where he obtained quite a triumph. He then 

 returned to Paris and created Kean, in the 

 drama of that name by Alexandre Dumas. 

 When the success of that play was exhausted 

 he opened the new theatre of La Renaissance, 

 of which he made the fortune by his grand 

 impersonification of Victor Jingo's Ruy Blat. 

 After a few reappearances at the Ambigu and 

 Porte Saint-Martin he made his debut, in 1842, 

 at the Com6die Franchise, in "Othello," as 

 well as in " Brunehaut et Fr6degonde," a classi- 

 cal tragedy. He here met a complete failure, the 

 peculiarly warm and accidental nature of his 

 talent being quite unfit for the severe and 

 rather cold lines of ancient repertory. He 

 created "Don Caesar de Bazan," and at the 

 Porte Saint-Martin received a triumphal ova- 

 tion, which soon threatened to degenerate into 

 an emcute against the police. Troops and re- 

 enforcements of sergents-de-rille were sum- 

 moned, the audience was dispersed, and it was 

 three days before the production of " Don 

 Caesar" again took place. In 1845 he returned 

 to London, where his " Robert Macaire " made 

 him almost as popular among the cockneys aa 

 he already was in Paris. On his return to 

 Paris he performed one of his best rtiltt in 

 "La Damede St.-Tropez." Afterward, Balzao 

 having adapted for the stage, expressly for 

 him, his " Dernidre Incarnation de Vautrain," 

 Lemaitre appeared in the character of Vau- 

 train at the Porte Saint-Martin, but the mali- 

 cious artist, in close concert with Balzac, had 

 so admirably "made up his face" that when 

 he first appeared there was but one exclama- 

 tion from the pit to the upper galleries, among 

 the 3,000 persons present : " I^ouit Philippe f 

 C'ett la, poire d F\fi!" This was an un- 

 paralleled triumph in the art of grimace, but 

 the play was suppressed on the very next day. 

 On the'23d of February, 1848, he was playing 



