Page:Biographical catalogue of the principal Italian painters.djvu/119

 88 LIPPI— LOML by the fire of 1771. (Vasarif Rufnohr, Oaye.) LIPPI, LoBENZO, b, at Florence, 1606, d, 1664. Tuscan School. He was the scholar of Matteo Boselli, and a follower of Barocci and of Santi di Tito. He was also the Mend of Sal- Tator Bosa, and likewise a poet ; he published a burlesque poem entitled, MalmantUe JEUKqmstato, In the Flo- rentine Galleiy is a picture of the Graciiixion, by Lippi. Baldinucci no- tices, among many other works, a "Triumph of David," which consti- tuted a family portrait of the seven- teen children of Angelo Galli. LODI, Causto (Piazza) da, painted 1524-^6. Venetian School. He was the son of Martino Piazza, and the scholar of Titian, in whose large style he painted. His earlier works are in the style of Giorgione : his later have the powerful effect of Titian; and he is pai'ticularly distinguished as a co- lourist in fresco; in the opinion of Lomazzo, not to be surpassed in that respect. His principal frescoes are at Lodi ; where are also works by Alber- tino and Martino Piazza, called Da Lodi : the foi-mer lived at the court of Francesco Sforza, at Milan, and is praised by Lomazzo for his skill in perspective. Works, Brescia, Santa Maria di Oalchera, the ** Visitation," signed, Calixtus Laudensis fedt, 1525 : in the sacristy of San Clemen te, a Nativity (1524) ; Lecchi Gallery, Madonna and Saints, reputed to be one of the finest pictures in Brescia. Lodi, cliurch dell' Incoronata, scenes from the Lives of Christ, of the Virgin, and of John the Baptist. Milan, Santa Maria di San Celso ; San Maurizio (1556), <fec. : the Brera, Virgin and Child with the Baptist, and St. Jerome; St. Stephen and other Saints; a portrait. Co- dogno. Assumption of the Virgin (1533). LOMAZZO, GiovANHi Paolo, 6. at Milan, April 26, 1538, d. about 1600. Milanese School. Lomazzo studied under G. B. della Cerva, the scholar of Gaudenzio Ferrari ; he followed no particular master, but very early showed his theoretical taste, and was one of the first to 'establish the principle of eolActiuism ; but as his works arose rather out of his knowledge than his feeling, they want the soul that makes works of art attractive, and his reputa- tion is accordingly, almost exclusively that of a writer on art. He excelled in fresco ; but becoming blind in his thirty- third year, his works were never nume- rous. It was after this event, probably, that he coTnx>osed his books and poems. He is well known for his Treatise on the krta—Traitato delT Arie deUa PUtvra, Scultura, ed ArchiteUurOy Mi- lan, 1584-5. 4to. ; and the Idea del Tempio della PUtura, 1590, 4to., an illustration of parts of the first-men- tioned work. The Trattaio was re- printed at Home, in 1844, 3 vols. 8vo. ; an edition of the Ided was published in Bologna, in 1785. Works. Milan, Santa Maria de* Servi, Christ on the Mount of Olives; San Marco, the Virgin and Child: in the Brera, a Piet^ ; and his own (?) Portrait LOMI, AuBELio, b, at Pisa, 1556, d. 1622. Tuscan School. He studied under Bronzino and Lodovico Cardi da Cigoli. According to Lanzi, Lomi was the head of the Pisan School of his time. He painted also at Florence, at Borne, and at Genoa, many important works in the style of Cigoli. Works, Pisa, church of the Gampo Santo, St. Jerome, 1595: cathedral, frescoes : San Frediano, San Stefano, &c. Genoa, San Francesco di Gastel- letto, Sant' Antonio of Padua: Santa Maria di Carignagno, the Resurrection of Christ; and the Last Judgment: Santa Maria in Passione, the Deposi- tion from the Cross. {Soprani.)