Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/99

 by whom he was taught the art of illuminating. The choir-books in the cathedrals at Chiusi (1467-69) and Siena are examples of his skill as a miniature painter. After his return to Verona, about 1745, he took up fresco and oil painting, carrying into them those habits of excessive detail and minuteness which were derived from his early training. The Adoration of the Magi (1480-90) in the Duomo, Verona, shows this; but the Predella in the Episcopal Palace is more broadly treated, and plainly executed under the influence of Mantegna. This is yet more evident in the Madonna di Casa Scotti, Milan, which has been attributed to Mantegna. Among the works of Liberale are: Angels with Instruments of the Passion, Casa Gradenigo, Padua; Glory of St. Anthony, S. Fermo, Verona; Entombment, S. Leone, Venice; Assumption of the Magdalen, Sacristy of S. Anastasia, Verona; St. Sebastian, Brera, Milan; replica, Berlin Museum. The frescos of St. Catherine in Glory, Christ in the Garden bearing his Cross, and the Deposition, S. Anastasia, Verona, have been attributed to Liberale.—Vasari, ed. Mil., v. 274; C. & C., N. Italy, i. 464; Lermolieff, 6, 55, 104, etc.; Bernasconi, Studii, 244; Lübke, Gesch. d. ital. Mai., i. 479.

LIBERATORE, NICCOLÒ DI. See Alunno.

LIBERI, PIETRO, Cavaliere, born in Padua in 1605 (?), died in Venice, Oct. 18, 1687. Venetian school; pupil of Alessandro Varotari; afterwards studied at Rome the works of Raphael, Michelangelo, Correggio, and Titian, and formed from them all a style of his own. He became famous both in Italy and in Germany, and, though originally poor, won wealth and titles. He is considered one of the best designers of the Venetian school; his touch is free and masterly, and his colouring agreeable and tender; and few artists have greater variety of style. His pictures may be divided into two classes: those executed with a free and rapid pencil, and those finished with great care and attention to details, the former being the best. He was noted for his nude Venuses and other subjects, which were treated so freely as to win him the surname of Libertino. Among his works in Venice are: Battle of the Dardanelles, Palazzo Ducale; Annunciation, S. M. del Pianto; S. Proculo, Virgin and St. Joseph, Assumption, S. Proculo; S. Mosè, Finding of the Cross, S. Mosè; Massacre of the Innocents, Ognissanti; Annunciation, Venice Suppliant, Salute; Crucifixion, S. Agostino. Other examples: Cupid adorned by Nymphs, Venus visiting the Smithy of Vulcan, Susanna at the Bath, Bathsheba leaving the Bath, Venus bandaging the Wounded Vulcan, Hercules and Omphale, Dresden Museum; Judgment of Paris, Youth protected by Wisdom, Dresden Museum; Mars and Venus playing at Chess, Oldenburg Gallery; Medor and Angelica with Cupids in a Landscape, Schleissheim Gallery; Allegory on Motto of Emperor Leopold I.: Consilio et Industria, Venus and Cupid, Vienna Museum. Liberi had a son, Marco, who imitated his father's style almost to caricature.—Ch. Blanc, École vénitienne.

LIBRI. See Girolamo dai Libri.

LICHERIE DE BEURON (Bévron), LOUIS, born at Houdan (Seine-et-Oise), July 6, 1629, died in Paris, Dec. 3, 1687. French school; history painter, pupil of Louis Boulogne, the elder, and of Le Brun. He decorated the Church of the Invalides, became a teacher in the Gobelins, Member of the Academy in 1679, and adjunct professor in 1681. Many of his works are engraved. Works: Abigail and David (1679), Louvre; Christ on the Cross, Besançon Museum; Ecstasy of St. Joseph, Nantes Museum.—Bellier de Chavignerie, Recherches sur Licherie (Paris, 1860).

LICHTENFELS, EDUARD PEITHNER VON, born in Vieuna, Nov. 18, 1833. Landscape painter, pupil of Vienna Academy under Steinfeld and Thomas Ender; went in 1857 to Düsseldorf, where he was much influenced by Lessing; took part in the Italian campaign of 1859; Member of Vi