920 



LOXGUS. 



LOUDON, JOHN CLAUDIUS. 



030 



de Animse Humanae Morbis,' 1610; ' Disputationcs duaj de Philoso- 

 phise origine, utilitate, definitione, divieione, et addiscendi ratione,' 

 1611-18; ' System at is Mathematici,' part 1; ' Arithmeticam Solutam 

 duobns libris met hod ice comprehendens,' 1611 ; ' Cyclometria e Lunulis 

 reciproce demonstrata, undo tarn ares, quam perimetri Circuli exncta 

 dimensio et in numeros diductio secuta est, hactenus ab omnibus 

 Mathematicia unice desiderata,' 1612, 1627, and 1664 ; 'Disputatio de 

 Eclipsibus," 1616 ; 'Astronomia Danica in duas partes tributa, quarum 

 prima doctrinam de diuturna apparente Siderum Revolutione super 

 Sphfera armillari veterum instaurata duobus libris explicat; secunda 

 Theprias de Motibus Planetarum ad Observationes Tychonis de Brahe", 

 Ac. itidem duobus libris complectitur,'1622, 1640, and 1663 (Gassendi, 

 in his ' Life of Tycho BraheY says that this work belongs rather to 

 that astronomer than to Longomontanus, since the tables of the 

 planetary motions were either calculated by Longomontanus under 

 the immediate superintendence of Tycho, or copied by him from those 

 which Tycho had previously caused to be computed) ; ' Disputationes 

 quatuor Astrologies,' 1622; 'Pentas Problematum Philosophise,' 1623; 

 *De Chronolabio Historico,' 1627; 'Disputatio de Tempore trium 

 Epocharum, Mundi Conditi, Christi Nati, et Olympiadis primse,' 1629; 

 ' Zetemata septem de summo hominis bono,' 1630; 'Disputatio de 

 summo hominia malo,' 1630 ; ' Geometriao quaesita xiii. de Cyclometria 

 rationali et vera,' 1631 ; ' Inventio Quadratures Circuli,' 1634 (this 

 work gave rise to a very animated dispute between the author and 

 Dr. John Pell, an English mathematician, who proved that the demon- 

 stration there given of the quadrature of the circle was fallacious, but 

 notwithstanding Longomontanus died in the conviction that he had 

 effected that which has since been shown to be impracticable) ; 

 ' Disputatio de Matheaeos Indole,' 1636 ; ' Coronis Problematica ex 

 Mysteriia Trium Numerorum,' 1637; 'Problemata duo Geometrica,' 

 1638 ; Problems contra Paulum Guldinum de Circuli Mensura,' 1638 ; 

 ' Introductio in Theatrum Astronomicum,' 1639; ' Rotundi in Piano, 

 sea Circuli absolute Mensura,' 1644; 'Energeia Prop'ortionis sesqui- 

 tertia;,' 1644; 'Controversiacum Pelliode vera Circuli Mensura,' 1645. 



LONGUS ia the name of the author, or supposed author, of a Greek 

 pastoral romance, ' The Loves of Daplmis and Chloe,' or, according to 

 the literal version of the Greek title (Uot^tvtKa ra Kara Aa<t>i>iv Kal 

 XAuTji-), ' Pastoral Matters concerning Daphnis and Chloe,' which has 

 been generally admired for its elegance and simplicity, and is one of 

 the earliest specimens of that kind of composition. We know nothing 

 of the author, who ia supposed to have lived in the fourth or fifth 

 century of our era. The ' Daphnis ' of Gesner approaches the nearest 

 of any modern composition to an imitation of the work of Longus. 

 This pastoral has gone through numerous editions, the best of which 

 are tliat of Leipzig, 1777, called 'Variorum,' because it contains the 

 notes of former editors ; Villoiaon'a, with numerous notes by the 

 editor, Paris, 1778 ; Schaefer'a, Leipzig, 1803 ; that of Courier, Home, 

 1810; that of Paesow, Leipzig, 1811, Greek and German; and by 

 Sinner, Paris, 1829, and Seller, Leipzig, 1853. Courier discovered in 

 the manuscript of Longus, in the Laurentian library at Florence, a 

 paaaage of come length, belonging to the first book, which is wanting 

 in all the other manuscripts. He first published the fragment sepa- 

 rately at his own expense and distributed the copies gratis. He 

 afterwards embodied it in his edition of the whole pastoral, of which 

 he published only 52 copies, most of which he sent to distinguished 

 scholars of various countries. He also republished Amyot's French 

 translation of Longus, adding to it the translation of the discovered 

 passage. [COURIER, PAUL Louis.] 



LOPE DE VEGA. [VEGA.] 



LORENZO, or LORENZETTO, AMBROGIO AND PIETRO DI, 

 two celebrated Italian painters of the 14th century, were born at 

 Siena about 1300. They were brothers, as we learn from the following 

 inscription, formerly in the Hospital of Siena : " Hoc opus fecit 

 Petrus Laurentii et Ambrosius cjus frater, 1330." It was attached to 

 pictures of the ' Presentation ' and of the ' Marriage of the Virgin,' 

 which were destroyed in 1720, and was preserved by the Cav. Pecci. 

 This inscription explains the name given by Vasari to 1'ietro, whom 

 he calls Petrus Laurati or Laureati, which is evidently an erroneous 

 reading of Petrua Laurentii Pietro di Lorenzo. 



Some of the works of these painters still remain, though the prin- 

 cipal of their works, by Ambrogio, which is described by Ghiberti 

 (in ' Cod. Magliabecchiana,' f. 8 & 9), is destroyed. It was painted iu 

 the Minorite convent at Siena, and represented the fatal adventures of 

 some missionary monks. In the first compartment a youth was 

 repreaented putting on the monastic costume ; in another, the same 

 youth was represented with several of his brother monks about to 

 set out for Aa, to convert the Mohammedans; iu a third, these 

 missionaries are already at their place of destination, and are being 

 chastised in the sultan's presence, and are surrounded and mocked by 

 a crowd of scoffing infidels ; the sultan judges them to be hanged ; in 

 a fourth the young monk is already hanged to a tree, yet notwith- 

 standing he continues to preach the gospel to the astonished multitude, 

 upon which the sultan orders their heads to be cut off; the next 

 compartment ia their ceremonious execution by the sword, and the 

 scaffold ia surrounded by a great crowd on foot and on horseback ; 

 after the execution follows a great storm, which is represented in all 

 the detail of wind, hail, lightning, and earthquake, from all of which 

 the crowd are protecting themselves as they best can, and this miracle, 



isioo. niv. VOL. in. 



as it was considered, is the cause of many conversions to Christianity. 

 Such is the description of this picture by Lorenzo Ghiberti, the first 

 sculptor of his time, and he finishes by declaring it to be, as a painted 

 story, a wonderful thing "per una storia picta mi pare una mara- 

 vigliosa cosa ; " many of the actors, he says also, appeared to be living 

 beings. There is still in the Sala delle Balestre, in the public palace of 

 Siena, a tempera painting of ' Peace,' represented by a view within and 

 without the city of Siena, with numerous inhabitants variously occu- 

 pied in business and in pleasure. War was likewise represented in 

 this hall, but is now defaced ; there are however other allegorical 

 works still remaining, and Rumohr observes that what remain justify 

 Ghiberti's praises of what have disappeared, speaking with relation to 

 the time of their production 1337, 1338. 



Of the several pictures by Ambrogio Lorenzetti mentioned by Ghi- 

 berti, only one remains the 'Presentation of the Virgin in the 

 Temple,' in the Scuole Regie, and in this some of the women are 

 excellent. 



Ghiberti does not mention any works by Pietro Lorenzetti, and 

 there is only one authenticated work by him ; it is in the Stanza del 

 Pilone, a room against the sacristy of the cathedral of Siena, and ia 

 marked " Petrus Laurentii de Senis me pinxit, a. M.CCO.XLII." It 

 represents, according to Rumohr, some passages from the life of John 

 the Baptist, his birth, &c. 



Vasari mentions many works by Pietro in various cities of Tuscany, 

 where he says his reputation was greater than either Cimabue's or 

 Giotto's. He attributes to him a picture of the early fathers and 

 hermits in the Campo Santo at Pisa; it is engraved in Lasiuio's 

 ' Pitture del Campo Santo di Pisa.' 



. In 1355 Pietro was invited to Arezzo to paint the cathedral, in 

 which he painted in fresco twelve stories from the life of the Virgin, 

 with figures as large as life and larger, but they have long since 

 perished ; they were however in good preservation in the time of 

 Vasari, who completely restored them. He speaks of parts of them 

 aa superior in style and vigour to anything that had been done up to 

 that time. 



The works of these painters, though relatively good, are not exempt 

 from any of the errors or defects of the prevailing style iu Italy pre- 

 vious to Donatello, Masaccio, and Ghiberti ; and they display even 

 some of the barbarities of the Byzantine school. Several pictures arc 

 attributed to them in various collections, but wholly without evidence 

 as to their authorship. 



(Vasari, Vite de' Pittori, <kc. : Delia Vallo, Lettere Sanesi; Lanzi, 

 Storia PMorica, <tc.; and especially Rumohr, Italienische Forschungm, 

 in which the two Lorenzetti are treated of at considerable length.) 



LORENZO DE' MEDICI. [MEDICI.] 



LORRAINE, CARDINAL DE. [GUISE.] 



LORRAINE, CLAUDE. [CLAUDE] 



LOTTO, LORENZO, a celebrated Venetian paiuter of the 16th 

 century. He is supposed to have been one of the scholars of the 

 Bellini, and also an imitator of Lionardo da Vinci. He lived long at 

 Bergamo, and was generally considered a native of that place; " but," 

 says Lanzi, "we are indebted to Sig. G. Beltramelli for showing, in a 

 work published in 1800, that Lotto was a native of Venice." He 

 found him thus noticed in a public contract, " M. Laurentius Lottus 

 de Venetiis nunc habitutor Bergomi" (Master Lorenzo Lotto, of 

 Venice, now a resident of Bergamo). Lotto lived also some time at 

 Trevigi, at Recanati, and at Loretto, where he died. His works range 

 from 1513 to 1554. Lanzi ventures an opinion that Lotto's best 

 works could scarcely be surpassed by Raffaelle or by Correggio, if 

 treating the same subject. His masterpieces are the Madonnas of 

 S. Bartolomeo and Santo Spirito, at Bergamo. (Vasari, Vite dc' 

 Pittori, <tc. ; Tassi, Vite lie" Pittori, <tc. ; Bergamaichi; Lanzi, Storia 

 Pittorica, Jcc.) 



LOUDON, JOHN CLAUDIUS, was born at Cambuslang in Lanark- 

 shire, on the 8th of April 1783, where his mother's only sist-r, who 

 was the mother of Dr. Claudius Buchanan, author of ' Christian 

 Researches in Asia,' then resided. His father was a farmer, and lived 

 at Kerse Hall, near Gogar, about five miles from Edinburgh. As a 

 child, Loudon exhibited a taste for gardening. He was early sent to 

 reside with an uncle at Edinburgh in order that he might be educated, 

 and here he attended a public school, and also the classes on botany 

 and chcmiatry. In addition to the Latin he learned at school, he 

 obtained a knowledge of French and Italian, and paid his masters 

 himself out of the proceeds of translations from these languages, 

 which he sold. At the age of fourteen he was placed with a nursery- 

 man and landscape gardener, and continued his attendance on the 

 classes of botany and chemistry, and to these he added agriculture, in 

 the University of Edinburgh. During this period he acquired the 

 habit of sitting up two nights every week for the purpose of study, a 

 habit which he continued for many years. 



In 1803 Loudon first came to London, and, as he brought good 

 recommendations from Edinburgh, he found no difficulty in getting 

 employment in his profession of a landscape gardener. One of his 

 earliest literary efforts was made this year iu the form of a paper 

 contributed to the ' Literary Journal,' entitled ' Observations on Laying 

 Out the Public Squares of London.' It was the practice when this 

 article was published to adorn the squares of London with a very 

 sombre vegetation, consisting of yews, pines, and other heavy plants. 



3 O 



