by whom he was taught the art of illuminating. The choir-books in the cathedrals at Chiusi (1467-69) and Siena are examples of his skill as a miniature painter. After his return to Verona, about 1745, he took up fresco and oil painting, carrying into them those habits of excessive detail and minuteness which were derived from his early training. The Adoration of the Magi (1480-90) in the Duomo, Verona, shows this; but the Predella in the Episcopal Palace is more broadly treated, and plainly executed under the influence of Mantegna. This is yet more evident in the Madonna di Casa Scotti, Milan, which has been attributed to Mantegna. Among the works of Liberale are: Angels with Instruments of the Passion, Casa Gradenigo, Padua; Glory of St. Anthony, S. Fermo, Verona; Entombment, S. Leone, Venice; Assumption of the Magdalen, Sacristy of S. Anastasia, Verona; St. Sebastian, Brera, Milan; replica, Berlin Museum. The frescos of St. Catherine in Glory, Christ in the Garden bearing his Cross, and the Deposition, S. Anastasia, Verona, have been attributed to Liberale.—Vasari, ed. Mil., v. 274; C. & C., N. Italy, i. 464; Lermolieff, 6, 55, 104, etc.; Bernasconi, Studii, 244; Lübke, Gesch. d. ital. Mai., i. 479.
LIBERATORE, NICCOLÒ DI. See
Alunno.
LIBERI, PIETRO, Cavaliere, born in
Padua in 1605 (?), died in Venice, Oct. 18,
1687. Venetian school; pupil of Alessandro
Varotari; afterwards studied at Rome the
works of Raphael, Michelangelo, Correggio,
and Titian, and formed from them all a
style of his own. He became famous both
in Italy and in Germany, and, though originally
poor, won wealth and titles. He is
considered one of the best designers of the
Venetian school; his touch is free and masterly,
and his colouring agreeable and tender;
and few artists have greater variety of
style. His pictures may be divided into
two classes: those executed with a free and
rapid pencil, and those finished with great
care and attention to details, the former
being the best. He was noted for his nude
Venuses and other subjects, which were
treated so freely as to win him the surname
of Libertino. Among his works in Venice
are: Battle of the Dardanelles, Palazzo Ducale;
Annunciation, S. M. del Pianto; S.
Proculo, Virgin and St. Joseph, Assumption,
S. Proculo; S. Mosè, Finding of the Cross,
S. Mosè; Massacre of the Innocents, Ognissanti;
Annunciation, Venice Suppliant, Salute;
Crucifixion, S. Agostino. Other examples:
Cupid adorned by Nymphs, Venus
visiting the Smithy of Vulcan, Susanna at the
Bath, Bathsheba leaving the Bath, Venus
bandaging the Wounded Vulcan, Hercules
and Omphale, Dresden Museum; Judgment
of Paris, Youth protected by Wisdom, Dresden
Museum; Mars and Venus playing at
Chess, Oldenburg Gallery; Medor and Angelica
with Cupids in a Landscape, Schleissheim
Gallery; Allegory on Motto of Emperor
Leopold I.: Consilio et Industria, Venus
and Cupid, Vienna Museum. Liberi had a
son, Marco, who imitated his father's style
almost to caricature.—Ch. Blanc, École vénitienne.
LIBRI. See Girolamo dai Libri.
LICHERIE DE BEURON (Bévron),
LOUIS, born at Houdan (Seine-et-Oise),
July 6, 1629, died in Paris, Dec. 3, 1687.
French school; history painter, pupil of
Louis Boulogne, the elder, and of Le Brun.
He decorated the Church of the Invalides,
became a teacher in the Gobelins, Member
of the Academy in 1679, and adjunct professor
in 1681. Many of his works are engraved.
Works: Abigail and David (1679),
Louvre; Christ on the Cross, Besançon Museum;
Ecstasy of St. Joseph, Nantes Museum.—Bellier
de Chavignerie, Recherches sur
Licherie (Paris, 1860).
LICHTENFELS, EDUARD PEITHNER
VON, born in Vieuna, Nov. 18, 1833. Landscape
painter, pupil of Vienna Academy
under Steinfeld and Thomas Ender; went
in 1857 to Düsseldorf, where he was much
influenced by Lessing; took part in the
Italian campaign of 1859; Member of Vi-
