[2] See Verhandlungen des X internationalen Congresses, Bd. i. p. 33.
LISTER, MARTIN (c. 1638-1712), English naturalist and physician, was born at Radclive, near Buckingham. He was nephew of Sir Matthew Lister, physician to Anne, queen of James I., and to Charles I. He was educated at St John’s College, Cambridge, 1655, graduated in 1658/9, and was elected a fellow in 1660. He became F.R.S. in 1671. He practised medicine at York until 1683, when he removed to London. In 1684 he received the degree of M.D. at Oxford, and in 1687 became F.R.C.P. He contributed numerous articles on natural history, medicine and antiquities to the Philosophical Transactions. His principal works were Historiae animalium Angliae tres tractatus (1678); Historiae Conchyliorum (1685-1692), and Conchyliorum Bivalvium (1696). As a conchologist he was held in high esteem, but while he recognized the similarity of fossil mollusca to living forms, he regarded them as inorganic imitations produced in the rocks. In 1683 he communicated to the Royal Society (Phil. Trans., 1684), An ingenious proposal for a new sort of maps of countries; together with tables of sands and clays, such as are chiefly found in the north parts of England. In this essay he suggested the preparation of a soil or mineral map of the country, and thereby is justly credited with being the first to realize the importance of a geological survey. He died at Epsom on the 2nd of February 1712.
LISTON, JOHN (c. 1776-1846), English comedian, was born in London. He made his public début on the stage at Weymouth as Lord Duberley in The Heir-at-law. After several dismal failures in tragic parts, some of them in support of Mrs Siddons, he discovered accidentally that his forte was comedy, especially in the personation of old men and country boys, in which he displayed a fund of drollery and broad humour. An introduction to Charles Kemble led to his appearance at the Haymarket on the 10th of June 1805 as Sheepface in the Village Lawyer, and his association with this theatre continued with few interruptions until 1830. Paul Pry, the most famous of all his impersonations, was first presented on the 13th of September 1825, and soon became, thanks to his creative genius, a real personage. Liston remained on the stage till 1837; during his last years his mind failed, and he died on the 22nd of March 1846. He had married in 1807 Miss Tyrer (d. 1854), a singer and actress.
Several pictures of Liston in character are in the Garrick Club, London, and one as Paul Pry in the South Kensington Museum.
LISTON, ROBERT (1794-1847), Scottish surgeon, was born on the 28th of October 1794 at Ecclesmachan, Linlithgow, where his father was parish minister. He began the study of anatomy under Dr John Barclay (1758-1826) at Edinburgh in 1810, and soon became a skilful anatomist. After eight years’ study, he became a lecturer on anatomy and surgery in the Edinburgh School or Medicine; and in 1827 he was elected one of the surgeons to the Royal Infirmary. In 1835 he was chosen professor of clinical surgery in University College, London, and this appointment he held until his death, which occurred in London on the 7th of December 1847. Liston was a teacher more by what he did than by what he said. He taught simplicity in all operative procedures; fertile in expedients, of great nerve and of powerful frame, he is remembered as an extraordinarily bold, skilful and rapid operator. He was the author of The Elements of Surgery (1831-1832) and Practical Surgery (1837), and made several improvements in methods of amputation, and in the dressing of wounds.
LISZT, FRANZ (1811-1886), Hungarian pianist and composer, was born on the 22nd of October 1811, at Raiding, in Hungary. His appeal to musicians was made in a threefold capacity, and we have, therefore, to deal with Liszt the unrivalled pianoforte virtuoso (1830-1848); Liszt the conductor of the “music of the future” at Weimar, the teacher of Tausig, Bülow and a host of lesser pianists, the eloquent writer on music and musicians, the champion of Berlioz and Wagner (1848-1861); and Liszt the prolific composer, who for some five-and-thirty years continued to put forth pianoforte pieces, songs, symphonic orchestral pieces, cantatas, masses, psalms and oratorios (1847-1882). As virtuoso he held his own for the entire period during which he chose to appear in public; but the militant conductor and prophet of Wagner had a hard time of it, and the composer’s place is still in dispute. Liszt’s father, a clerk to the agent of the Esterhazy estates and an amateur musician of some attainment, was Hungarian by birth and ancestry, his mother an Austrian-German. The boy’s gifts attracted the attention of certain Hungarian magnates, who furnished 600 gulden annually for some years to enable him to study music at Vienna and Paris. At Vienna he had lessons in pianoforte playing from Carl Czerny of “Velocity” fame, and from Salieri in harmony and analysis of scores. In his eleventh year he began to play in public there, and Beethoven came to his second concert in April 1823. During the three years following he played in Paris, the French provinces and Switzerland, and paid three visits to England. In Paris he had composition lessons from Paër, and a six months’ course of lessons in counterpoint from Reicha. In the autumn of 1825 the handsome and fascinating enfant gâté of the salons and ateliers—“La Neuvième Merveille du monde”—had the luck to get an operetta (Don Sancho) performed three times at the Académie Royale. The score was accidentally destroyed by fire, but a set of studies à la Czerny and Cramer, belonging to 1826 and published at Marseilles as 12 Études, op. i., is extant, and shows remarkable precocity. After the death of his father in 1828 young Liszt led the life of a teacher of the pianoforte in Paris, got through a good deal of miscellaneous reading, and felt the influence of the religious, literary and political aspirations of the time. He attended the meetings of the Saint-Simonists, lent an ear to the romantic mysticism of Père Enfantin and later to the teaching of Abbé Lamennais. He also played Beethoven and Weber in public—a very courageous thing in those days. The appearance of the violinist Paganini in Paris, 1831, marks the starting-point of the supreme eminence Liszt ultimately attained as a virtuoso. Paganini’s marvellous technique inspired him to practise as no pianist had ever practised before. He tried to find equivalents for Paganini’s effects, transcribed his violin caprices for the piano, and perfected his own technique to an extraordinary degree. After Paganini he received a fresh impulse from the playing and the compositions of Chopin, who arrived in 1831, and yet another impulse of equal force from a performance of Berlioz’s “Symphonie Fantastique, épisode de la vie d’un artiste,” in 1832. Liszt transcribed this work, and its influence ultimately led him to the composition of his “Poèmes symphoniques” and other examples of orchestral programme-music.