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* LENBACH. 125 LENEPVEU. he was the centre of a brilliant artistic circle, and portrayed the Pope, Queen Margherita, and Min- ister Alinghelti ( 1SS5, Dresden). He received gold medals at Paris (1875), Munich (1809, 1879), and Vienna ( 1882) , and many orders, and honors, and an honorary doctorate was conferred on him by the University of Halle. Lenbacii's work in the beginning was as frankly realistic as that of Courbet, but his realism was softened and idealized by study ol the old mas- ters. His first portraits resemble Rembrandt's in the treatment of life and in characterization. He was a great admirer of Rubens, but neither Ru- bens nor Velazquez seems to have influenced him as much as Titian. The old masters, however, never affected the individuality of his work. He excelled especially in characterization. Knowing thoroughly his sitter, he portrayed him in the flitting moment which showed to the fullest ex- tent the painter's conception of his character. His conception, though a high one. was always true. His color was harmonious and pleasing; he was a fine brushman. and knew just what to emphasize. Only the head and eyes were fin- ished; the hands and dress much less so; and there were no accessories. At first famous for male portraits, in later life he succeeded also with women. Children he painted only after the birth of his own little girl, whom he portrayed many times and with great charm. His best-known portraits are probably his nu- merous representations of Bismarck. The best examples of these portraits are in the National Gallery of Berlin, the New Pinakothek at Munich, and in the galleries of Hamburg and Leipzig, and elsewhere. His portraits of the Emperor William I. are also numerous. Among his other sitters were Count von Moltke. the Emperor Frederick III. as Crown Prince, Pope Leo XIIL( 188.5, New Pinakothek, Munich). Count Schack, Gladstone, Diillinger, Bishop Strossmayer. Delbriick, Rich- ard Wagner, Franz Lisrt, Helmholtz. Paul Heyse, .Johann Strauss, Hans von Billow, and Hermann Lei. His latest works include portraits of Mrs. Marion Crawford, Prince Regent Luitpold of Bavaria, the Imperial Chancellor Hohen- lohe-Schillingsfurst, the historian Mommsen, and the architect Gabriel Seidel. The best known of his portraits of himself are those of 18G.5, in the Schack gallery at Munich, in the manner of Rembrandt, and that of 189.5, in which the artist rivals Titian himself. Consult: Wyl. "Franz von Lenbachs Erzjihlungen aus seinem Leben," in Deutsche Revue, 1897. com- posed chiefly of conversations with Lenbach; Rosenberg, "Lenbach," in Kiinstler Monographien (Bielefeld, 1898). His portraits have been pro- duced in heliogravure under the title, Fran;: von Lenbachs zeitgenossische Bildnisse (Munich, 1891-%). LEN'CAN. An interesting tribe or confed- eracy, with several sub-tribes, constituting a dis- tinct linguistic stock, occupying the mountain regions of Honduras, westward from Comayagua and perhaps extending over the Salvador border. They are fairly civilized. indiLstrious and peace- able, although brave fighters with a strong feel- ing nf n.Ttive patriotism. L'ENCLOS, laN'klo', Nixox de. See Nixox nE T.EXCLOS. LEND A HAND CLTTBS. Societies of a re- ligious, philanthropical. and social character formed among young people. The name is from a story by the Kev. Edward Everett Hale, Ten Times One Is Ten (Boston, 187U), relating how- ten persons banded themselves together to live tlie mottoes, "Look up and not down; look forward and not backward ; look out and not in ; lend a hand." Each of the original ten persuaded ten others to devote themselves to the same service, and thus, according to the story, in twenty-seven years the entire world was won. The first Lend a Hand Club was formed in 1870, and without any concerted eflort similar bands sprang up in many places. In 1874 a common bond was thought de- sirable, and at Chautauqua. N. Y.. the "Look Up Legion" was formed ; a little later its organ. Lend a Hand — a monthly, edited by Dr. Hale — was established. In 1891 the Ten Times One Corpora- tion was brought into being. In 1900 there ex- isted these affiliated societies : '"The Look Up Le- gion;" "The Commercial Temperance Union;" "The Order of Send Me;" "The Lend a Hand Clubs;" "The I. H. N. [In His Name— the title of Mr. Hale's touching Waldensian story] Clubs." A badge, the Maltese cross, and a motto, "In His Name," have been adopted in common, but their use is voluntary. Consult Bacon and Northrop, Young People's Societies (New York, 1900). See Chri.sti.x Exdeavor. Yoi'ng People's Soci- ETT OF ; KiNG's D.i^UGHTEBS AND SOXS ; BbOTHEB- HOOD OF Saint Andrew; Epworth League. XENEPVETI, la'na've', Charles Ferdinand (1840 — ). A French composer, born at Rouen. He was educated for the law, but determined to de- vote himself to the profession of music. He be- came a pupil of Savard, Ambroisc Thomas, and Chauvet. In 1865 he won the Prix de Rome; in 1881 was appointed professor of harmony at the Conservatory, and in 1893 professor of composi- tion. He has been a very successful composer, and his operas have been among the most popular of modern French compositions. In 1809 he won the prize offered by the ilinister of Fine Arts, with a comic opera, a four-act grand opera was pro- duced in London in 1882, and next in importance followed Jeanne d'Arc, a sacred drama in three parts, produced at the Rouen Cathedral in 1880. Other compositions include a Requiem Mass, smaller church numbers, melodies, sc&nes, ly- riques, and small works for soli, choruses, and orchestra, of which one of the most successful examples is Meditation. LENEPVEir, .Jules Eugene (1819-98). A French painter, born at Angers. He was a pupil of Picot and of the Ecole des Beaux- Arts, exhibited "Idylle" at the Salon of 184.3, won the Prix de Rome in 1847 with his "Mort de Vitellius," and in the same year exhibited a "Saint Saturnin." In 1855 he sent to the international exposition several canvases with some slight trace of Italian influence: "Les mar- tyrs aux catacombes," "Pie IX. a la chapelle Sixtine." and "La Fete Dieu a Venise." More original were "Noce venitienne" (1857), "Bene- diction de la chapelle Sainte Marie a Angers" (1859), "Xa Vierge au Calvaire" (1801). and "Hylas" (1865). In the later period of his life he exhibited less at the Salon and spent more time on the decoration of public buildings. This work includes the frescoes of the theatre at An- gers ; those of the "Glorification de la Vierse." "La purification." "I-e portenient du eroix.'' and "La passion." in the chapel of the hospice of Saint Marv at Angers; and decorations of many Paris