LICINIO— LIPPI. 85 his style, perhaps, independent of Gior- gione or Titian, though decidedly sti- mulated by their example. He gave greater force of light and shade than Giorgione, and was a rival of Titian. His heads possess great breadth and dignity, though, as may be said of near- ly all the later Venetians, they seldom exhibit any impassioned expression. Titian himself has not surpassed him in the richness, softness, and breadth with which he painted flesh. like those of other great Venetians, the works of Pordenone have sometimes been attributed to Titian, and like that painter he was careless and superficial in his latest works. He was a distin- guished portrait-painter. Bernardino licinio, a relation of Pordenone, was also a good portrait-painter. Works. Pordenone, cathedral, a Madonna, with St. Christopher, and his own Portrait. Venice, Manfrini Palace,, a Portxait of himself with his Sons (there is a similar subject at Hampton Court) ; San Rocco ; San Martino ; San Cristoforo, and other works: Aca- demy, a group of Angels ; San Lorenzo Gmstiniani with Saints; Sta. Maria dell' Orto. Udine, San Pietro Martire ; the Annunciation (damaged by restora- tion, mentioned by Vasari as Porde- none's master-piece). Treviso, cathe- dral, frescoes (1520). Castel San Sal- ▼atore, frescoes, from Lucca, Palazzo Montecatini. Piacenza, Santa Maria di Campagna, cupola. Fu)me, Palazzo Quirinale; Borghese Gallery. Florence, Uffizj Gallery; and Pitd Palace. Berlin Gallery, Christ washing the feet of his Disciples, and the Woman taken in Adultery. Two fine pictures, the Find- ing of Moses and the Adoration of the Kings, at Burleigh House, attributed zespectiYely to Titian andBassano, are, according to Dr. Waagen, works of Pordenone. ( Vasari, Zanettu) LIGOZZI, Jaoopo, 6. at Verona, 1548, <L at Florence, 1627. Tuscan School. An able scholar of Paul Vero- nese, who established himself in Flo- rence, and had a great influence on the Tuscan School ; and while he added vigour to Uie colouring of the Floren- tines, he gradually adopted a severer style of drawing. He painted in fresco and in oils with equal skill; he was, however, an ornamental painter, and belongs to the School of the MaecMnisH, those who painted quadri di Macchina pictures, remarkable for their size and more general eficsct. Agostino Carracci engraved some of his works. Works, Florence, Ognissanti, fres- coes in the cloisters; Santa Maria Novella, San Baimondo resuscitating an infieint. Imola, the Scalzi, the four Crowned Saints, SS. quattro Coronati. Pescia, Conventual Friars, the Martyr- dom of Santa Dorotea. {Lanzi.) LILIO, Andrea, called L'Anconttano, 6. at Ancona, 1555 ; d, at Ascoli, 1610. Boman School. A scholar and fol- lower of Federigo Barocci, and a dose imitator of his style. He painted chiefly in f^sco at Ancona, Fano, and Home, in the churches and in the Vatican and Lateran Palaces. His master-piece is the Martyrdom of St. Latirence, in Santa Caterina, at Ancona. In the nave of Sta. Maria Maggiore, at Fu>me, he represented in fresco the Saviour washing the feet of his Dis- ciples ; and in the cathedral of Fano, a picture of All Saints (tutt* i Santi), is spoken of as a great work by Lanzi. LIPPI, FnjppiNO, b, at Florence, 1460 ; d, at Florence, April 13, 1505. He occasionally signed himself Filip- pinus de Florentia. Tuscan School. He was the son of Fra Filippo Lippi, by Lucrezia BuU, and, in consequence of the early death of his father, the pupil of Sandro Botticelli. The scholar far surpassed his master in freedom and ease ; indeed, in some works Filip- pino appears as one of the greatest historical painters of his tune, while in
