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mart cow, which was one of the bed fat cows from every 

 parifli in Annandale. Very little of the callle now remains, 

 it having been completely pillaged of its materials for the 

 conllruction and ornament of many of the houfes in the 

 neighbourhood. 



Between tliig callle and the Kirk-lochs, clofe to the town, 

 are the veftiges of anotlicr fort of more ancient date. Tra- 

 dition reports tliat the (lones were removed to afTilt: in build- 

 ing another calUe, probably that in the loch. The fituation 

 of this cattle is fine, and commands a beautiful profpeft 

 over an extenlive plain. It was originally the refidence of 

 the Bruce family, before they afccnded the throne of Scot- 

 land. It ii faid'that king Robert I. was born here. 



Contiguous to the caille ftrft mentioned, on the banks of 

 the Annan, lies a large tract of fertile land, called the Four- 

 towns, as comprehending four populous villages. Thefe 

 lands were originally granted by one of the Scottifii mo- 

 narchs to his houfliold fervants, and the pi-operty of each 

 beino- very fmall, bare pofTeffion was declared a fufficient 

 title. When any part of this property is transferred, it is 

 only necefiary to mark the tranfaClion in the books of the 

 lord of the barony. In meafuring the lands of this diftridl, 

 an ell, called the barony ell, is made ufe of, which contains 

 42 inches, whereas the common cU of the country is only 

 38 inches. 



Lochmaben and its vicinity derive no fmall degree of 

 celebrity, as the fcene of fome of the heroic aftions of the 

 renowned fir William Wallace. According to the popula- 

 tion report of I So I, this parilh contained 499 houfes, and 

 2053 inhabitants. 



LOCHNEV, a town of Sweden, in the province of 

 .Smaland ; 60 miles N. cf Calmar. 



LOCHSTETT, a town of Pruflia, in the province of 

 Smaland, near which are tlie ruins of a caflle, in which was 

 a dungeon,' that ferved for a prifon ; four miles N. of 

 Pillau. 



LOCHVITZE, a town of Ruffia, in the government of 

 Tchernigov, on the Sufa ; 96 miles S.E. of Tchernigov. 

 T^. lat. 50- 20'. E.long. 28° 14'. 



LOCIS COM.MUNIBUS. See COMMUNIBUS. 



LOCK, M.4TTHEW, in Biography, organift and com- 

 pofer to his majelly Charles II.,' was a native of Exeter, 

 and a chorifter in the cathedral of that city, while William 

 Wake was organitt there. He had afterwards inllrudtions 

 in mufic from Edward Gibbons, and had fo much dillin- 

 guifhed himfelf as 'a profeiTor of abilities, that we are told 

 in the continuation of fir Richard Baker's chronicle, he 

 was appointed to compofe the mulic for the public entry 

 .of the king at the relioralion, and captain Kenry Cook 

 for his coronation. 



But he feems firfl to have appeared as an author in i(''^7, 

 during the interregnum, by the publication of his " little 

 confort of three parts for viols or viohns, confiiling of 

 pavans, ayres, corants, farabands, in two feveral varieties, 

 the firit twenty of which are for two trebles and a bafe." 



Sorr.e of his compofitions appear in the fecond part of 

 .John Playford's continuation of Hihon's " Catch that catch 

 can," ia 1667. Of which publication, the fecond part 

 .contains "Dialogues, Glees, Ayres, and Ballads, of two, 

 three, and four voices," among which we find the moil 

 pleating of Lock's compofitions ; " Never trouble thyfelf 

 about times or their turnings," a glee for three voices. 



Lock was the firll who attempted dramatic mufic for the 

 Etiglilli ftage, if we except the mafques that were performed 

 at court, and at the houfes of the nobility, in the time of 

 Charles I., and during the reign of Charles II. Whefi mufi- 

 cal dramas were firil attempted, wWch Dryden calls heroic 



plays and dramatic operas, Lock was employed to fet moft 

 of them ; " Circe," written by fir William Davcnant's for. 

 Dr. Davenant, was fet by Banniller ; but the femi-operai, as 

 they were called, the Teinpeft, Macbeth, and Pfyche, Iraiif- 

 latcd from the French of Molicrc by Shadwel', were fet lo 

 mufic by Lock. The Tcmpeft and Pfyche were performed 

 in 1673, with mufic, dancing, and fplendid fccnes, but not 

 printed till 167J, when it was publiflied with the following 

 title : " The Eiiglifli Opera ; or the vocal Mufic in Pfyche, 

 with the inilrum'.ntal therein intermixed. To which is ad- 

 joined the inftrumental Mufic in the Temped. By Mat- 

 thew Lock, compolcr in ordinary to his Majelly, and Or- 

 ganift to the Queen." This publication is dedicated to 

 James duke of Monmouth. There is a preface of fonie 

 length by the compolcr, Matthew Lock, which, like his 

 mufic, is rough and nervous, exadlly correfponding with 

 the idea which is generated of his private charafler, by the 

 perufal of his controverfy with Salmon, and the fight of his 

 pifture in the mufic-fchool at Oxford. It is written with 

 that natural petidance which probably gave birth to moft of 

 the quarrels in which he was involved. He begins with a 

 complaint of the tendency of his brother muficians " to 

 peck and carp at other men's conceptions, how mean foever 

 may be their own. And expecting to fall under the la(h of 

 fome foft-headed or hard-heaited compofer," he lets about 

 removing " the few blocks at which they may take occafion 

 to Ibmble," with a degree of indignation that implies an 

 irafcible fpirit under no great governance. The firft ob- 

 jetlion which he thinks hkely to be made, is to the word 

 opera, to which he aslwers, that it is a word borrowed from 

 the Italian, who by it dillinguifhed this kind of drama from 

 their comedies, which, after a plan is laid, is fpoken ex- 

 tempore ; whereas this is not only defigned, but written 

 with art and induttry ; and afterwards fet to fuitable mufic. 

 In which idea he has produced the following compofitions, 

 which, for the moll part, are " in their nafure foft, eafy, 

 and, as far as his abilities could reach, agreeable to the 

 defign of the poet. For in them there is ballad to fingle 

 air, counterpoint, recitative, fugue, canon, and chromatic 

 mufic, which variety, without vanity be it faid, was never 

 in court or theatre, till now prefented, in this nation." He 

 confelTes, however^ that fomething had been attempted be- 

 fore in this way of compofition, but more by himfelf than 

 any other. And adds, "that the author'of the drama pru- 

 dently confidering, that though Italy was and is the great 

 academy of the world for mufic and this fpccies of enter- 

 tainment, yet as this piece was to be performed in England, 

 which is entitled to no fuch praife, he mixed it with inter- 

 locutor, as more proper to our genius." 



He concludes his peevidi preface by confefiing, that " the 

 inflrumental mufic before and between the acts, and the 

 entries in the a<fls of Pfyche, were omitted by the eonfent of 

 the author, Signor Gio. Baptiila Draghi ; and that the 

 tunes of the entries and dances in the Tenipcll (the dances 

 being changed) were omitted for the fame reafon." 



Here we have a fhort hiftory of thefe early attempts at 

 dramatic mufic on our ftage, in which, as in the moft fuc- 

 cefsful reprefentations of this kind in later times, the chief 

 part of the dialogue was fpoken, and recitative, or mufical 

 declamation, which leems to be the true criterion and cha- 

 radlcrirtic of Italian operas, but leldoni ufcd, unlefs merely 

 to introduce fome particular airs a:id chorufes : as in the 

 modern Comus, the air, " On ev'ry hill, in ev'ry dale," is 

 preceded by the fhort recitative "Jiow gentle was my 

 Damon's air.'' 



Upon examining this mufic, it appears to have been very 

 much compofcd on Lulli's model. The melody is neither 



recitative 



