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 (Melbourne). Prussia—Oberneck, Die Preussischen Grundbuchgesetze (Berlin). Austria—Das allgemeine Grundbuchsgesetz, &c. (Vienna); Bartsch, Das Oesterreichische allgemeine Grundbuchsgesetz in seiner practischen Anwendung (Vienna). Saxony—Siegmann, Sächsische Hypothekenrecht (Leipzig). Statistics—Oesterreichische Statistik (Grundbuchs-ämter) (Vienna, annually).

LANDSBERG AM LECH, a town in the kingdom of Bavaria, on the river Lech, 38 m. by rail W. by S. of Munich. Pop. (1905) 6505. It has eight Roman Catholic churches, among them the Liebfrauen Kirche dating from 1498, several monasteries, and a fine medieval town-hall, with frescoes by Karl von Piloty and a painting by Hubert von Herkomer. Here also are a fine gateway, the Bayer-Tor, an agricultural and other schools. Brewing, tanning and the manufacture of agricultural machinery are among the principal industries.

See Schober, Landsberg am Lech und Umgebung (1902); and Zwerger, Geschichte Landsbergs (1889).

 LANDSBERG-AN-DER-WARTHE, a town in the Prussian province of Brandenburg, at the confluence of the Warthe and the Kladow, 80 m. N.E. of Berlin by rail. Pop. (1905) 36,934. It has important engine and boiler works and iron-foundries; there are also manufactures of tobacco, cloth, carriages, wools, spirits, jute products and leather. An active trade is carried on in wood, cattle and the produce of the surrounding country. Landsberg obtained civic privileges in 1257, and later was besieged by the Poles and then by the Hussites.

See R. Eckert, Geschichte von Landsberg-Warthe (1890).

 LANDSBERG BEI HALLE, a town in Prussia on the Strengbach, on the railway from Berlin to Weissenfels. Pop. (1905) 1770. Its industries include quarrying and malting, and the manufacture of sugar and machinery. Landsberg was the capital of a small margraviate of this name, ruled in the 12th century by a certain Dietrich, who built the town. Later it belonged to Meissen and to Saxony, passing to Prussia in 1814.

 LANDSEER, SIR EDWIN HENRY (1802–1873), English painter, third son of John Landseer, A.R.A., a well-known engraver and writer on art, was born at 71 Queen Anne Street East (afterwards 33 Foley Street), London, on March 7th 1802. His mother was Miss Potts, who sat to Sir Joshua Reynolds as the reaper with a sheaf of corn on her head, in “Macklin’s Family Picture,” or “The Gleaners.” Edwin Henry Landseer began his artistic education under his father so successfully that in his fifth year he drew fairly well, and was familiar with animal character and passion. Drawings of his, at South Kensington, dated by his father, attest that he drew excellently at eight years of age; at ten he was an admirable draughtsman and his work shows considerable sense of humour. At thirteen he drew a majestic St Bernard dog so finely that his brother Thomas engraved and published the work. At this date (1815) he sent two pictures to the Royal Academy, and was described in the catalogue as “Master E. Landseer, 33 Foley Street.” Youth forbade his being reckoned among practising artists, and caused him to be considered as the “Honorary Exhibitor” of “No. 443, Portrait of a Mule,” and “No. 584, Portraits of a Pointer Bitch and Puppy.” Adopting the advice of B. R. Haydon, he studied the Elgin Marbles, the animals in the Tower of London and Exeter ‘Change, and dissected every animal whose carcass he could obtain. In 1816 Landseer was admitted a student of the Royal Academy schools. In 1817 he sent to the Academy a portrait of “Old Brutus,” a much-favoured dog, which, as well as its son, another Brutus, often appeared in his later pictures. Even at this date Landseer enjoyed considerable reputation, and had more work than he could readily perform, his renown having been zealously fostered by his father in James Elmes’s Annals of the Fine Arts. At the Academy he was a diligent student and a favourite of Henry Fuseli’s, who would look about the crowded antique school and ask, “Where is my curly-headed dog-boy?” Although his pictures sold easily from the first, the prices he received at this time were comparatively small. In 1818 Landseer sent to the Society of Painters in Oil and Water Colours, which then held its exhibitions in Spring Gardens, his picture of “Fighting Dogs getting Wind.” The sale of this work to Sir George Beaumont vastly enhanced the fame of the painter, who soon became “the fashion.” This picture illustrates the prime strength of Landseer’s earlier style. Unlike the productions of his later life, it displays not an iota of sentiment. Perfectly drawn, solidly and minutely finished, and carefully composed, its execution attested the skill acquired during ten years’ studies from nature. Between 1818 and 1825 Landseer did a great deal of work, but on the whole gained little besides facility of technical expression, a greater zest for humour and a larger style. The work of this stage ended with the production of the painting called “The Cat’s Paw,” which was sent to the British Institution in 1824, and made an enormous sensation. The price obtained for this picture, £100, enabled Landseer to set up for himself in the house No. 1 St John’s Wood Road, where he lived nearly fifty years and in which he died. During this period Landseer’s principal pictures were “The Cat Disturbed”; “Alpine Mastiffs reanimating a Distressed Traveller,” a famous work engraved by his father; “The Ratcatchers”; “Pointers to be”; “The Larder Invaded”; and “Neptune,” the head and shoulders of a Newfoundland dog. In 1824 Landseer and C. R. Leslie made a journey to the Highlands—a momentous visit for the former, who thenceforward rarely failed annually to repeat it in search of studies and subjects.

In 1826 Landseer was elected an A.R.A. In 1827 appeared “The Monkey who has seen the World,” a picture which marked the growth of a taste for humorous subjects in the mind of the painter that had been evoked by the success of the “Cat’s Paw.” “Taking a Buck” (1825) was the painter’s first Scottish picture. Its execution marked a change in his style which, in increase of largeness, was a great improvement. In other respects, however, there was a decrease of solid qualities; indeed, finish, searching modelling, and elaborate draughtsmanship rarely appeared in Landseer’s work after 1823. The subject, as such, soon after this time became a very distinct element in his pictures; ultimately it dominated, and in effect the artist enjoyed a greater degree of popularity than technical judgment justified, so that later criticism has put Landseer’s position in art much lower than the place he once occupied. Sentiment gave new charm to his works, which had previously depended on the expression of animal passion and character, and the exhibition of noble qualities of draughtsmanship. Sentimentality ruled in not a few pictures of later dates, and quasi-human humour, or pathos, superseded that masculine animalism which rioted in its energy, and enabled the artist to rival Snyders, if not Velazquez, as a painter of beasts. After “High Life” and “Low Life,” now in the Tate Gallery, London, Landseer’s dogs, and even his lions and birds, were sometimes more than half civilized. It was not that these later pictures were less true to nature than their forerunners, but the models were chosen from different grades of animal society. As Landseer prospered he kept finer company, and his new patrons did not care about rat-catching and dog-fighting, however vigorously and learnedly those subjects might be depicted. It cannot be said that the world lost much when, in exchange for the “Cat Disturbed” and “Fighting Dogs getting Wind,” came “Jack in Office,” “The Old Shepherd’s Chief Mourner,” and “The Swannery invaded by Eagles,” three pictures which are types of as many diverse moods of Landseer’s art, and each a noble one.

Landseer was elected a Royal Academician in 1831. “Chevy Chase” (1826), which is at Woburn, “The Highland Whisky Still” (1829), “High Life” (1829) and “Low Life” (1829), besides other important works, had appeared in the interval. Landseer had by this time attained such amazing mastery that he painted “Spaniel and Rabbit” in two hours and a half, and “Rabbits,” which was at the British Institution, in three-quarters of an hour; and the fine dog-picture “Odin” (1836) 