LOMBARD. 418 LOMBARDS. LOMBARD, Peter. See Peteb Lombard. LOMBARD ART. The style which was used bv the Lombard invaders and colonists of the north of Italj', from the seventh century till it was superseded by the importation of the Pointed stvlc from France in the beginning of the thirteenth"century. It is a special national phase of the general style called Romanesque (([.v.), like the Xorman (q.v.). It prevailed not merely in Lombardv. but in other parts of Italy partly colonized bv the L<iml)ards or influenced by theni, especially in southern parts, such as Apulia. The architecture is heavy in proportions and de- tail, dark and pla'in in tone, using usually local stone and sometimes brick, contributing more than anv other Italian school to the use of vault- ing in church interiors. Jlilan and Pavia were the centre of one branch of the school : Parma, Piacenza, and Modena of a .second; Verona of a third: C'omo of a fourth; while such cities as Bologna, Crema, Cremona, Xovara, Brescia, and Bergamo show local variations of the Milanese variety. The style is good in construction and composition, but" is deficient in architectural de- tail and decoration, except in the Apulian branch, which is exceedingly rich. In Apulia the cities of Bari, Bitonto, Biteto, and Altamura contain the most imiiortant churches. Sculpture, tlumgh exceedingly crude in the Milanese-Paduan school, %yas fairly good and abundant in the Veronese and Parniese branches, as well as in Apulia, but painting was neither a favorite nor a well-exe- cuted form of Lombard art, in comparison with the Tuscan, Koman. and Southern schools of Italian art. The Lombards had no color sense. BiBLiocKAi-iiv. The largest work on the sub- ject is M. F. Dartein, Architecture lombarde (Paris, lSfl5-S2), though this can be supple- mented bv tiruncr. Tcrrncnttn Architect iirr nf yorth It'iiUi (London. 1807); and by Street, Brick and ilarhlc in the Xorih of Itnhj (London, 1874). The industrial arts are described in Baron de Bays, Industrie lonf/obarde (Paris, I88S) : Slaver," Lomhardischc Dcnkmiiler des I'l- Jnhrhinidrrtx (Stuttgart, ISn3). LOMBARDI, lom-biir'dc. The name of a fam- ily of architects and sculptors who emigrated about 1450 from Carona in'Lombardy to Venice, where they were engaged in many important •works. Three generations of this family, whose real surname was Solaro, are known to have worked in 'enice. but their personal history is obscure, and of two of them, IIahtino Lombardo. who was the first to emigrate to Venice, and MoRO. one of his sons. little is known beyond their names. To Martino are sometimes ascribed the later portions of the Church of San Zaccaria at Venice. The most distinguished of the Lombardi was Martino's son. PlETRO (C.U.S3-1.51.5), who desiened the beautiful Church of Santa ]Iaria dei Miracoli at Venice (1480), and the imposing Palazzo Vendramin-Calergi (1481). one of the noblest of Venetian palaces, and one of the ear- liest in Italy to be designed with engaged col- umns in superposed orders. He was architect also of the tomb of Pante at Ravenna (1482) ; also (in collaboration with others) of the Scuola di San JIarco (148.5 or 1489). and of the Cathe- dral of Cividale di Friuli (l.'i02). of the Pro- curazie Vecchie (1406-1517), and of the wings of the clock -tower on the Piazzo San Marco; be- sides other buildings in Treviso, Pavia, and Venice. He appears also to have worked on the court faijades of the Doge's palace (1408). As a sculptor he executed, wliolly or in part, many of the notable monuments in the churches of Venice. His sons Axtomo and Ti'i.Lio assisted him in many of his works, notably in the Scuola di San Marco, the Church of San Salvatore. ami the Mocengo tomb in the Church of Saint .John and Saint Paul. ■ Tullio was also engaged in the rebuilding of the Cathedral of Cividale, and with his son Santo (or Sante), in the Scuola di San Rocco, a work in which the name of a certain GlULlo Lombardo also appears ( 1517-27 ). TulHo. like Pietro, was a scul])tor as well as architect; he assisted Leopardi in the monument to Andrea Vendramin, and in association with Antonio executed sculptures in the Capella del Santo at Padua (1507). The later years of Antonio's lit'.- were spent at Ferrara, where he died in lolli. To Santo is attriliuted the Palazzo Malipiero. Little or nothing is known of the work of MoBO Lombardo. The work of the Lombardi occupies an impor- tant place in Venetian art. It is highly decora- tive, and marked by exuberant fancy combined with delicacy and refinement of detail. Some writers, including Ruskin. use the term Lom- bardic to designate the works of the Lombardi and their school. Girolamo and Alfonso Lom- bardo were inferior artists not related to the foregoing. Consult: Burekhardt, Der Cicerone (8th ed., Leipzig, 1000) ; Selvatico, Hull' archi- tettura e sulla scultura in Venezia (Venice, 1847) ; and Temanza. Vite dei piu celebri ar- chilelti e seiiltori rcne:iuni (Venice. 1702-68). LOMBARD LEAGUE. An alliance formed in 1167 by the leading cities of Northern Italy against Frederick Barbarossa. See Lomgardy. LOMBARDS (OF. Lombnrd, Lombart, Fr. Loiiihiird, Lat. Loniiohardus. Linirjobnrdus, AS. Lunijbeurda, probably Long-beards; less likely. Long-axes). A Germanic people of the age of migrations. About the second century a.d. they seem to have begun to leave their original seats on the Lower Elbe, where the Romans probably first came in contact with them about the begin- ning of the Christian Era. and to have fought their way southward and eastward till they came into* close contact with the Eastern Roman Empire on the Danube. They adopted an Arian form of Christianity, and after having been for some time tributary to the Heruli. rose to in- dependent power shortly after the middle of the sixth century, becoming masters of Pannonia, and one of the most wealthy and powerful na- tions in that part of the world. I'nder their King. Alboin (q.v.), they invaded and conquered the 'north and centre o'f Italy (508.572). The more complete triumph of the Lombards was pro- moted by the accession of strength which they re- ceived from other tribes following them over the Alps — Bulgarians, Sarmatians. Pannonians. Xo- rici. Alemanni. Suevi. Gepidie, and Saxons — for the numbers of the Lombards themselves were never very great. Except' where there was immediate need of united action the Lombards were generally di- vided into little bands, each under a so-called duke, who endeavored to secure an independent principality for himself. The various dukes overran almost all of Italy except a few forti- fied towns. Alboin was succeeded about 57.3 by Cleph, whose reign was a period of unbroken
