Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/121

 *gustine and Rufus, Tortosa Cathedral; Ceiling paintings (fresco), Royal Palace, Madrid. His son and pupil, Bernardo Lopez y Piquer (1801-74), was noted for pastel portraits.—Madrazo.

LOREDANO, LEONARDO, Doge, portrait, Giovanni Bellini, National Gallery, London; wood, H. 2 ft. × 1 ft. 5 in.; signed. Painted about 1505; long an heirloom of the Grimani family. One of the best of Bellini's portraits. Originally in Palazzo Grimani, Venice; then owned by Lord Cawdor and Beckford, from whom bought in 1844 for £600.—C. & C., N. Italy, i. 181; Richter, 79, 105; Meyer, Künst. Lex., iii. 420.

LOREDANO, LEONARDO, Doge, portrait, Catena, Lochis-Carrara Gallery, Bergamo; wood, nearly life-size. Painted about 1503; attributed to Gentile Bellini. Copy at Dresden attributed to Giovanni Bellini; replica of latter in Correr Museum.—C. & C., N. Italy, i. 250.

LORENTZEN, CHRISTIAN AUGUST, born at Sonderburg, Isle of Alsen, Aug. 10, 1749, died in Copenhagen, May 8, 1828. Portrait, genre, and animal painter, pupil of Copenhagen Academy; studied in Antwerp the works of Rubens and Van Dyck, visited Paris, and after his return became in 1803 professor at, and in 1809 director of, Copenhagen Academy. He was a member of the Paris and Copenhagen (1784) Academies. Works: Portrait of Count Recivusky (1794), Copenhagen Gallery; Rural Smithy, From the Zoölogical Garden, Attack of Gunboats on Roadstead of Copenhagen in 1807, Burning of Shipping Store at Copenhagen, Siege of Wismar, Battles of Femern and Volmer, Cycle of Scenes from Holberg's Comedies.—Nagler, viii. 55; Raczynski, iii. 549; Weilbach, 416.

LORENZETTI, AMBROGIO, Sienese school, first half of 14th century. Son of one Lorenzo, and younger brother of Pietro Lorenzetti; first heard of in 1324; earliest productions frescos in S. Francesco, Siena (1331), so highly praised by Ghiberti in his second Commentary, but of which only two fragments remain. Other injured frescos by this painter are to be seen in S. Agostino, Siena, and in the Florence Academy. In 1335 he aided his brother in painting the front of the Spedale, Siena, and in 1337-39 he decorated the Sala della Pace in the Palazzo Pubblico, Siena, with three vast allegories in fresco, illustrative of the advantages of justice and peace, and of the evils of tyranny. In this work the Sienese school reaches its zenith, and Ambrogio proves himself a far abler composer than his contemporary, Simone di Martino. Indeed, he and his brother Pietro are the only Sienese who nearly approached the high excellence of Giotto in this respect, and their works are so nearly alike in some cases that they are with difficulty to be distinguished from each other. In 1342 Ambrogio completed a Presentation in the Temple (1342), Florence Academy, which has been so restored as to give little idea of his talent as a colourist and draughtsman. His Annunciation (1344) is in the Siena Academy. The latest record of Ambrogio is in 1345, and both he and his brother are supposed to have perished in the plague of 1348.—C. & C., Italy, ii. 134; iii. 75; Vasari, ed. Le Mon., i. 33; ii. 65; Burckhardt, 315, 362; Baldinucci, i. 222; W. & W., i. 466; Ghiberti, 2d Commentary; Rio, i. 48; Dohme, 2i.; Sienesische Malerschule, i.; Lübke, Ital. Mal., i. 171.

LORENZETTI, PIETRO, born latter part of 13th century, died about middle of 14th century. Sienese school; called, by Vasari, Pietro Laurati. Elder brother of Ambrogio Lorenzetti; appears in Siena in 1305 as the painter of an altarpiece, after which no trace of him is found until 1326, when he executed several pictures in the workshop of the Siena Cathedral. The earliest picture signed by him is a Virgin Enthroned, dated 1329, in S. Ansano, outside the Pispini gate of Siena, in which the figure of the Virgin is deservedly considered the finest of the Sienese school. The execution shows that Pietro had already abandoned the dark Sienese colouring for the light flesh tints and warm shadows