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LOM the period of Lomazzo's blindness, though he himself tells us, both in the "Trattato," b. vi. c. vi., and in his dedication to the king of Spain in the "Idea." He was held in universal esteem by his contemporaries, and seems to have been a man of great observation and remarkable memory.—R. N. W.  LOMBARD,, a Flemish painter of great distinction in his day, but of whom we do not know the name, though there is a biography of him extant by one of his own scholars. He appears to have been born at Liége, of humble parents, in 1506, and to have studied under Mabuse and Arnold Beer. A very early marriage seems to have kept him in straitened circumstances. He travelled in France and Germany; and through the assistance of his patron the bishop of Liége—Cardinal Erhard de la Marck—he was enabled to visit Italy, which country he visited in the suite of Cardinal Pole. Lambert studied under Titian at Venice; and at Rome he made the acquaintance of Vasari, who notices Lamberto Lombardo as the most distinguished of the Flemish painters, and speaks of him also as a great letterato and an excellent architect. He is said to have been the best antiquary of his time and district. His works consist chiefly of drawings with the pen in chiaroscuro; actual pictures by him are scarce. His style is Italian, and his pictures are remarkable for their precise and good drawing, and thin colouring. His stay in Italy was not long, as by the death of his patron, the Cardinal de la Marck, he was in 1538 obliged to return to Liége, where he died in 1560, aged fifty-four. There are many prints after his designs: some signed "Lam. Lombardus" were etched by himself; others are signed "Lam. Suavius," supposed to be one of his scholars. Frans Floris and Hubert Golzius were likewise scholars of Lambert, whose example, says Van Mander, greatly advanced the school of his native place. The life of him, by Dominicus Lamponius, also his scholar, was published at Bruges five years after his death—Lamberti Lombardi apud Eburones Pictoris celeberrimi Vita, 8vo, 1565. He is reported to have died poor in the hospital of Mont Cornillon. He was three times married, and had children by each wife, which imposed burdens upon him that the art patronage of Liége did not enable him to support. A fair example of this painter's style, a "Pietà," is in the National gallery. Lists of his works are given in the Annalen of Rathgeber, 1843, and in the more recent work of Michiels, Histoire de la Peinture, &c., Brussels, 1846.—R. N. W.  LOMBARD,. See.  LOMBARDI: the name of a celebrated family of ornamental sculptors of the Venetian state, in the sixteenth century, and among the most distinguished of the so-called Cinquecento masters. Little is known of these sculptors and architects.— the first, was the son of a Lombard stone-cutter or mason established in Venice, of the name of Martino, who was a member of the Tagliapetra college of Venice. Pietro had already established a reputation as early as 1481; he was the architect of Dante's monument in the church of San Francesco at Ravenna, raised to the poet by Bernardo Bembo in 1482. He afterwards, with the assistance of his sons, Tullio and Antonio, constructed the church of Santa Maria del Miracoli at Venice, conspicuous for its beautiful cinquecento decorative sculpture. In 1499 he constructed the torre dell' orologio, or clock tower, on the Piazza of St. Mark; and in 1506 he rebuilt the German exchange, Fondaco dei Tedeschi, which was burnt down in 1504—assisted by his two sons also in this work. We have no further accounts of Pietro after 1515, when he procured the construction of a new guild-house for the collegio dei Scarpellini, of which he had been elected president the year before.—, Pietro's son, appears to have been more especially an ornamental sculptor; he executed the exterior ornaments of the Scuola di San Marco, the work of Martino and his son Moro Lombardo. About 1530 he was engaged at Trevigi, on the works of the church of the Madonna Grande. At Venice he built the church of the Salvatore, assisted by his brother Giulio and his son Sante Lombardo. This last, a distinguished architect, aided by his father, built the Palazzo Trevisani à Santa Maria Formosa, and for three years, 1524-27, superintended the building of the celebrated Scuola di San Rocco, one of the most remarkable in Venice, at an annual salary of fifty-four ducats, his uncle Tullio aiding in the decorations. Though only in his twenty-first year when he received this appointment, Sante superseded the celebrated architect Bartolomeo Buono; but in 1527 Sante was himself superseded by Antonio Scarpagnino, who completed the building. Sante died on 16th May, 1560. Besides the important works mentioned, the Lombardi executed many sepulchral monuments in the Venetian churches. There were, indeed, few works of the period in which they were not concerned. The following most important buildings are attributed to them by Venetian historians—the Procuratie Vecchie; the church of San Zaccharia; the Palazzo Vendramin Calergi; the Pal. dei Cornari à Sant' Angelo; the Pal. Trevisani à Ponte di Canonica; and the Pal. Contarini à San Samuele, 1504-46.—(Temanza, Vite dei piu  Celebri Architetti e Scultori Veneziani, &c.)—R. N. W.  LOMEIER or LOMEIR,, a Dutch philologist and theologian, born in 1636 at Zutphen, where he afterwards became pastor and professor of belles-lettres. He wrote a useful work, "De Bibliothecis;" "Epimenides, sive de veterum gentilium lustrationibus;" and some other curious books. He died in 1699.—B. H. C.  LOMENIE, a French prelate and politician, born at Paris in 1727; died there 16th February, 1794. From childhood beseems to have entertained schemes of ambition. He renounced his right as eldest son, thinking the church a better field than the army; and at school he is said to have designed the reconstruction of the family chateau on a grand scale—a feat he lived to accomplish. In 1760 he became bishop of Condom, and in 1763 archbishop of Toulouse. Seven years later he was admitted a member of the French Academy. As a churchman he had rather an indifferent reputation, but was highly esteemed as an administrator. The canal of Brienne, which joins the Garonne and the canal of Caraman, was one of his works. He was also the first to establish cemeteries outside of the towns. He established schools, endowed the hospital of Toulouse, introduced the manufacture of cotton, and aided Turgot in his economical plans. He pursued politics, and took considerable share in the partial reforms that preceded the Revolution. In August, 1787, after the dismissal of Calonne, he became principal minister of the crown, and made his brother minister of war. He engaged in a stupendous loan, and then commenced a strife with the parliament. Driven to shifts, he attempted to pay with paper money, and was compelled to make way for Necker. Some time previously he had secured for himself the archbishopric of Sens. When the nation broke loose he took the title of Bishop of Yonne, and renounced the dignity of cardinal, but this did not save him; he was arrested at Sens on 9th November, 1793. Whether from ill-usage or poison, he died suddenly in February, 1794.—P. E. D.  LOMI,, was born at Pisa in 1566, and studied under Bronzino and Cigoli. He adopted the showy style of Cigoli, and was the principal painter of Pisa of his time; he was employed likewise at Florence, at Rome, and at Genoa. In the last-named city are still several important altar-pieces by Lomi; at Pisa are some frescoes by him. He died at Pisa in 1622.—R. N. W.  LOMONOSSOFF,, the father of modern Russian literature, was the son of a poor fisherman at Kholmogory, near Archangel. He was born in 1711, and passed his boyhood in the humble labours of the White Sea fisheries. In the idle hours of the long winter he acquired, by the help of the village priest, a knowledge of reading and writing in Sclavonic; and often in the darkness of an arctic winter read his scanty store of books by the light of the lamp that burns continually before the principal image in every Russian church. The harshness of a stepmother, combined with a thirst for knowledge, impelled him to venture on the long journey to Moscow, with no resources but his own courage. He joined a caravan of dealers in frozen fish, and after divers adventures reached the ancient capital of Russia, and by good fortune was enabled to gain admittance into the school called Zaikonospasski. Having signalized himself there, he was sent to Kieff, and thence in 1734 to the Academy of Sciences at St. Petersburg to complete his studies. Peter the Great's reforming policy had not fostered native genius in Russia, and the remarkable abilities of Lomonossoff attracted all the more attention among his contemporaries. Being strongly disposed to scientific pursuits, means were furnished for his residence in Germany. He studied at Marburg under Christian Wolff, and at Frieberg. He also mastered the German language. In 1739 he sent to the Empress Anne an ode on the taking of Choczim, in which he was the first to show the power of the Russian language as an instrument in poetry. His ode on the victory of Poltava, written after his return to St. Petersburg in 1741, is a still more striking; example of his genius. <section end="235Zcontin" />