71 



LUIQI, ANDREA DI. 



LUKE, SAINT. 



the celebrated Lola Monte*, whom he endeavoured to create a 

 countem, considerably lessened the attachment of his subjects towards 

 him. Consequently on the occurrence of the French revolution in 

 February 1848, a movement of a similar character took place in 

 Munich in March. The people captured the arsenal, and demanded 

 extensive reforms. The reforms were promised, and as a first step 

 Lola Monti's was sent away. She however was brought back, when 

 the people became frantic. He was forced to cancel her letters of 

 naturalisation, and to give orders for her apprehension. On the 21st 

 of March he abdicated in favour of his son, Maximilian II., the present 

 king. Ludwig has since lived principally in Belgium. 



LUIQI, ANDRE'A DI, commonly called L'INOEQNO, and some- 

 times ANDREA DI AS8ISI, was born at Assisi about the middle of 

 the 15th century. 



The common story of this painter, originating with Vasari, has been 

 completely overthrown by Rumohr in his ' Italienische Forschungen.' 

 The account of Vasari, which has been invariably followed by all 

 subsequent writers on the subject, down to the time of Rumohr, is 

 that L'Ingegno was the rival of liamxelle in the school of Pietro Peru- 

 gino, that he became suddenly blind while assisting his master 

 Perugino in the Siatine Chapel ; and that the then pope, Sixtus IV., 

 granted the unfortunate painter a pension for life, which he enjoyed 

 until his eighty -sixth year. Rumohr has shown this account to bo, 

 with one exception, wholly incorrect; the only possible part of it is 

 that L'Ingpgno assisted Perugino in the Vatican ; this he may have 

 done, as he was his assistant in some works in the Catubio, or 

 Exchange, of Perugia. 



L'Ingegno cannot have been Raffaelle's fellow-pupil with Perugino, 

 for be painted only one year after the birth of Raffaelle in 1484, a 

 coat of arms for the town-hall of Assist, where he was then an esta- 

 blished master. He also, long after the death of Sixtus IV., held 

 official situations at Aesisi, which can leave no doubt of his retaining 

 his eight. In 1505 he was procurator; in 1507, arbitrator; in 1510, 

 syndic syndicator poteatatis; and in 1511 he was appointed by 

 Julius II. papal treasurer at Assisi Camerarius Apostolicus in Civitate 

 Assisii. L'Ingegno therefore, instead of receiving a pension from 

 Sixtus IV., received a salary from Julius II., twenty-seven years after 

 the death of Sixtus. who died in 1484. From these several appoint- 

 ments he had probably given up painting, which may have been 

 either owing to weakness of sight or from greater advantages to be 

 had elsewhere : his brother was one of the canons of the cathedral of 

 Assist 



The only certainly known work by L'Ingegno is the coat of arms 

 already mentioned. The prophets and sibyls in the Cambio at 

 Perugia are assigned to him, but it is quite uncertain what portion of 

 those works was executed by him : the prophets and sibyls also in 

 the Basilica of Assisi were attributed to him, but it has been shown 

 that they were executed in the 16th century by Adone Doni. There 

 nre further attributed to L'Ingegno two pictures in the galleries at 

 Berlin and Vienna; and a 'Holy Family' in the Louvre, a beautiful 

 small work in the style of Perugino. Rumohr conjectures, from the 

 style of L'Ingegno in these works attributed to him, that he was the 

 pupil or imitator of Niccolo Aluuno. He was probably called 

 L'Ingegno more for a general aptness for business, than for any 

 particular skill in painting. 



(Vasari, Vile dt! Pittori, <tc. ; Lanzi, Storia Pittorica, <tc. ; Rumohr, 

 Italienische Fortchungen ; \Yaagen, Kunslwerke und Kiimtkr in 

 Pant.) 



LUI'NI, or LOVI'NI, BERNABDINO, the most celebrated of the 

 scholars and imitators of Lionardo da Vinci, was born at Luino on 

 the Lago Maggiore, about the middle of the 15th century. Luini's 

 reputation is comparatively recent, which is owing to Vasari's silence 

 regarding him, though he evidently alludes to Luini where he speaks 

 of the paintings of Bernardino da Lupiuo in the church of the Madonna 

 at Saronno. Luini painted much in the style of Lionardo da Vinci, 

 and his works are in many instances, in the opinion of several judges, 

 attributed to Da Vinci ; this, according to Waagen and others, is the 

 case with the ' Christ disputing with the Doctors,' in the National 

 Gallery. Fortunately many of Luini's best and greatest works, in oil 

 and in fresco, are still in a good state of preservation, namely, the 

 'Magdalen,' and 'St John with the Lamb,' in the Ambrosian Library 

 at Milan ; the ' Enthroned Madonna,' painted in 1521, the ' Drunken- 

 ness of Noah,' and other works in the gallery of the Brera at Milau ; 

 the frescoes of the Monastero Maggiore, or San Maurizio, in the same 

 city, from which however the ultramarine and gold have been scraped 

 ofl ; those already noticed at Sarouno ; and other extensive and equally 

 good works in the Franciscan convent Dcgli Angeli at Lugano, on the 

 lake of that name, which wero painted subsequently to those at 

 Saronno, and are among the last of Luiui's works, but their colours 

 have somewhat suffered. There are also many easel-pictures in oil 

 by Luini, both in and out of Italy, in public and private collections. 



Luini'i style is something between that of Mautegna and RafTaelle, 

 his earlier works approaching nearer to the style of Mantegua, and his 

 later to that of Raflaelle ; they are elaborately finished, beautifully 

 coloured, and forcibly shaded, yet they want the exquisite tone, the 

 fullness of style, and the greatness of character of the works of Da 

 Vinci ; in expression however they approximate very nearly to the 

 works of that great master. Luini excelled chiefly in painting women 



and the more delicate qualities of human character. Several of his 

 best works have been engraved in a superior style, by various masters. 

 The paintings at Lugano are described in the ' Kunstblatt' for 1822. 



Luini was still living in 1530, but the date of his death is not known. 

 He had two sons, Evangelista and Aurelio, who arc both praised by 

 Lomazzo, their contemporary. Aurelio assisted his father in the 

 frescoes at Lugano. After Da Vinci, the founder or ' Caposcuola ' of 

 the Milanese sobool of painting, Oaudenzio Ferrari and Luiui are the 

 principal masters of the school, the distinguishing characteristics of 

 which, as a school, are simplicity of subject and composition, expres- 

 sion, force of colour and tone, and minute perspective. 



In the gallery of the Brera at Milan there are several frescoes by 

 Luini, and one by his son Aurelio, which have been removed from the 

 walls, and transferred to panel or canvass. Luini waa one of the most 

 masterly of the old Italian fresco-painters, and there is a marked differ- 

 ence between the execution of his works of this class and hi* nil- 

 pictures ; they are painted with much more freedom. He must havo 

 painted in fresco with remarkable rapidity. According to the obser- 

 vation of Mr. Wilson, who was sent by the English government to 

 Italy to examine the state of the early Italian fresco-paintings, Luini 

 must have executed more than an entire figure of the size of life in a 

 single day : his colouring is warm and transparent, the lights of his 

 draperies being merely thinly glazed, with the colour of the draprry 

 mixed with a little white ; the shadows are the pure colour, laid on 

 thickly ; the outlines are often strongly indicated in some dark warm 

 colour. He does not appear to have worked from cartoons ; in his 

 faces the features are merely indicated by straight lines, yet many of his 

 female heads, painted upon such slight preparation, are among the most 

 beautiful of the Italian frescoes. 



(Lomazzo, Trattato delta Pittura; Lanzi, Storia Pitlorica, <frc. ; 

 Waagen, Kwutvterkt und Kilnstler in England, <tc. ; Report of the 

 Commissioner* on the Fine Arts, 1843, Appendix.) 



LUKE, ST., the Evangelist. Respecting the birth and early life of 

 this evangelist we have no certain information ; of his later history we 

 learn something from his own work, the ' Acts of the Apostles.' A 

 considerable knowledge of the Greek language is displayed in his 

 writings, especially in the introduction to his Gospel, which is written 

 in elegant Greek. On the other hand, his language contains many 

 Hebraisms; and he was evidently well acquainted with the religious 

 rites of the Jews, whose mode of computing time he follows. (Luke 

 xxii. 1 ; Acts ii. 1; xii. 3, 4; xx. 6, 16, &c.) Hence it has been much 

 disputed whether he was a Jew or a Gentile before he embraced 

 Christianity. The difficulty is best explained by the opinion of Bolten, 

 confirmed by a tradition current in Jerome's time, that Luke was a 

 Greek by birth, but became a proselyte to Judaism early in life. This 

 opinion is supported by Acts xxi. 28-31, and Coloss. iv. 11, 14. From 

 the former passage we learu that the Jews accused Paul of defiling the 

 temple by bringing into it a Greek, Trophimus of Ephesus. Luke 

 was then with Paul (Acts xxi. 17, 18), and the accusation would have 

 regarded him also, if he had not been looked upon as a Jew ly religion. 

 In the latter passage Paul distinguishes Luke frjm other individuals 

 " who are of the circumcision," which seems to show that Luke was 

 not a Jew by birth ; unless indeed the Luke here mentioned be another 

 individual, which we have no reason to suppose. Of the period of his 

 conversion to Christianity we know nothing. Cave and Mill have 

 supposed that he was converted by Paul at Antioch, but they are not 

 supported by any ancient writer ; nor is it likely that Luke would 

 have passed over such an event in writing the Acts. 



From the passage quoted above (Coloss. iv. 14), and from the testi- 

 mony of Eusebius, Jerome, and other early writers, it appears t'.iat 

 Luke was a physician. Another tradition makes him a painter, but 

 this statement is generally allowed to deserve no credit ; and the 

 opinion of Grotius and WetsU-in, that he was a slave during part of 

 his life, seems equally unfounded. 



Luke's native country is unknown. Eusebius and Jerome say that 

 he was a native of Antioch ; but this statement is not found in lr 

 Clement, Tertullian, or Origen, nor in any writer before the time of 

 Eusebius. Eichhorn has conjectured that this tradition arose from 

 confounding the evangelist with Lucius of Cyrene, who is mentioned 

 as living at Antioch, in Acts xiii. 1. Many writers however entertain 

 the opinion, which is as old as the time of Origen, that this Lucius and 

 the evangelist Luke were the same person. This conjecture is ably 

 maintained by Mr. Charles Taylor, the editor of Calmet. 



Some early writers, but of no very high authority, affirm that Luke 

 was one of the seventy disciples scut forth by Christ, whose mission 

 he alone of the evangelists records. (Luke x.) Others mention him 

 as the companion of Cleopas in the journey to Emmaus, recorded iu 

 Luke xxiv. 13. It is alleged that the mention of Cleopas while his 

 companion's name is withheld, the fullness and general character of 

 the narrative, and especially the notice of minute circumstances which 

 none but an eye-witness could record, prove that the traveller was the 

 evangelist himself. Other reasons are adduced for believing him to 

 have been iu Jerusalem at this time, namely, that the latter part of 

 his Gospel and the earlier chapters of the Acts have every mark of 

 being written by an eye-witness of the facts he narrates, and that all 

 the appearances of Christ after his resurrection mentioned by him took 

 place iu the neighbourhood of Jerusalem. To this it is objected that 

 we can only understand the preface to hU Gospel (i. 1-4) as a distinct 



