Orléans in the Trenches at Siege of Antwerp, 1832, Warham, Archbishop of Canterbury (after Holbein), Versailles Museum.—Tscharner, Die bilden den Künste in der Schweiz im Jahre (1884), 55.
LUGO, EMIL, born at Stockach, Baden,
June 26, 1840. Landscape painter, pupil of
Carlsruhe Art-School under Schirmer, then
studied after the old Italian, Dutch, and
German masters in the Dresden and Munich
Galleries, and from nature in the Brisgow;
was in Italy 1871-74, chiefly at Rome, intimate
and much influenced by Franz-Dreber.
Works: Waterfall in Bavarian Alps; Landscape
with Mythological Figures; Storm in
Autumn; Solitude; Morning in Black Forest,
Late Autumn, ib. (1884), National Gallery,
Berlin.—Jordan (1885), ii. 140.
LUIGI, ANDREA. See Ingegno.
LUINI, AURELIO. See Luini, Bernardino.
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LUINI (Lovino), BERNARDINO (Bernardo),
born at
Luino between
1475 and 1480,
died in Milan, after
1533. Lombard-Milanese
school; called by
Vasari, del Lupino.
Pupil of Civerchio
and of
Leonardo da Vinci,
whose manner
he imitated so closely that many of his pictures
pass for the work of his master. His
faces wear the Leonardesque smile, though
it has not the same depth of meaning, and
his manner of painting is similar to that of
Leonardo, though it does not reach that almost
superhuman degree of finish which
distinguishes the Gioconda among pictures.
A Pietà in S. M. della Passione, Milan, is an
early painting by Luini, but his most important
works in that city are the frescos in
the Monastero Maggiore, among which the
Martyrdom of St. Catherine is justly celebrated
for composition and expression; the
71 fragments of frescos in the Brera, including
the famous St. Catherine borne by
Angels, the Madonna with SS. Anthony and
Barbara (1521), the Marriage of the Virgin,
a Madonna with St. Elizabeth, the Birth of
Adonis, and the Flagellation, Ambrosian
Library. Other important frescos by Luini
are those in the Church of the Pilgrims at
Saronno, Marriage of the Virgin, Christ
among the Doctors, Adoration of the Magi,
Presentation in the Temple (1525), Sibyls,
Evangelists, and Fathers of the Church;
and those in S. M. degli Angeli, Lugano—a
colossal Passion over the entrance to the
Choir, a fresco lunette of the Madonna with
the Infant St. John, and a Last Supper.
Among Luini's easel pictures are: large
altar-piece, Church at Legnano; several
small easel pictures, Ambrosian Library,
Milan; Madonna, Brera, Milan; Adoration
of Shepherds, Adoration of Magi, etc., Duomo,
Como; Salome, Madonna and St. John,
Uffizi, Florence; Modesty and Vanity, Palazzo
Sciarra, Rome; Virgin and Infant
Jesus, Naples Museum; Christ among the
Doctors, National Gallery, London; Salome, Holy Family, Sleep of Jesus, Forge of Vulcan,
Adoration of Magi, Nativity, and others,
Louvre, Paris; Madonna, St. Sebastian,
St. Catherine, La Colombine, Hermitage,
St Petersburg; St. Catherine, Copenhagen
Gallery; Infants Christ and St. John Kissing,
Holy Family, Daughter of Herodias
receiving Head of St. John, Madrid Museum;
Herodias, St. Jerome Penitent, Vienna
Museum; Madonna, The Three Marys,
Historical Society, New York. Bernardo's
sons, Aurelio (1530-93) and Evangelista, are
mentioned by Lomazzo in 1584 as among
the best painters of their time. Pictures
by Aurelio are in the Brera and in Milan
churches.—Vasari, ed. Mil, vi. 519; ed. Le
Mon., vii. 43; viii. 217; xi. 276; Lanzi, ii.
492; Burckhardt, 165, 182; Ch. Blanc, École
milanaise; Dohme, 2iii.; Kugler (Eastlake),
ii. 363; Gaz. des B. Arts (1869), ii.; (1870),
iii. 47; Lübke, Ital. Mal., ii. 450; Zeitschr.
f. b. K., xiii. 41.
