38 L U C L U C at the mouth of the Aciris ; and Siris, on the river of the same name. Close to its southern frontier stood Sybaris, which was destroyed in 510 B.C., but subsequently replaced by Thuvii, founded within a few miles of the same site. On the west coast stood Posidonia, known under the Roman government as Paestum, immediately south of the Silarus ; below that came Elea or Yelia, Pyxus, called by the Romans Buxentum, and Laus, near the frontier of the province towards Bruttium. Of the towns of the interior, none of which ever attained to any importance, the most considerable was Potentia, still called Potenza, and now the capital of the Basilicata. To the north, near the frontier of Apulia, were Acheruntia and Bantia $ while due south from Potentia was Grumentum, and still farther in that direction were Nerulum and Muranum. In the upland valley of the Tanagrus were Atina, Forum Popilii, and Consilinum ; Eburi (Eboli) and Volceii (Buccino), though to the north of the Silarus, were also included in Lucania. For administrative purposes under the Roman empire, Lucania was always imited with Bruttium. The two together constituted the third region of Augustus. (E. H. B. ) LUGARIS, CYRILLUS (c. 1572-1638). See GREEK CHURCH, vol. xi. p. 158. LUCAS OF LEYDEN (c. 1494-1533) was born at Leyden, where his father Hugh Jacobsz gave him the first lessons in art. He then entered the painting-room of Cornelis Engelbrechtszen of Leyden, and soon became known for his capacity in making designs for glass, engraving copper plates, painting pictures, portraits, and landscapes in oil and distemper. According to Van Mander he was bom in 1494, and painted at the age of twelve a Legend of St Hubert, for which as many florins were paid to him as he numbered years. He was only fourteen when he finished a plate representing Mohammed taking the life of a friar, and at fifteen he produced a series of nine plates for a Passion, a Temptation of St Anthony, and a Conversion of St Paul. The list of his engravings in 1510, when, according to Van Mander, he was only sixteen, includes a celebrated Ecce Homo, Adam and Eve expelled from Paradise, a herdsman and a milkmaid with three cows, and a little naked girl running away from a barking dog. It will be seen to what a variety of tastes the youthful artist was asked to cater. Whatever may be thought of the tradition embodied in Van Mander s pages as to the true age of Lucas of Leyden, there is no doubt that, as early as 1508, he was a master of name as a copper-plate engraver, and had launched his boat in the current which in those days led to wealth and to fame. The period of the great masters of etching, which had not yet come for Holland, was being preceded by the period of the great masters in the use of the graver. It was the time when art readily found its patrons amongst the large public that could ill afford to buy pictures, yet had enough interest in culture to wish to educate itself by means of prints. Lucas of Leyden became the representative man for the great public of Holland as Diirer became the representative man for the great public of Germany; and.a rivalry grew up between the two engravers, which came to be so close that on the neutral market of Italy the products of each were all but evenly quoted. Vasari devoted almost equal attention to both, affirming indeed that Diirer surpassed Lucas as a designer, but that in the use of the graver they were both unsurpassed, a sentence which has not been reversed by the criticism of our day. But the rivalry of the two artists was friendly. About the time when Diirer visited the Netherlands Lucas came to Antwerp, which then flourished greatly as an international mart for productions of the pencil and the graver, and it is thought, not without reason, that he was the master who took the freedom of the Antwerp guild in 1521 under the name of Lucas the Hollander. In the diary which Diirer faithfully kept during his travels in the Low Countries, we find that at Antwerp he met Lucas, who asked him to dinner, and that Diirer accepted the invitation, and was much surprised at the smallness of the Dutchman s stature. But he valued the art of Lucas at its true figure, and exchanged the Dutchman s prints for eight florins worth of his own. In course of time Lucas rose to more than a competence. In 1527 he made a tour of the Netherlands, giving dinners to the painters of the guilds of Middleburg, Ghent, Malines, and Antwerp. He was accompanied during the trip by Mabuse, whom he imitated in his style as well as in his love of rich costume. But festive cheer and banquets disagreed with Lucas. On his return home he fell sick and remained ailing till his death in 1533, and when he died he did so with the firm belief that poison had been administered to him by some envious comrade. As an engraver Lucas of Leyden deserves his reputation. He has not the genius, nor had he the tact, of Diirer; and he displays more cleverness of expression than skill in distribution or refinement in details. But his power in handling the graver is very great, and some of his portraits, especially his own, are equal to any tiling that was done by the master of Nuremberg. Much that he accomplished as a painter has been lost, because he worked a good deal upon cloth in distemper. But some pictures have been preserved which fairly manifest the influences under which he became productive. In 1522 he painted the Virgin and Child with the Magdalen and a kneeling donor, now preserved in the gallery of Munich. His manner was then very much akin to that of Mabuse. The Last Judgment in the town-hall, now the town-gallery of Leyden, is com posed on the traditional lines of Cristus and Memling, furnished with monsters in the style of Jerome Bosch, and figures in the stilted attitudes of the South German school ; the scale of colours in yellow, white, and grey is at once pale and gaudy ; the quaintest contrasts are produced by the juxtaposition of alabaster flesh in females and bronzed skin in males, or black hair by the side of yellow, or rose-coloured drapery set sharply against apple-green or black, yet some of the heads are painted with great delicacy and modelled with exquisite feeling. Dr Waagen gave a most favourable opinion of a triptych now at the Hermitage at St Peters burg, executed, according to Van Mander, in 153], representing the blind man of Jericho healed by Jesus Christ in the presence of the apostles. Here too the great German critic observed the union of faulty composition with great finish and warm flesh-tints with a gaudy scale of harmonies. The same defects and qualities will be found in such specimens of the master s art as are still preserved in public collections, amongst which maybe mentioned the Card Party at Wilton House, the Penitent St Jerome in the gallery of Berlin, and the hermits Paul and Anthony in the Lich ten stein collection at Vienna. A few days before his death Lucas van Leyden was informed of the birth of a grandson, firstborn of his only daughter Gretchen. Cretchen s fourth son Jean de Hoey followed the profession of his grandfather, and became well known at the Parisian court as painter and chamberlain to the king of France, Henry IV. LUCCA, a city of Northern Italy, the chief town of a province, an archiepiscopal see, and the seat of a court of assize, lies 13 miles by rail north-east of Pisa, in 43 50 N. hit. and 10 28 E. long. Situated 50 feet above the level of the sea, in the valley of the Serchio, the city looks out for the most part on a horizon of hills and mountains. The fortifications pierced by four gates were commenced in 1504 and completed in 1G45, and long ranked among the most remarkable in the peninsula. The city has a well-built and substantial appearance, its chief attraction lying in the numerous churches, which belong in the main to a well-marked basilican type, and present richly decorated exteriors, fine apsidal ends, and quadrangular campaniles. The cathedral or church of St Martin was begun in 10G3 by Bishop Anselm ; but the great apse with its tall columnar arcades is probably the only remnant of the early edifice. The west front, "built during the first forty years of the 13th century, consists of a vast portico of three magnificent arches, and above them three ranges of open galleries covered with all the devices of an exuberant fancy." The ground plan is a Latin cross, the nave being 273 feet in length and 84 feet in width, and the transepts 117 feet in length. In the nave is a little octagonal temple or chapel built (1484) by Matteo Civitali, which serves as a shrine for the most precious cf the Lucchese relics, a cedar-wood crucifix, carved, according to the legend, by Nicodemus,
and miraculously conveyed to Lucca in 782. The Sacred