AUTHORITIES.--_Critique hist. pol. mor. econ. et comm. sur les loteries anc. et mod. spirituelles et temporelles des états et des églises_ (3 vols., Amsterdam, 1697), by the Bolognese historian Gregorio Leti; J. Dessaulx, _De la passion du jeu depuis les anciens temps jusqu'à nos jours_ (Paris, 1779); Endemann, _Beiträge zur Geschichte der Lottrie und zur heutigen Lotterie_ (Bonn, 1882); Larson, _Lottrie und Volkswirtschaft_ (Berlin, 1894); J. Ashton, _History of English Lotteries_ (1893); _Annual Report of the American Historical Association_ (1892); _Journal of the American Social Science Association_, xxxvi. 17. FOOTNOTE: [1] The word "lottery" is directly derived from Ital. _lotteria_, cf. Fr. _loterie_, formed from _lotto_, lot, game of chance. "Lot" is in origin a Teutonic word, adopted into Romanic languages. In O. Eng. it appears as _hlot_, cf. Dutch _lot_, Ger. _Loos_, Dan. _lod_, &c. The meaning of the Teutonic root _hleut_ from which these words have derived is unknown. Primarily "lot" meant the object, such as a disk or counter of wood, a pebble, bean or the like, which was drawn or cast to decide by chance, under divine guidance, various matters, such as disputes, divisions of property, selection of officers and frequently as a method of divination in ancient times. From this original sense the meaning develops into that which falls to a person by lot, chance or fate, then to any portion of land, &c., allotted to a person, and hence, quite generally, of a quantity of anything. LOTTI, ANTONIO (1667?-1740), Italian musical composer, was the son of Matteo Lotti, Kapellmeister to the court of Hanover. He was born, however, at Venice and as a pupil of Legrenzi. He entered the Doge's chapel as a boy, and in 1689 was engaged as an alto singer, succeeding later to the posts of deputy organist (1690), second organist (1692), first organist (1704), and, finally, in 1736 Maestro di Cappella at St Mark's church. He was also a composer of operas, and having attracted the interest of the crown prince of Saxony during his visit to Venice in 1712, he was invited to Dresden, where he went in 1717. After producing three operas there he was obliged to return to his duties at Venice in 1719. He died on the 5th of January 1740. Like many other Venetian composers he wrote operas for Vienna, and enjoyed a considerable reputation outside Italy. A volume of madrigals published in 1705 contains the famous _In una siepe ombrosa_, passed off by Bononcini as his own in London. Another is quoted by Martini in his _Saggio di Contrappunto_. Among his pupils were Alberti, Bassani, Galuppi, Gasparini and Marcello. Burney justly praises his church music, which is severe in style, but none the less modern in its grace and pathos. A fine setting of the _Dies Irae_ is in the Imperial Library at Vienna, and some of his masses have been printed in the collections of Proske and Lück.