Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/134

 Orléans in the Trenches at Siege of Antwerp, 1832, Warham, Archbishop of Canterbury (after Holbein), Versailles Museum.—Tscharner, Die bilden den Künste in der Schweiz im Jahre (1884), 55.

LUGO, EMIL, born at Stockach, Baden, June 26, 1840. Landscape painter, pupil of Carlsruhe Art-School under Schirmer, then studied after the old Italian, Dutch, and German masters in the Dresden and Munich Galleries, and from nature in the Brisgow; was in Italy 1871-74, chiefly at Rome, intimate and much influenced by Franz-Dreber. Works: Waterfall in Bavarian Alps; Landscape with Mythological Figures; Storm in Autumn; Solitude; Morning in Black Forest, Late Autumn, ib. (1884), National Gallery, Berlin.—Jordan (1885), ii. 140.

LUIGI, ANDREA. See Ingegno.

LUINI, AURELIO. See Luini, Bernardino.

LUINI (Lovino), BERNARDINO (Bernardo), born at Luino between 1475 and 1480, died in Milan, after 1533. Lombard-Milanese school; called by Vasari, del Lupino. Pupil of Civerchio and of Leonardo da Vinci, whose manner he imitated so closely that many of his pictures pass for the work of his master. His faces wear the Leonardesque smile, though it has not the same depth of meaning, and his manner of painting is similar to that of Leonardo, though it does not reach that almost superhuman degree of finish which distinguishes the Gioconda among pictures. A Pietà in S. M. della Passione, Milan, is an early painting by Luini, but his most important works in that city are the frescos in the Monastero Maggiore, among which the Martyrdom of St. Catherine is justly celebrated for composition and expression; the 71 fragments of frescos in the Brera, including the famous St. Catherine borne by Angels, the Madonna with SS. Anthony and Barbara (1521), the Marriage of the Virgin, a Madonna with St. Elizabeth, the Birth of Adonis, and the Flagellation, Ambrosian Library. Other important frescos by Luini are those in the Church of the Pilgrims at Saronno, Marriage of the Virgin, Christ among the Doctors, Adoration of the Magi, Presentation in the Temple (1525), Sibyls, Evangelists, and Fathers of the Church; and those in S. M. degli Angeli, Lugano—a colossal Passion over the entrance to the Choir, a fresco lunette of the Madonna with the Infant St. John, and a Last Supper. Among Luini's easel pictures are: large altar-piece, Church at Legnano; several small easel pictures, Ambrosian Library, Milan; Madonna, Brera, Milan; Adoration of Shepherds, Adoration of Magi, etc., Duomo, Como; Salome, Madonna and St. John, Uffizi, Florence; Modesty and Vanity, Palazzo Sciarra, Rome; Virgin and Infant Jesus, Naples Museum; Christ among the Doctors, National Gallery, London; Salome, Holy Family, Sleep of Jesus, Forge of Vulcan, Adoration of Magi, Nativity, and others, Louvre, Paris; Madonna, St. Sebastian, St. Catherine, La Colombine, Hermitage, St Petersburg; St. Catherine, Copenhagen Gallery; Infants Christ and St. John Kissing, Holy Family, Daughter of Herodias receiving Head of St. John, Madrid Museum; Herodias, St. Jerome Penitent, Vienna Museum; Madonna, The Three Marys, Historical Society, New York. Bernardo's sons, Aurelio (1530-93) and Evangelista, are mentioned by Lomazzo in 1584 as among the best painters of their time. Pictures by Aurelio are in the Brera and in Milan churches.—Vasari, ed. Mil, vi. 519; ed. Le Mon., vii. 43; viii. 217; xi. 276; Lanzi, ii. 492; Burckhardt, 165, 182; Ch. Blanc, École milanaise; Dohme, 2iii.; Kugler (Eastlake), ii. 363; Gaz. des B. Arts (1869), ii.; (1870), iii. 47; Lübke, Ital. Mal., ii. 450; Zeitschr. f. b. K., xiii. 41.