LORENZO See also:

• LOTTO (Ital. for " lot ")
• LORENZO LOTTO (c. 1480-1556)

LOTTO (c. 1480-1556)  , See also:

• ITALIAN

Italian painter, is variously stated to have been See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• BERGAMO
• BERGAMO (anc. Bergomum)

Bergamo, See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice and Treviso, between 1475 and 1480, but a document published by Dr Bampo proves that he was born in Venice, and it is to be gathered from his will that 148o was probably the See also:

• YEAR

year of his See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth . Over-shadowed by the See also:

• GENIUS (from Lat. genere, gignere)

genius of his three See also:

• GREAT

great contemporaries, See also:

• TITIAN
• TITIAN (c. 1477-1576)

Titian, See also:

• GIORGIONE
• GIORGIONE (1477-1510)

Giorgione and See also:

• PALMA, JACOPO (c. 1480-1528)
• PALMA, or PALMA DE MALLORCA
• PALMA, or SAN MIGUEL DE LA PALMA

Palma, he had been comparatively neglected by See also:

• ART

art historians until Mr Bernhard Berenson devoted to him an "See also:

• ESSAY, ESSAYIST (Fr. essai, Late Lat. exagium, a weighing or balance; exigere, to examine; the term in general meaning any trial or effort)

essay in constructive art See also:

• CRITICISM
• CRITICISM (from the Gr. KpiTrlS, a judge, Kpivew, to decide, to give an authoritative opinion)

criticism," which not only restores to him his rightful position among the great masters of the See also:

• RENAISSANCE, THE

Renaissance, but also throws clear See also:

• LIGHT

light upon the vexed question of his See also:

• ARTISTIC

artistic descent . Earlier authorities have made See also:

• LOTTO (Ital. for " lot ")
• LOTTO, LORENZO (c. 1480-1556)

Lotto a See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of Giovanni See also:

• BELLINI
• BELLINI, LORENZO (1643-1704)
• BELLINI, VINCENZO (1801--18J5)

Bellini (See also:

• MORELLI, GIOVANNI (1816-1891)

Morelli), .of Previtali (See also:

• CROWE, EYRE EVANS (1799-1868)
• CROWE, SIR JOSEPH ARCHER (1828-1896)

Crowe and Cavalcaselle), of Leonardo da See also:

• VINCI, LEONARDO (1690-173o)

Vinci (Lomazzo), whilst others discovered in his See also:

• WORK

work the influences of Cima, See also:

• CARPACCIO, VITTORIO, or VITTORE (c. 1465-c. 1522)

Carpaccio, Dfirer, Palma and See also:

• FRANCIA (c. 1450-1517)
• FRANCIA, JOSE GASPAR RODRIGUEZ (c. 1757-1840)

Francia . Mr Berenson has, however, proved that he was the pupil of Alvise See also:

• VIVARINI

Vivarini, whose religious severity and See also:

• ASCETICISM

asceticism remained See also:

• PARAMOUNT (Anglo-Fr. paramont, up above, par el mont, up or on top of the mountain)

paramount in his work, even See also:

• LATE

late in his See also:

• LIFE

life, when he was attracted by the See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich glow of Giorgione's and Titian's See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour . What distinguishes Lotto from his more famous contemporaries is his psychological insight into See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character and his See also:

• PERSONAL

personal See also:

• VISION (from Lat. videre, to see), or SIGHT

vision—his unconventionality, which is sufficient to See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account for the See also:

• COMPARATIVE

comparative neglect suffered by him when his art is placed beside the more typical art of Titian and Giorgione, the supreme expression of the character of the See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period . That Lotto, who was one of the most productive painters of his See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time, could work for See also:

• THIRTY

thirty years without succumbing to the mighty See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of Titian's sumptuous colour, is explained by the fact that during these years he was away from Venice, as is abundantly proved by documents and by the See also:

• EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence of signed and dated See also:

• WORKS

works . The first of these documents, dated 1503, proves him to have lived at Treviso at this period . His earliest See also:

• AUTHENTIC (from Gr. aOO 'rns, one who does a thing himself)

authentic pictures, See also:

• SIR

Sir See also:

• MARTIN (Martinus)
• MARTIN, BON LOUIS HENRI (1810-1883)
• MARTIN, CLAUD (1735-1800)
• MARTIN, FRANCOIS XAVIER (1762-1846)
• MARTIN, HOMER DODGE (1836-1897)
• MARTIN, JOHN (1789-1854)
• MARTIN, LUTHER (1748-1826)
• MARTIN, SIR THEODORE (1816-1909)
• MARTIN, SIR WILLIAM FANSHAWE (1801–1895)
• MARTIN, ST (c. 316-400)
• MARTIN, WILLIAM (1767-1810)

Martin See also:

• CONWAY (Conwy, or Aberconwy)
• CONWAY, HENRY SEYMOUR (1721-1795)
• CONWAY, HUGH
• CONWAY, MONCURE DANIEL (1832–1907)
• CONWAY, SIR WILLIAM MARTIN (1856– )

Conway's " See also:

• DANAE

Danae (about 1498) and the " St See also:

• JEROME, JEROME KLAPKA (1859– )
• JEROME, ST (HIERONYMUS, in full EUSEBIUS SOPHRONIUS HIERONYMUS) (c. 340–420)

Jerome " of the Louvre (a similar subject is at the See also:

• MADRID

Madrid See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery ascribed to Titian), as indeed all the works executed before 1509, have unmistakable Vivarinesque traits in the treatment of the drapery and landscape, and cool See also:

• GREY, CHARLES GREY, 2ND EARL (1764-1845)
• GREY, HENRY GREY, 3RD EARL (1802-1894)
• GREY, LADY JANE (1537-1554)
• GREY, SIR EDWARD
• GREY, SIR GEORGE (1812–1898)

grey tonality . To this See also:

• GROUP

group belong the Madonnas at See also:

• LOTUS

LOTUS See also:

• BRIDGEWATER, FRANCIS EGERTON, 3RP DUKE OF (1736-1803)
• BRIDGEWATER, FRANCIS HENRY EGERTON

Bridgewater See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

House, See also:

• VILLA

Villa See also:

• BORGHESE

Borghese, See also:

• NAPLES
• NAPLES (Ital. Napoli, and Lat. Neapolis)
• NAPLES, KINGDOM OF

Naples, aid Sta Cristina near Treviso, the See also:

• RECANATI

Recanati altarpiece, the " Assuhhption of the Virgin " at See also:

• ASOLO (anc. Acelum)

Asolo, and the portrait of a See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young See also:

• MAN
• MAN, ISLE OF (anc. Mona)

man at See also:

• HAMPTON
• HAMPTON, WADE (1818-1902)

Hampton See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

Court . We find him at See also:

• ROME
• ROME (Roma)

Rome between 15o8 and 1512, at the time See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael was See also:

• PAINTING

painting in the See also:

• STANZA (Low Lat. stantia, Ital. stantia or stanza)

Stanza della Signatura . A document in the See also:

• CORSINI

Corsini library mentions that Lotto received moo ducats as an advance See also:

• PAYMENT (Fr. paiement, from payer, to pay; Lat. pacare, to appease, pax, peace)

payment for See also:

• FRESCO (Ital. for cool, " fresh ")

fresco-work in the upper See also:

• FLOOR (from O. Eng. flor, a word common to many Teutonic languages, cf. Dutch vloer, and Ger. Flur, a field, in the feminine, and a floor, masculine)

floor of the Vatican, but there is no evidence that this work was ever executed . In the next dated works, the " Entombment " at See also:

• JESI (anc. Aesis)

Jesi (1512), and the " Transfiguration," " St See also:

• JAMES
• JAMES (Gr. 'IlrKw,l3or, the Heb. Ya`akob or Jacob)
• JAMES (JAMES FRANCIS EDWARD STUART) (1688-1766)
• JAMES, 2ND EARL OF DOUGLAS AND MAR(c. 1358–1388)
• JAMES, DAVID (1839-1893)
• JAMES, EPISTLE OF
• JAMES, GEORGE PAYNE RAINSFOP
• JAMES, HENRY (1843— )
• JAMES, JOHN ANGELL (1785-1859)
• JAMES, THOMAS (c. 1573–1629)
• JAMES, WILLIAM (1842–1910)
• JAMES, WILLIAM (d. 1827)

James," and " St See also:

• VINCENT (or VINCENTIUS), ST
• VINCENT, GEORGE (1796-1831?)
• VINCENT, MARY ANN (1818-1887)

Vincent " at Recanati, Lotto has abandoned the dryness and cool colour of his earlier See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style, and adopted a fluid method and a blonde, joyful colouring .

In 1513 we find him at Bergamo, where he had entered into a See also:

• CONTRACT
• CONTRACT (Lat. contract us, from contrahere, to draw together, to bind)

contract to paint for 500 See also:

• GOLD
• GOLD [symbol Au, atomic weight 195.7(H = 1),197.2(0 =16)]

gold ducats an altarpiece for S . Stefano . The picture was only completed in 1516, and is now at S . Bartolommeo . From the next years, spent mostly at Bergamo, with intervals in Venice and Jesi in the See also:

• MARCHES, THE (It. Le Marche)

Marches, date the See also:

• DRESDEN

Dresden " Madonna," " See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ taking leave of his See also:

• MOTHER

Mother " at the See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin Gallery, the " See also:

• BRIDE (a common Teutonic word, e.g..Goth. bruths, O. Eng. bryd, O. H. Ger. prs2t, Mod. Ger. Bract, Dut. bruid, possibly derived from the root bru-, cook, brew; from the med. latinized form bruta, in the sense of daughter-in-law, is derived the Fr. bru)

Bride and Bridegroom " at Madrid, the See also:

• NATIONAL

National Gallery " See also:

• FAMILY

Family Group " and portrait of the Protonothary Giuliano, several portraits in Berlin, See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan and See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, numerous altarpieces in and near Bergamo, the strangely misnamed " See also:

• TRIUMPH (triumphus)

Triumph of Chastity " at the Rospigliosi See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

Palace in Rome, and the portrait of See also:

• ANDREA, GIOVANNI (1275-1348)

Andrea Odoni at Hampton Court . In 1526 or 1527 Lotto returned to Venice, where Titian ruled supreme in the See also:

• WORLD

world of art; and it was only natural that the example of the great See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master should have fired him to emulation, though his experiments in this direction were confined to an See also:

• ATTEMPT (Lat. adtemptare, attentare, to try)

attempt at rivalling the master's rich and ruddy colour-schemes . Even in the See also:

• CARMINE

Carmine altarpiece, the " St See also:

• NICHOLAS
• NICHOLAS (1841– )
• NICHOLAS (or NICLAES), HENRY (or HENDRIK) (c. 1501-C. 158o)
• NICHOLAS, SIR EDWARD (1593-1669)
• NICHOLAS, ST

Nicholas of See also:

• BARI
• BARI (anc. Barium)

Bari," which is his nearest approach to Titian, he retained his individualized, as opposed to Titian's generalized, expression of emotion . But it was only a passing phase, and he soon returned to the cooler schemes of his earlier work . Among his See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief pictures executed in Venice between 1529 and 1540 are the " Christ and the Adulteress," now at the Louvre, the " Visitation " at the Jesi Library, the " Crucifixion " at See also:

• MONTE

Monte S . Giusto, the Madonna at the Uffizi, the " Madonna and See also:

• SAINTS, BATTLE OF THE

Saints " at See also:

• CINGOLI (anc. Cingulum)

Cingoli, and some portraits at the Berlin and Vienna museums, the Villa Borghese and See also:

• DORIA, ANDREA (1466-156o)

Doria Palace in Rome, and at See also:

• DORCHESTER
• DORCHESTER, DUDLEY CARLETON, VISCOUNT (1573-1632)
• DORCHESTER, GUY CARLETON

Dorchester House . He is again to be found at Treviso from 1542-1545, at See also:

• ANCONA
• ANCONA, ALESSANDRO (1835– )

Ancona in 1550, the year in which he entirely lost his See also:

• VOICE (Fr. voix, from Lat. vox)

voice; and in 1552 he " devoted his See also:

• PERSON, OFFENCES AGAINST THE

person and all his See also:

• PROPERTY

property to the See also:

• HOLY

Holy Virgin of See also:

• LORETO

Loreto " and took up his See also:

• ABODE (from " abide," to dwell, properly " to wait for ," to bide)

abode with the monks of that See also:

• SHRINE (Lat. scrinium, a case or chest for books, hence a casket; from scribere, to write, Fr. ecrin, Ital. scrigno)

shrine . He died in 1556 .

A codex in his own See also:

• HANDWRITING

handwriting, discovered in the archives of Loreto, not only includes a See also:

• COMPLETE

complete statement of his accounts from about 1539 to his See also:

• DEATH

death, but has a most interesting entry from which we gather that in 1540 Lotto completed the portraits of Martin See also:

• LUTHER, MARTIN (1483-1546)

Luther and his wife . These portraits could not have been painted from life; they were presumably executed from some contemporary See also:

• ENGRAVING

engraving . See Lorenzo Lotto, by See also:

• BERNARD, CHARLES DE
• BERNARD, CLAUDE (1813-1878)
• BERNARD, JACQUES (1658--1718)
• BERNARD, MOUNTAGUE (1S2o—1882)
• BERNARD, SAINT
• BERNARD, SAINT (Iogo-1153)
• BERNARD, SIMON (1779—1839)
• BERNARD, SIR THOMAS, BART

Bernard Berenson (See also:

• LONDON

London, 1901) .