among Olive Trees at Mentone (1872); Bay of Treffentée at High Tide, Reefs of Kilvouarn, View from Pont des Arts in Paris (1873); Breakers at Stang (1874); Heath of Kerlouarneck (1874), Luxembourg; Rocks of Arvechen at Low Tide, High Tide at Ploumanach, Bay of Plomach (1875); Death of an Oak Tree, Coast of Finisterre (1876); April Blossoms, Windmills near Lille (1877); Moors in Bloom (1878); Bay of Douarnenez at Low Tide, Ocean at Granville, (1879); Glare on the Shore at Granville, Park of Ménars (1880); End of Storm, Downs at Donville (1881); Fine Morning on the Breton Coast, Cloisters of Mont St. Michel (1882); The Reef, Dew (1883); October Mist, The Cliff (1884); Vineyards of Mariaude, Sunrise on the Sea (1885).—Bellier, i. 905; Bitard, 768; Larousse.
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LANTARA, SIMON MATHURIN, born in
Oney (Seine-et-Oise),
March
24, 1729, died
in Paris, Dec.
22, 1778.
French school;
landscape
painter of
great talent
but little industry,
who
painted little, was always poor, and died in
the charity hospital. Bernard, Joseph Vernet,
Casanova, Berré, and Taunay often supplied
the figures in his landscapes. Works:
Sunset (1761), Louvre; Morning, Evening,
Banks of a River, Besançon Museum; Banks
of the Loing, Châteauroux Museum; Moon-*light,
Nantes Museum; A Castle, Farm Exterior,
Valenciennes Museum; Two Landscapes,
Hermitage, St. Petersburg.—Bellier,
Recherches historiques sur Lantara; Ch.
Blanc, École française; Houssaye, Gal. du
xviii. Siècle, iii. 177; Jal, 735; Villot, Cat.
Louvre; Lejeune, Guide, i. 291.
LANZANI, POLIDORO, called Polidoro
di Venezia, born in Venice in 1515, died
there, July 21, 1565. Venetian school;
history painter, pupil, or at least follower,
of Titian; copied his contemporaries so effectually
that his works rarely pass under
his own name. Works: Venetian Nobleman
dedicating to the Madonna his Child,
Betrothal of St. Catherine of Siena with
the Infant Christ, Dresden Museum; Holy
Family, Vienna Museum; Last Supper
(1545), Venice Academy.
LANZAS, LAS (The Lances), Velasquez,
Madrid Museum; canvas, H. 9 ft. 10 in. ×
12 ft. The surrender of Breda: The Marquis
de Spinola, accompanied by officers, in
the presence of the Flemish and Spanish
armies, advances to receive the keys of the
city from Justin of Nassau (1625); at right,
soldiers with lances, which give the picture
its name; on extreme right, the soldier with
wide collar and hat with white plumes is
said to be the artist himself. One of the
finest historical pictures in the world.
Painted about 1647 for Palace of Buen Retiro.
Copy, partly by H. Regnault, in École
des Beaux Arts, Paris. Sketch offered for
sale in Paris in 1859, but returned to Spain.
Etched by Laguillermie; B. Maura.—Palomino,
iii. 335; Curtis, 21; Madrazo, 599.
LAP (Lapp), JAN, flourished second half
of 16th century. Dutch school; landscape
painter in the manner of Moucheron and
Pynacker; must have studied in Rome.
Works: Italian Landscapes with Figures
(3), Hague Museum.—Bode, Studien, 334.
LAPIERRE, LOUIS ÉMILE, born in
Paris in 1817, died there, March 28, 1886.
Landscape painter, pupil of Bertin; an industrious
and painstaking artist of no great
originality. Medals: 2d class, 1848, 1863;
L. of Honour, 1869. Works: Daphnis and
Chloë (1845); Abbey of Thélème (1847);
Of what are the Girls Dreaming? Boboli
Garden in Florence (1848); Fountain of
Egeria, The Seasons (1850); Sunset, Under
the Oaks (1855); Woods in Springtime,
Woods in Winter (1859); Rock of Milly
(1861); Sunset, Bar of the Loing (1863);
In the Woods (1865); Garden of Fontainebleau
(1866); Cutting in Woods of Cham-
