Page:Encyclopædia Britannica, Ninth Edition, v. 15.djvu/75

Rh L U G L U I 61 and with Orense are in contemplation. The total popula tion in 1877 was 410,387, being a decrease of 22,129 since 1860. There are ten towns with a population over 10,000 Chantada, Fonsagrada, Lugo, Mondonedo, Monforte, Panton, Sarria, Savifiao, Villalba, and Vivero. LUGO, the capital of the above province, stands on a small hill near the northern bank of the river Mino, at a height of 1930 feet above the level of the sea, 60 miles south-west from Coruna, and 353 north-west from Madrid, on the highway between these two cities. With the former it is continuously connected by rail. The form of the town, which is nearly quadrangular, is denned by a massive Roman wall, from 30 to 40 feet in height and 20 feet thick, with projecting semicircular towers which, prior to the civil war in 1809, were eighty-five in number; it now serves as a promenade, commanding an extensive and delightful prospect. The principal public places are the Plaza de la Constitucion, a spacious arcaded square, the Plaza de San Domingo, the Plaza del Hospital, and the busy Plaza del Campo, where fairs and markets are held. The most important of the public buildings is the Gothic cathedral on the south side of the town ; it dates from the 12th century, but was modernized in the 18th, and possesses no special architectural merit. Other churches are those of the Capuchins and that of San Domingo ; the only other buildings of note are the episcopal palace, the secondary school, the hospital, and the prison. The principal industries are tanning, and the manufac ture of linen cloth and of cream of tartar ; there is some trade in silk wares. About a mile to the south of the town, on the left bank of the Mino, are the famous hot sulphur baths of Lugo ; the bathing house dates from 1847. The population of the ayuntamiento in 1877 was 18,909. Lugo (Lucus Augusti) was made by Augustus the scat of a con- ventus juridicus. Its sulphur baths were even then well known. It suffered greatly in the 5th century, during the Moorish wars, and, more recently, during the war of independence. The bishopric dates from a very early period, and it is said to have acquired metropolitan rank in the middle of the 6th century ; it is now suffragan to Santiago. LUGOS, a market-town of Hungary, capital of the trans-Tisian county of Krass6, is situated on the Temes, and on the railway from Temesvar to Karansebes, 32 miles east-south-east of the former, in 45 41 N. lat., 21 53 E. long. The two main portions of the town, separated by the river, and named respectively Ne met- (German) Lugos and Roman- (Roumanian) Lugos, are connected by a wooden bridge 312 feet in length. Lugos is the seat of a Greek Catholic (Roumanian) bishopric, of royal and circuit courts of law, and of the usual bureaus of a county administration. The public and other buildings include Greek Orthodox, Greek Catholic, Roman Catholic, and Lutheran churches, a synagogue, a royal upper gymnasium (founded in 1823), a Minorite convent, an episcopal palace, the barracks, and the ruins of a castle. The surrounding country is moun tainous and well-wooded, and produces large quantities of grapes and plums. In 1880 the population was 11,287, of whom 3476, chiefly Germans, were in Nemet-Lugos, and 7811, Roumanians, with a few Slavonians and Magyars, in Roindn-Lugos. Lugos was once a strong fortress and of greater relative im portance than at present. During the 16th and 1 7th centuries it suffered much at the hands of the Turks. At the close of the Hungarian revolutionary war (August 1849) it was the last resort of Kossuth and several other leaders of the national cause previous to their escape to Turkey. LUINT, BERNARDINO, the most celebrated master of the Lombard school of painting founded upon the style of Leonardo da Vinci, was born at Luino, a village on the Lago Maggiore, towards 1465. He himself wrote his name as &quot; Bernardin Lovino,&quot; but the spelling &quot; Luini &quot; is now very generally adopted. Few facts are known regard ing the life of this illustrious and delightful painter, and it is only since a comparatively recent date that he has even been credited with the production of his own works, and with the fame thereto appertaining, as many of them had, in the lapse of years and laxity of attribution, got assigned to Leonardo. It appears that Luini studied painting at Vercelli under Giovenone, or perhaps under Lo Scotto. He reached Milan either after the departure of Da Vinci in 1500, or shortly before that event; it is thus left uncertain whether or not the two artists had any personal acquaintance, but Luini was at any rate in the painting-school established in Milan by the great Floren tine. In the latter works of Luini a certain influence from the style of Raphael is superadded to that, far more pro minent and fundamental, from the style of Leonardo; but there is nothing to show that he ever visited Rome. His two sons are the only pupils who have with confidence been assigned to him ; and even this can scarcely be true of the younger, who was born in 1530, when Bernardino was well advanced in years, and was not far from the close of his career. Gaudenzio Ferrari has also been termed his disciple. One of the sons, Evangelista, has left little which can now be identified ; the other, Aurelio, was accomplished in perspective and landscape work. There vras likewise a brother of Bernardino, named Ambrogio, a competent painter. Bernardino, who hardly ever left Lombardy, had some merit as a poet, and is said to have composed a treatise on painting. The precise date of his death is unknown ; he may perhaps have survived till about 1540. A serene, contented, and happy mind, naturally expressing itself in forms of grace and beauty, seems stamped upon all the works of Luini. The same character is traceable in his portrait, painted in an upper group in his fresco of Christ Crowned with Thorns in the Ambrosian library in Milan, a venerable bearded person age. The only anecdote which has been preserved of him tells a similar tale. It is said that for the single figures of saints in the church at Saronno he received a sum of money equal to 22 francs per day, along with wine, bread, and lodging ; and he was so well satisfied with this re muneration that, in completing the commission, he painted a Nativity for nothing. Along with this natural sweetness of character, a dignified suavity is the most marked characteristic of Luini s works. They are constantly beautiful, with a beauty which depends at least as much upon the loving self-withdrawn expression as upon the mere refinement and attractiveness of form. This quality of expression appears in all Luini s productions, whether secular or sacred, and imbues the latter with a peculiarly religious grace not ecclesiastical unction, but the devoutness of the heart. His heads, while extremely like those painted by Leonardo, have less subtlety and involution and less variety of expression, but fully as much amenity. He began indeed with a somewhat dry style, as in the Pieta in the church of the Passione ; but this soon developed into the quality which distinguishes all his most renowned works ; although his execution, especially as regards modelling, was never absolutely on a par with that of Leonardo. Luini s paintings do not exhibit an impetuous style of execu tion, and certainly riot a negligent one ; yet it appears that he was in fact a very rapid worker, as his picture of the Crowning with Thorns, painted for the College del S. Sepolcro, and containing a large number of figures, is recorded to have occupied him only thirty-eight days, to which an assistant added eleven. His method was simple and expeditious, the shadows being painted with the pure colour laid on thick, while the lights are of the same colour thinly used, and mixed with a little white. The frescos