Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/102

 Antwerp, was received into the guild in 1635, and took the freedom of that city in 1640; still living there in 1643, he is heard of at Amsterdam as early as 1652, and lived temporarily (1652-54 and 1661-71) at The Hague, where he was registered in the guild in 1661. Works: Visitation of the Virgin, Louvre, Paris; Christ on the Cross (1671), Nancy Museum; Allegory on Peace, Portraits of Admiral Tromp and his Wife, Amsterdam Museum; St. Peter, Rotterdam Museum; Scipio Africanus, Town Hall, Leyden; Abraham's Sacrifice, Brunswick Museum; St. Luke, Schwerin Gallery; Rustic Interior, Turin Gallery; Portrait of a Boy, Berlin Museum; Male Portraits (2), Dresden Museum; do., Old Pinakothek, Munich; others in Bergamo, Cassel, Copenhagen, and Oldenburg (2) Galleries, Cologne, Vienna, and Weimar Museums, Czernin Gallery, Vienna.—Allgem. d. Biogr., xix. 21; Ch. Blanc, École hollandaise; Engerth, Belvedere Galerie, ii. 243; Immerzeel, ii. 181; Kramm, iv. 998; Kugler (Crowe), ii. 391; Riegel, Beiträge, ii. 253; Van den Branden, 863; Zeitschr. f. b. K., iv. 5, 260.

LIEZEN-MAYER, ALEXANDER, born in Raab, Hungary, Jan. 24, 1839. History and portrait painter, pupil of Vienna and Munich Academies, then of Piloty; made his first success in 1867 with Maria Theresa nursing a Poor Child; then illustrated Schiller and Goethe, and in 1870 went to Vienna, where he painted the Emperor. After his return to Munich he painted scenes from Cymbeline and Faust, made illustrations for Scheffel's Ekkehard, Schiller's Lay of the Bell, and Goethe's Faust. Director of Stuttgart Art School in 1880; professor at Munich Academy in 1883. Works: Coronation of Charles of Durazzo (1862); Canonization of Elizabeth of Thuringia, Maria Theresa nursing Poor Child (1867); Imogen and Jachimo, Faust and Margaret, Elizabeth signing Mary Stuart's Death-Warrant (1875); Irmgard and Ingo (1877); Portrait of Emperor Francis Joseph; Chorus of Nereids (1880), Miracle of Roses (1883), National Museum, Pesth; First Love (1884).—Dioskuren, 1865; Illustr. Zeitg. (1873), i. 9; (1875), i. 238; ii. 9; (1877), ii. 531; (1880), i. 454; Kunst-Chronik, xv. 467; xvii. 261; xviii. 60; La Ilustracion (1880), i. 363; Müller, 337; Zeitschr. f. b. K., ii. 97; xv. 60; xix. 230.

LIFE, CIRCUIT OF, Hans Canon, Museum of Natural History, Vienna; canvas, on ceiling. One of the largest canvases ever painted, the figures being three times life-size. Allegorical illustration of the birth and death of organic matter. In foreground, Thought trying to solve the riddle of life; in middleground, a bridge with many persons of all ages, their movements expressing the struggle for existence and the strife for fame and power; at left, a precipice and scenes of death; in the shadow of the bridge's arch, the sphinx. Painted in 1884-85.—Kunst-Chronik, xviii. 491; xx. 284; Illustr. Zeitg. (1885), ii. 363.

LIFE'S IN THE OLD DOG YET, Sir Edwin Landseer, John Naylor, London; canvas. An old deer-hound, over-eager in pursuit of a deer, has followed his prey in a desperate leap from a high cliff; an ancient sportsman, let down by a rope, sustains the head of the dog and announces to his companions above, in the words which give a title to the picture, that he is still alive. Royal Academy, 1838; Manchester Exhibition, 1857.

LIGHT AND DARKNESS, SEPARATION OF, Michelangelo, Sistine Chapel, Rome; fresco on ceiling.

LIGHT OF THE WORLD, William Holman Hunt, Keble College, Oxford; canvas. The Saviour standing, with a lantern in his hand, at a closed door, under a star-lit sky. Painted in 1854. Presented by Mrs. Thomas Combe to Keble College.