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look any questiom* raised by his documents. lie wrote learned articles on the method of Christian epigraphy, on Christian art, on the origin, progress, popular be- liefs, and moral influence of Christianity in ancient Gaul. When he resigned his post as sub-commis- sioner of the customs (1872) he continued to devote himjself to his favourite studies.

He tried to gather into one " Corpus" the Christian sarcophagi of which so many have oeen preserved in the south of France. In 1878 he published in Paris his "Etudes siu* les sarcophages Chretiens de la ville d' Aries", which was followwl by a second work "Etudes sur les sarcophages chr^tiens de la Gaule" (Paris, 1886). In the introduction he treats of the form, ornamentation, and iconography of these monu- ments; he dwells upon the relationship between the sarcophagi of Aries and those of Rome, and the differ- ence oetween them and those of the south-west of France, in which he finds more distinct signs of local influence. His studies and his personal tastes led him to take an interest also in the history of the j>er8ecu- tions and the martyrs. In numerous WTitings he treats in particular of the iudicial bases of the perse- cutions and the critical value of the Acts of the Mar- tyrs. These studies were crowned by his fine work "Pers^^cuteurs et Martyrs" (Paris, 1893), in which he displays his scientific knowledge of history and his deep Christian convictions. In 1883, Le Blant became director of the Ecole Fran^aise at Rome. As such, his name figures honourably between that of GefTroy and of Mgr Duchesne. In audition to his works mentioned above we may mention his collaboration with Jacque- mart in "Histoire artistique, industrielle et com- merciale de la porcelaine (Paris, 1862); "Manuel' d'^pigraphie chrfetienne " (Paris, 1869) ; " Les Actes des martyrs, Supplement aux *Acta sincera' de Dom Ruinart" (Paris, 1882).

Waxxon, Notice sur la vie Hie* travaux de E. Fr. Le Blant in Compte rendu Acad. Inscr. et Bellea-Lcttres, I (Paris. 1900), 609- 44; Hauvette, Notice nicrologique aur Edmond Le Blant in Bull. aSoc. Antiquairea de France U899), 59-77; Prou, Biblio- graphie dee cmvrea d" Edmond Le Blant, ibid., 79-123.

R. Maere.

I«ebnin, Charles, French historical painter, b. in Paris, 1619; d. at the Gobelin tapestry works, 1690. This great designer, whose fertility was so wonderful, received his first instruction in art from his father, and at the age of eleven was placed in the studio of Vouet. There he attracted the notice of Poussin, and in 1642 accompanied him to Italy, remaining there four years. On his return, he was for a while at Lyons, and then settled down in Paris. His skill soon brought him before the notice of the eminent personages of iiis day, and he received an important commission from Fou- auet, and painted a large picture for Queen Anne of Austria, wno in return gave liim her portrait set in diamonds. Cardinal Mazarin introduced him to Louis XIV, and he speedily became a very popular person at court, and neld almost unlimited sway over all artistic matters after the death of Le Sueur. He was intimately concerned in 1648 in the foundation of the Academy, and when the king, under the advice of Colbert, founded the Gobelin tapestry works in 1662, Lebrun was appointed director, and was styled "a person skilful and intelligent in the art of painting, to make designs for tapestry, sculpture, and other works, to see that they were correctly rendered, and to direct and overlook all the workmen employed". Lebrun was responsible^for designing almost all the important cartoons for th*e early work of the Gobelin factory, but beyond that, he was responsible for decoration and for statues at Versailles, for a long series of alle- gorical paintings, and for decoration work at Sceaux, Versailles, and Marly. When Colbert died in 1683, Lebrun lost his gjeat patron, and during the last few years of his life, he withdrew from court, and fell into a condition of melancholv which continued until the

time of his death. Ue was a great scenic artist. in« s{)ired by grand ideas, a man of unceasing energy, with a fine colour sense, and good knowledge of deco- ration, but his work was somewhat heavy, and the in- fluence he exercised over French art was not wholly to its advantage. In designing tapestry, his art was well employed, and he will be remembered more for his splenclid designs for the Gobelin work than for his own paintings.

Laoordaire, Notice hidorique eur lee Manufacturee impirialea de Tapisseriea dea Oobdimt et de Tavis de la Savonnerie (Paris, 1853, 1873); Coub, Tape^ry ana Embroidery (London, 1888); Thomson. Hiatorv of Tapeatry (London. 1906); Bon- NAFFK. Fouquet (Paris, 1882); Montault. Tapeatrieapreaerved by Rome (Arras. 1879); Dubos, Beauvaia Tapeatry (Beauvaia. 1834).

George Charles Williamson.

Lebwin (Lebuinus or Liafwin), Saint, Apostle of the Frisians and patron of De venter, b. in England of Anglo-Saxon parents at an unknown date; d. at De- venter, Holland, about 770. Educated in a monastei^ and. fired by the example of St. Boniface, St. Willi- brord, and other great English missionaries, Lebwin resolved to devote his life to the conversion of the (Germans. After his ordination he proceeded to Utrecht, and was gladly welcomed by Gregory, third bishop of that place, who entrusted him with the mis- sion of Overyssel on the borders of Westphalia, and save him as a companion Marchelm (Marcellinus), a disciple of St. Willibrord. Hospitably received by a widow named Abachilda (Avaerhilt), he fearlessly preached the Gospel among the wild tribes of the dish trict, and erected a little chapel at Wulpe (Wilpa) on the west bank of the Yssel. As the venerable person- ality and deep learning of the missionary quickly won numbers, even of the nobles, to the Faith, it soon be- came necessary to build at Deventer on the east bank of the river a larger church, after which a residence for Lebwin was also erected. This state of undis- turbed development of his little fold was not, however, to continue. Lebwin's wonderful success excited great hostility amonj^ the pagans; ascribing his con- versions to witchcraft, they formed an alliance with the predatory and anti-Christian Saxons, burned the church at Deventer, and dispersed the flock. Having with difiBculty managed to escape, Lebwin deter- mined to voice the claims of Christianity at the na- tional a^embly of the Saxons. To this the three estates of each gau sent twelve men as representatives, and with it the decision of all important matters rested. Setting out for Marclo near the Weser in Saxony, where the assembly was held, Lebwin was hospitably entertained by a noble named Folchert (Folklwrt), apparently a Christian, w^ho vainly strove to dissuade him from his purpose. Clad in priestly vestments and bearing the crucifix in one hand and the Gospels in the other, Lebwin appeared in the midst of the assembled Saxons, while they were en- caged with their sacrifices to their false deities. Hav- mg boldly proclaimed the One True God, the Creator of all, he warned them that, if they obstinately ad- hered to their idolatry, ''a bold, skilful, and mighty king would advance upon them like a raging torrent, destroy everj'thing with fire and sword, brmg want and banishment into their territories, send their wives and children into slavery, and make the remainder submit to the yoke of his domination.'* Enraged at these words, the Saxons demanded that this enemy of their religion and land should expiate his reckless offence by death, and they prepared to slay him with stakes torn from the thickets and sharpened, but he made his escape. An old nobleman, Buto, reminded the assembly that, while ambassadors from the Normans, Slavs, and Frisians had been always honourably received and dismissed in peace, they were now insulting and threatening with death the ambassador of the Highest God, of whose mightiness the present wonderful deliverance of His