ranked among the best masters; thought by some to be a pupil of Pietro Liberi; influenced by the works of Caravaggio, although his colouring is often sombre. He was much employed for the Emperor Leopold II., and in Italy for churches and private collections. Works: Mercury Seated, Jupiter with the Thunderbolt, Vulcan, Saturn, Return of Prodigal Son, Cassel Gallery; Jupiter brought up in Crete, Copenhagen Gallery; Ecce Homo, Fürstenberg Gallery, Donaueschingen; Job with his Friends (2), Lot and his Daughters, Christ crowned with Thorns, Dresden Museum; St. Dominick, The Angel Raphael with a Boy points towards Heaven where the Trinity appears, Agrippina borne to the Shore, Old Pinakothek, Munich; Holy Family, Death of Seneca, Male Portrait, Schleissheim Gallery; Jacob blessing the Sons of Joseph, Jupiter and Mercury with Philemon and Baucis, Vienna Museum; Adam bewailing the Death of Abel, Artist's Portrait, Uffizi, Florence; Death of Abel, Adam and Eve, Pennsylvania Academy, Philadelphia; others in Augsburg, Brunswick, and Christiania Galleries.—Nagler, viii. 77; Lanzi (Roscoe), ii. 256.
LOTTI, CARLO. See Loth. LOTTIER, LOUIS, born at La Haye du Puits (Manche), Nov. 9, 1815. Marine painter, pupil of Gudin. Medal, 3d class, 1852. Works: Sunset in Egypt (1850), Avignon Museum; View of Cairo (1850), View of Constantinople (1852), Ministry of Interior; Harbor of Smyrna (1865); Banks of the Nile (1867); Sunset in Roadstead of Smyrna (1867), Perpignan Museum; Views around Constantinople and in South of France (1868-80); Conflagration at Sea, View of St. Raphaël (1882); Environs of Beirut (1885).—Bellier, i. 1059.
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LOTTO, LORENZO, born at Bergamo or Treviso (?) about 1480, died at Loreto about 1554. Venetian school; sometimes called Il Bergamasco, from his long residence in Bergamo. Went early to Venice, where, according to Vasari, he was Palma's friend and assistant, and studied the works of Giovanni Bellini, and later those of Giorgione. He was one of the best of the second-*rate artists of his time. The oldest extant picture by him, a Madonna with St. Onofrius, Palazzo Borghese, Rome, is dated 1508, the date 1500 of the S. Jerome in the Desert, Louvre, being an obvious duplicate. A larger production of 1508 is the Madonna of St. Dominick, S. Domenico, Recanati, in which the drawing is precise and minute, the perspective correct, and the colours clear and pure. Of similar characteristics and of about the same time are: Madonna and Saints, S. Cristina, near Treviso; Marriage of St. Catherine, Munich Gallery; and Madonna and Peter Martyr, Naples Museum. His pictures after this period show a bolder approach to the manner of Palma and of Giorgione, e.g.: Madonna and SS. Anthony and Basil (1506), Duomo, Asolo; St. Jerome, Louvre; Madonna and Four Saints, Bridge-*water Collection; and the Three Ages, Palazzo Pitti, Florence. Other examples are the Entombment (1512), S. Floriano, Jesi; Transfiguration, Collegiata, Castelnuovo; Death of Peter Martyr, S. Pietro Martire, Alzano; Family Group, Portraits of Agostino and Niccolò della Torre (1515), National Gallery, London; Throned Madonna (1516), S. Bartolommeo, Bergamo; Madonna (1521), S. Bernardino, Bergamo; Madonna and Saints (1521), S. Spirito, Bergamo; Christ parting from his Mother (1521), SS. Christopher and Sebastian (1531), Berlin Museum; Marriage of St. Catherine (1523), Adoration of Sleeping Christ (1533), Bergamo Gallery; Portrait of Andrea Odoni (1527), Hampton Court; Glory of St. Nich-*
