[Illustration: The Young Lulli. From painting by H. de la Charlerie.]

His talent for the violin had, however, attracted the attention of some
people of influence, and he was placed under tuition, and finally made
one of the court musicians. At nineteen years old, he played for the
first time before the king, who was much pleased, and appointed him
Inspector of the Violins, and organised for him a band of young
musicians, who were called _Les Petits Violons_, to distinguish them
from the _Grande Bande des Violons du Roi_. Lulli was then chosen to
compose dance-music for the ballets performed at court, and afterward
the entire musical portion of these entertainments was entrusted to
him. He became also a collaborator of Moliere, furnishing the music
for many of the great dramatist's plays, and even acting in some of
them.

His greatest fame was won in the composition of operas, for which the
poet Quinault wrote the words, and he is justly considered to be the
founder of French opera. Among Lulli's operas are "Armide," "Isis,"
"Atys," "Alceste," "Psyche," "Proserpine," and "Bellerophon." The
composer did not reach old age, but died in 1687, about fifty-four
years old, wealthy and honoured, and a great favourite of Louis XIV.,
who had made him "Superintendent of the King's Music," and treated him
with much liberality. His death was caused, one might say, by an
illness of the king. When Louis recovered from this sickness, Lulli
was commanded to write a Te Deum in grateful celebration of the event.
At the first performance, the composer himself conducted, and while
beating time with his baton, accidentally struck it against his foot,
causing a bruise, which developed into an abscess of such a malignant
character that the entire foot, and then the leg were affected.
Amputation was advised as the only hope of saving the patient's life,
but Lulli hesitated in giving his consent, and it was soon too late.
From all accounts, the closing scene of Lulli's life was not marked
with that awe which generally attends a death-bed. He desired
absolution, but his confessor would not absolve him, except on the
condition that he would commit to flames the score of his latest opera.
After many excuses, Lulli at length acquiesced, and pointing to a
drawer, where was the rough score of "Achille et Polixene," it was
burned, the absolution granted, and the priest went home satisfied.

Lulli grew better, and one of the young princes vis