- gustine and Rufus, Tortosa Cathedral; Ceiling
paintings (fresco), Royal Palace, Madrid. His son and pupil, Bernardo Lopez y Piquer (1801-74), was noted for pastel portraits.—Madrazo.
LOREDANO, LEONARDO, Doge, portrait,
Giovanni Bellini, National Gallery,
London; wood, H. 2 ft. × 1 ft. 5 in.; signed.
Painted about 1505; long an heirloom of the
Grimani family. One of the best of Bellini's
portraits. Originally in Palazzo Grimani,
Venice; then owned by Lord Cawdor and
Beckford, from whom bought in 1844 for
£600.—C. & C., N. Italy, i. 181; Richter,
79, 105; Meyer, Künst. Lex., iii. 420.
LOREDANO, LEONARDO, Doge, portrait,
Catena, Lochis-Carrara Gallery, Bergamo;
wood, nearly life-size. Painted about
1503; attributed to Gentile Bellini. Copy
at Dresden attributed to Giovanni Bellini;
replica of latter in Correr Museum.—C. & C.,
N. Italy, i. 250.
LORENTZEN, CHRISTIAN AUGUST,
born at Sonderburg, Isle of Alsen, Aug. 10,
1749, died in Copenhagen, May 8, 1828.
Portrait, genre, and animal painter, pupil
of Copenhagen Academy; studied in Antwerp
the works of Rubens and Van Dyck,
visited Paris, and after his return became in
1803 professor at, and in 1809 director of,
Copenhagen Academy. He was a member
of the Paris and Copenhagen (1784) Academies.
Works: Portrait of Count Recivusky
(1794), Copenhagen Gallery; Rural
Smithy, From the Zoölogical Garden, Attack
of Gunboats on Roadstead of Copenhagen
in 1807, Burning of Shipping Store
at Copenhagen, Siege of Wismar, Battles of
Femern and Volmer, Cycle of Scenes from
Holberg's Comedies.—Nagler, viii. 55; Raczynski,
iii. 549; Weilbach, 416.
LORENZETTI, AMBROGIO, Sienese
school, first half of 14th century. Son of
one Lorenzo, and younger brother of Pietro
Lorenzetti; first heard of in 1324; earliest
productions frescos in S. Francesco, Siena
(1331), so highly praised by Ghiberti in his
second Commentary, but of which only two
fragments remain. Other injured frescos
by this painter are to be seen in S. Agostino,
Siena, and in the Florence Academy. In
1335 he aided his brother in painting the
front of the Spedale, Siena, and in 1337-39
he decorated the Sala della Pace in the Palazzo
Pubblico, Siena, with three vast allegories
in fresco, illustrative of the advantages
of justice and peace, and of the evils of
tyranny. In this work the Sienese school
reaches its zenith, and Ambrogio proves himself
a far abler composer than his contemporary,
Simone di Martino. Indeed, he and
his brother Pietro are the only Sienese who
nearly approached the high excellence of
Giotto in this respect, and their works are
so nearly alike in some cases that they are
with difficulty to be distinguished from each
other. In 1342 Ambrogio completed a Presentation
in the Temple (1342), Florence
Academy, which has been so restored as to
give little idea of his talent as a colourist
and draughtsman. His Annunciation (1344)
is in the Siena Academy. The latest record
of Ambrogio is in 1345, and both he and his
brother are supposed to have perished in the
plague of 1348.—C. & C., Italy, ii. 134; iii.
75; Vasari, ed. Le Mon., i. 33; ii. 65; Burckhardt,
315, 362; Baldinucci, i. 222; W. &
W., i. 466; Ghiberti, 2d Commentary; Rio,
i. 48; Dohme, 2i.; Sienesische Malerschule,
i.; Lübke, Ital. Mal., i. 171.
LORENZETTI, PIETRO, born latter part
of 13th century, died about middle of 14th
century. Sienese school; called, by Vasari,
Pietro Laurati. Elder brother of Ambrogio
Lorenzetti; appears in Siena in 1305 as the
painter of an altarpiece, after which no trace
of him is found until 1326, when he executed
several pictures in the workshop of the
Siena Cathedral. The earliest picture signed
by him is a Virgin Enthroned, dated 1329,
in S. Ansano, outside the Pispini gate of
Siena, in which the figure of the Virgin is deservedly
considered the finest of the Sienese
school. The execution shows that Pietro had
already abandoned the dark Sienese colouring
for the light flesh tints and warm shadows
