LOTTI ranked among the best masters ; thought by some to be a pupil of Pietro Liberi ; in- fluenced by the works of Caravaggio, al- though his colouring is often sombre. He was much employed for the Emperor Leo- pold II., and in Italy for churches and pri- vate collections. Works : Mercury Seat- ed, Jupiter with the Thunderbolt, Vulcan, Saturn, lleturn of Prodigal Son, Cassel Gallery ; Jupiter brought up in Crete, Co- penhagen Gallery ; Ecce Homo, Fiirsten- berg Gallery, Donaueschiugeu ; Job with his Friends ('2), Lot and his Daughters, Christ crowned with Thorns, Dresden Mu- seum ; St. Dominick, The Angel Eaphael 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, Bruns- wick, and Christiania Galleries. Nagler, viii. 77 ; Lanzi (Roscoe), ii. 25(5. LOTTI, CARLO. See Loth. LOTTIER, LOUIS, born at La Have 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 (18G7) ; Sunset in Roadstead of Smyrna (18G7), Pcrpignan Museum ; Views around Constantinople and in South of France (18G8-80) ; Conflagration at Sea, View of St. Raphael (1882) ; Environs of Beirut (1885). Bellier, i. 1059. LOTTO, LORENZO, born at Bergamo or Treviso (?) about 1480, died at Loreto about 1554. Venetian school ; sometimes called II Bergamasco, from his long resi- dence in Bergamo. Went early to Venice, where, according to Vasari, he was Pal- ma'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 Ma- donna with St. Onofrius, Palazzo Bor- ghese, Rome, is dated 1508, the date 1500 of the S. Jerome in the Desert, Louvre, be- ing an obvious duplicate. A larger pro- duction of 1508 is the Madonna of St. Dom- inick, S. Domenico, Recauati, in which the drawing is precise and minute, the perspec- tive 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 (150G), Duomo, Asolo ; St. Jerome, Louvre ; Madonna and Four Saints, Bridge- water Collection ; and the Tiiree Ages, Pa- lazzo Pitti, Florence. Other examples are the Entombment (1512), S. Floriauo, Jesi ; Transfiguration, Collegiata, Castelnuovo ; Death of Peter Martyr, S. Pietro Martire, Alzauo ; Family Group, Portraits of Agos- tino and Niccolo della Torre (1515), Na- tional Gallery, London ; Throned Madonna (1516), S. Bartolommeo, Bergamo ; Ma- donna (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. Mch- 104
