in Rome (1886).—Allgem. K. Ch., ix. 609; x. 384; Dioskuren, 1870, 265; Müller, 338; Reber, iii. 247; Regnet, ii. 22; Kunst-Chronik, xii. 97; xvi. 435; xvii. 9,490, 613; xix. 125; Kunst f. Alle, i. 156; Zeitschr. f. b. K., ii. 97; vi. 145; x. (Mittheilungen, iii. 70).
LINDLAR, WILHELM, born at Bergisch-Gladbach,
Rhenish Prussia, in 1816. Landscape
painter, pupil of Düsseldorf Academy
under Schirmer. Member of Amsterdam
Academy. Works: The Jungfrau seen from
the Wengerna Alp (1848); Mill near Meiringen
(1852); Lago Maggiore (1856); Vierwaldstätter
Lake (1857), Fodor Museum,
Amsterdam; Mountainous View with Water-*fall,
Wiesbaden Gallery; View of Monte
Rosa (1858); Primeval Forest in Kien Valley,
Waterfall in Val Anzasca.—Müller, 339;
Wiegmann, D. Kunstakad. zu Düsseldorf.
LINDSAY, Sir COUTTS, Bart., born in
England; contemporary. Genre painter;
founder (1877) and proprietor of the Grosvenor
Gallery, London. Works: Dower
House at Balcarres, Sheep returning from
Pasture, Daphne (1877); An Idyl, Golden
Fetters, Shepherd's Farewell (1878); Ariadne,
Knight and his Daughter (1879);
Portrait Study, Evening, Venetian Senator
(1880); Boat of Charon (1881); The Fates
(1882); Venice Fisherman, Japanese Girl
(1883); In Maiden Meditation (1884). His
wife, Lady Lindsay, of Balcarres, paints
flowers and still-life, and is a frequent exhibitor
at the Grosvenor Gallery.
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LINGELBACH, JOHANNES, born in
Frankfort-on-the-Main
in
Oct., 1622, died
in Amsterdam
in Nov., 1674.
Dutch school;
painted Italian
seaports, landscapes,
hunts,
and fairs. Went
to Amsterdam
in 1637, was in Paris in 1642, then returned
to Frankfort, and in 1644 went to Rome,
where he remained till 1652, when he returned
through Germany to Amsterdam.
His style was influenced by Wynants, to
whose pictures he often supplied figures and
animals, and by Wouvermans, whom he successfully
imitated. The cool, delicate, silvery
tone of his pictures sometimes degenerates
into coldness and want of harmony.
His composition is skilful, the drawing
good, the execution careful. Works: Hay
Harvest, National Gallery, London; Vegetable
Market (1670), Seaport, and two others,
Louvre; Dentist on Horseback (1651), Two
Italian Harbours (one dated 1664), Riding-School,
Camping, Thoroughfare (Landscape
by Wynants), Hunting, Return from the
Chase, Amsterdam Museum; Building of
New Town Hall, City Hall, Amsterdam;
Charlatan on Piazza del Popolo in Rome
(1658), Brussels Museum; Port in the Levant
(1670), Hay-Making, March of Prince
William II. on Amsterdam in 1650, Departure
of Charles II. from Scheveningen—1660,
Hague Museum; Country People by
a Spring, Rotterdam Museum; Wanderers
resting at the Foot of a Hill, Aschaffenburg
Gallery; Naval Battle between Christians
and Turks, Brunswick Museum; Public
Square in Italian Town (1669), Carlsruhe
Gallery; Turkish Galley engaged in a Sea-Fight,
Copenhagen Gallery; Landscape by
the Sea, Christiana Gallery; Vessels in Port
with many Figures, Dresden Museum; Portrait
of himself, and others, Städel Gallery,
Frankfort; Hunting Party, Kunsthalle,
Hamburg; Harbour of Leghorn, Ferdinandeum,
Innsbruck; Muleteers by the Sea-*shore,
Königsberg Museum; Hay Making,
Old Pinakothek, Munich; Hunting Party
Resting, Germanic Museum, Nuremberg;
Hay Harvest (2), Rest in the Campagna,
Italian Seaport (2), Queen Christina of Sweden,
King Charles X. of Sweden, Schwerin
Gallery; Merchants in Italian Harbour,
Market Square of Italian Town (1666). Guitar
Player and Listeners, Italian Harbour
with Figures, Assembly on Horseback, Hunting
Party, Hermitage, St. Petersburg; Peas-
