BERT.

Lambeth Palace. An episcopal mansion in London, and for six and a half centuries the residence of the Archbishops of Canterbury. Lambeth House has at various times proved an asylum for learn.ed foreigners who have been compelled to flee from the intolerance of their countrymen.

"Lambeth is a stately pile of quaint antique buildings, rising most magnificently on the banks of the Thames. It is surrounded by beautiful grounds laid out with choice gar. dening." Mrs. H. B. Stowe. Such Lambeth, envy of each band and gown. Pope. The grand hospitalities of Lambeth have perished, but its charities live.

Douglas Jerrold.

Landing of Columbus. A picture in one of the panels of the Rotunda in the Capitol at Washington, representing the debarkation of the great discoverer with his companions upon the soil of the New World in 1492. This painting was executed under commission from Congress by John Vanderlyn (1776-1852), who employed |

a French artist to do a good part of the work. It has been severely criticised for its inaccuracy and marks of haste; in proof of which, among other things, it is noted that the three flags borne by the three vessels of the original discoverers are represented in the picture as blown outward in three different directions. This work of art has become very familiar to the general public by its reproduction in the form of an engraving upon the back of the five-dollar notes of the national currency.

Landing of the Pilgrims. A well

known painting by Sargent, in the Pilgrim Hall at Plymouth, Mass.

Landing of Venus at Cytherea. A picture by Francesco Albani (1578-1660), and one of his best works. In the Chigi Palace, Rome.

Landore, Villa. See VIlla Ghe

RARDESCA.

Land's End. The famous headland in which the western coast of England terminates at the extremity of the county of Cornwall.

Let any social or physical convulsion visit the United States, and England would feel the shock from Land's End to John o' Groat's. Charles Dickens.

Langton Elm. A famous elm of great age in what was Sherwood Forest. It was for a long time so remarkable as to have a special keeper.

Lanleff Temple. A remarkable structure of unknown origin and antiquity, near St. Briene, in France. It is thought by some to be a pagan temple, but is probably a Christian church of the eleventh or twelfth century. It is of a circular form, like some of the English and Dutch churches, and built in imitation of the Church of the Holy Sepulchre. Lansdowne. A noted house, formerly standing in what is now Fairmount Park, Philadelphia. It was the residence of Joseph

Bonaparte, and later of Lord Ashburton. It was destroyed by fire in 1854.

Lansdowne House. A noble house

in London, situated on the south side of Berkeley Square, originally built for the Marquis of Bute, and subsequently sold to the Marquis of Lansdowne. It contains a gallery of paintings and sculptures.

at

Lantern of Diogenes. A popular name for the Choragic Monument of Lysicrates at Athens. A structure in imitation of the Greek monument formerly stood St. Cloud [France], but was destroyed in 1870 by the Prussians. [Also called the Lantern of Demosthenes.] See CHORAGIC MONUMENT OF LYSICRATES.

"A littie monument, formerly known under the name of the Lantern of Demosthenes, and of which a copy occupies at St. Cloud [France] the summit of a tower well known to the Parisians, deserves attention as one of the rare specimens of the Corinthian order to be seen in Greece. It formed one of those small houses which were used to contain the tripods received by the victors in the scenic games."

Lefevre, Trans.

Lantern of Ireland. The popular name of the beautiful ruined Priory of St. John, in Kilkenny, Ireland. It is so called from the number of its windows.

"For about fifty-four feet of the south side of the choir, it seems to be almost one window." Grose.

Lanti Vase. An antique vase brought from England by Lord Cawdor, and now in Woburn Abbey, the seat of the Duke of Bedford.

Lanzi, Loggia de'. See LOGGIA DE' LANZI.

Laocoon, The. A celebrated work of sculpture, now in the Belvidere of the Vatican at Rome, discovered in 1506. It represents the death of Laocoon, a mythical priest of Apollo or of Neptune, and his two sons, who are crushed in the folds of two monstrous serpents. The group is probably

the same as that referred to by Pliny as standing in the palace of the Emperor Titus. Virgil gives a vivid description of the death of Laocoon in the second book of the Eneid (line 263 et seq.).

"The fame of many sculptors is less diffused, because the number employed upon great works prevented their celebrity; for there is no one artist to receive the honor of the work, and, where there are more than one, they cannot all obtain an equal fame. Of this the Laocoon is an example, which stands in the palace of the Emperor Titus, a work which may be considered superior to all others, both in painting and statuary. The whole group the father, the boys, and the awful folds of the serpents were formed out of a single block, in accordance with a vote of the Senate, by Agesander, Polydorus, and Athenodorus, Rhodian sculptors of the highest merit." Pliny, Trans.

"I felt the Laocoon very powerfully, though very quietly; an immortal agony, with a strange calmness dif fused through it, so that it resembles the vast rage of the sea, calm on account of its immensity, or the tumult of Niagara, which does not seem to be tumult, because it keeps pouring on for ever and ever. It is a type of human beings struggling with an inexplicable trouble, and entangled in a complication which they cannot free themselves from by their own efforts, and out of which Heaven alone can help them." Hawthorne.

"This work is a compromise between two styles and two epochs, similar to one of Euripides' tragedies.

Aristophanes would say of this group, as he said of the Hippolytus or Iphigenia of Euripides, that it makes us weep and does not fortify us; instead of changing women into men, it transforms men into women."

Taine, Trans.

Turning to the Vatican, go see Laocoon's torture dignifying painA father's love and mortal's agony With an immortal's patience blending. Lord Byron.

Lapidary Gallery. See GALLERIA LAPIDARIA.

Larissa. See ACROPOLIS [of Argos].

Last Judgment. A favorite subject of representation by the great religious painters of the Middle

Ages. Of the many compositions upon this theme, a few of the more celebrated and familiar examples are mentioned below. Concern

ing the treatment of this subject, Lady Eastlake writes : The Last Judgment' has tested the powers of some of the greatest and most opposite masters, both north and south of the Alps. Giotto appropriately led the way with the now ruined wall-painting in the Chapel of the Arena at Padua. The solemn Orcagna followed in the Campo Santo. Fra Angelico has left several versions of the subject. . . . Michael Angelo stands alone here, as in every subject on which he set the stamp of his paganized time, and his maniera terribile. Roger van der Weyden, the mournful painter of Brussels, treated the subject with great dignity and reticence; while

Rubens, like Michael Angelo, has made the subject rather an occasion for displaying his peculiar powers, than an illustration of the most awful chapter in Christian art."

Last Judgment. An admired picture by Fra Angelico (13871455). In the Academy at Florence, Italy.

Last Judgment and Hell. A celebrated fresco in the Campo Santo, Pisa, Italy, which has usually been ascribed to Andrea Orcagna (d. 1389), but has of late been referred by some to the Sienese painter, Pietro Lorenzetti.

"In the Last Judgment of Orcagna, in the Campo Santo at Pisa, the Seven Angels [archangels] are impor. tant personages. They have the garb of princes and warriors, with breastplates of gold, jewelled sword-belts and tiaras, while other angels hover above, bearing the instruments of the Passion." Mrs. Jameson.

Last Judgment. A celebrated picture by the Flemish painter, Roger van der Weyden (d. 1464). It was executed for the Burgundian Chancellor Rollin, between 1443 and 1447, and is now in the Hospital of Beaune, France. It is pronounced by Kugler the

most comprehensive example of this master that is left to us.

Last Judgment. A picture by the Flemish painter, Petrus Cristus, executed (1452) for a convent at Burgos. Now in the Museum of Berlin, Prussia.

Last Judgment. A celebrated altar-picture by Hans Memling (d. 1495), the Flemish painter, and pronounced not only his most important work, but one of the chefs-d'œuvre of the whole Flemish school. From an inscription upon the picture, it is probable that it was painted in 1467. It is now in the Church of Our Lady at Dantzic, Prussia.

"In Memling's Last Judgment the redeemed are passing into a regular church, with angel musicians hymning their welcome from seats in the architecture above the porch."

Lady Eastlake.

Last Judgment. A fresco by Fra Bartolommeo (1477-1517), the Italian painter. In the Church of S. Maria Novella, Florence, Italy.

Last Judgment. A picture by Peter Paul Rubens (1577-1640). Now in the gallery of Munich, Bavaria.

Last Judgment. A fresco painting of great size, 60 feet high by 30 feet broad, occupying the end wall opposite to the entrance of the Sistine Chapel, in the Vatican Palace at Rome. It is the work of Michael Angelo (1475-1564), who designed it in his sixtieth year, and completed it after eight years of labor, in 1541. It comprises nearly 300 figures, aud presents "a confused mass of naked bodies in the most violent attitudes and most admired disorder, and excels chiefly in energy of expres sion." This picture is seen now under many disadvantages, having suffered from neglect and from alterations, and being obscured by the dampness, the smoke of candles and incense, but is still regarded as a mas terpiece in painting of the great artist. It was undertaken by desire of Pope Clement VII., and finished in the pontificate of Paul III. A copy on a small scale by

Marcello Venusti, seven and a half feet high, is in the Gallery at Naples, and another by Sigalon in the Beaux Arts at Paris.

"Many fresco paintings be longing to the sixteenth century are at the present day in a sad state; few, however, have been more cruelly trifled with than the Last Judgment of Michael Angelo. The smoke of the altarcandles has had a fatal effect in the course of centuries. The lower part of the painting is most damaged. The greatest evil, however, has been intentionally done to the work; the nakedness of the figures has been considered offensive; and they have been covered with painted, and often glar. ingly bright, drapery. . . . From all this, the work appears in such a condition, that only after long study is it possible to form an idea of what it was in the year 1541." Grimm, Trans.

"While in Raphael's angels we do not feel the want of wings, we feel, while looking at those of Michael An gelo, that not even the sail broad vans' with which Satan labored through the surging abyss of Chaos could suffice to lift those Titanic forms from earth, and sustain them in mid-air. The group of angels over the Last Judgment, fling. ing their mighty limbs about, may be referred to as characteristic ex amples." Mrs. Jameson.

Or hues of Hell be by his pencil pour d Over the damn'd before the Judgment throne,

Such as I saw them, such as all shall see.

Byron

Last Judgment. A picture by Luca Signorelli (1441-1523?), and his masterpiece. In the Cathedral of Orvieto, Italy.

Last Judgment. A picture by Hieronymus van Aeken, comnonly known as Jerom Bosch (1460-1516), the Flemish painter. It is now in the Museum at Berlin, Prussia.

Last Judgment. A picture by Luc Jacobsz, called Lucas van Leyden (1494-1533), a Flemish painter, and one of his most important works. It is now in the Town-house of Leyden, Holland.

Last Judgment. A famous fresco painting by Peter von Cornelius (1787-1867). In the Ludwig's Kirche, Munich, Bavaria. It occupies the whole end of the church behind the high altar, and is perhaps the largest painting in

the world. The circular dome in the centre contains groups of martyrs, prophets, and saints, painted in fresco on a ground of gold.

Last Supper. [Ital. Il Cenacolo, or La Cena; Fr. La Cène.] A favorite subject of representation by the great painters of the Middle Ages. This incident in the life of Christ is depicted both historically and as a religious mystery. Among the more noted and familiar paintings which illustrate this theme, the following may be mentioned.

Last Supper. A picture by Giotto di Bordone (1276-1336). In the refectory of the convent of Santa Croce at Florence, Italy. The earliest representation of this subject in Western art.

"The arrangement of the table and figures, so peculiarly fitted for a refectory, has been generally adopted since the time of Giotto in pictures painted for this especial purpose."

Mrs. Jameson.

Last Supper. A fresco painting by Cosimo Rosselli (1439-1506). In the Sistine Chapel, Rome.

Last Supper. A composition by Ghirlandaio (1449-1494). Executed for the refectory of San Marco in Florence, Italy. "The arrangement is ingenious: the table is what we call of the horseshoe form, which allows all the figures to face the spectator."

Last Supper. A fresco discovered in 1845, in what was formerly the refectory of the convent of S. Onofrio, Florence, Italy. It bears in one place the name of Raphael and the date 1505, which circumstance has given rise to much discussion concerning its authorship. It is now generally agreed that it is the work of some other painterperhaps Pinturicchio.

"The authenticity of this picture has been vehemently disputed; for myself as far as my opinion is worth any thing I never, after the first five minutes, had a doubt on the subject." Mrs. Jameson.

Last Supper. A picture by An

drea del Sarto (1487-1531), gen- | erally considered as taking rank next after the representations of this subject by Leonardo da Vinci and Raphael. In the convent of the Salvi, near Florence, Italy.

Last Supper. A famous picture by Hans Holbein (1494-1543). At Basle, Switzerland. There is another and smaller work on this subject by the same artist in the Louvre at Paris.

Last Supper. A famous picture by Leonardo da Vinci (1452-1520). painted by order of the Duke of Milan, Ludovico Sforza, on the walls of the refectory in the Dominican convent of the Madonna delle Grazie. The figures, being above the eye, and to be viewed from a distance, are colossal. The picture is now in a state of great decay, but it is very familiar through the engraving of Raphael Morghen. There are many good old copies of this celebrated picture; one of the best being by Marco d'Oggione, about 1510, and now in the Royal Academy, London.

"When Leonardo da Vinci, the greatest thinker as well as the greatest painter of his age, brought all the resources of his mind to bear on the subject, there sprang forth a creation so consummate, that since that time it has been at once the wonder and the despair of those who have followed in the same path. True, the work of his hand is perishing-will soon have per ished utterly. Fortunately for us, mul tiplied copies have preserved, at least the intention of the artist in his work."

Mrs. Jameson.

"It is probably the most celebrated picture in the world; that is, the most talked of and written about,

a work full of melancholy interest, — a picture in ruins; and the imagination peoples the denuded walls with forms not inferior to those which time has effaced." G. S. Hillard.

"At the present day, when the work has almost disappeared, it still produces an irresistible effect from the attitude of the figures and the art with which they are formed into groups. · It is certainly the earliest work of that magnificent new style in which Michael Angelo and Raphael subsequently painted." Grimm, Trans.

grace,

Hangs there, a fitting veil; nor that alone-
Gaze on it also through a veil of tears!
Aubrey de Vere.

Last Supper. A picture by Domenico Ghirlandajo (1449-1498?). In the museum of St. Mark, Florence, Italy.

Last Supper. A picture by Jacopo Robusti, called Il Tintoretto (1512-1594).

Last Supper. An altar-piece by Dierick Steuerbout (d 1475), the Flemish painter. In the Church of St. Peter's at Louvain, Belgium.

Lateran, Palace of the. The old palace was the residence of the popes in Rome for nearly a thousand years, from the time of Constantine to the return of the Holy See from Avignon. It was finally destroyed by Sixtus V. The private chapel of the popes, and a portion of the dining-hall, are all that now remain of this famous building. The new or modern Palace of the Lateran was built by Sixtus V. In 1693 it was turned into a hospital; in 1843 it was converted by Gregory XVI. into a museum; and it is now the principal depository for antiquities found at Rome within the last few years.

Lateran. See OBELISK OF THE LATERAN and ST. JOHN LATERAN. Latin Convent, Nazareth. convent is the largest building

This