LANDON, Charles Paul (1760–1826), French painter and art-author, was born at Nonant in 1760, entered the studio of Regnault, and carried off the first prize of the Academy in 1792. After his return from Italy, disturbed by the Revolution, he seems to have abandoned painting for letters, but he began to exhibit in 1795, and continued to do so at various intervals up to 1814. His Leda obtained an award of merit in 1801, and is now in the Louvre. His Mother’s Lesson, Paul and Virginia Bathing, and Dædalus and Icarus have been engraved; but his works on painting and painters, which reach nearly one hundred volumes, now form his chief title to be remembered. In spite of a complete want of critical accuracy, an extreme carelessness in the biographical details, and the feebleness of the line engravings by which they are illustrated, Landon’s Annales du Musée, in 33 vols., form a vast repertory of compositions by masters of every age and school, which will always have value for the writer on art. Besides this work and many others of less importance, Landon published Lives of Celebrated Painters, in 22 vols.; An Historical Description of Paris, 2 vols.; a Description of London, with 42 plates; and descriptions of the Luxembourg, of the Giustiniani collection, and of the gallery of the Duchesse de Berry. He died at Paris in 1826.
LANDON, Letitia Elizabeth (1802–1838), a writer of poetry and fiction, better known by her initials L. E. L. than as Miss Landon or Mrs Maclean, was descended from an old Herefordshire family, and was born at Chelsea, 14th August 1802. Her father, an army agent, succeeded in amassing a large property, which he lost by speculation shortly before his death. By this time the daughter by her contributions to the Literary Gazette and to various Christmas annuals, as well as by some volumes of verse, had acquired a wide literary fame. Probably her position in society contributed to the interest they awakened, but the gentle melancholy and romantic sentiment her writings embodied would in any case have secured her the sympathy and approval of a wide class of readers. Though deficient in condensation and finish, they occasionally display a richness of fancy and an aptness of language which might have ripened, by more sedulous culture, into true poetical worth. In June 1838 she married George Maclean, governor of Cape Coast Castle, but she only survived her marriage a few months, dying from an overdose of prussic acid, which, it is supposed, was taken accidentally.
For some time L. E. L. was joint editor of the Literary Gazette. Her first volume of poetry appeared in 1820 under the title The Fate of Adelaide, and was followed by other collections of verses with similar titles. She also wrote several novels. Various editions of her Poetical Works have been published since her death, the last being that with an introductory memoir by W. B. Scott, 1880. The Life and Literary Remains of Letitia Elizabeth Landon, by Laman Blanchard, appeared in 1841, and a second edition in 1855.
LANDOR, Walter Savage (1775–1864), born at Warwick, January 30, 1775, died at Florence, September 17, 1864. In the course of this long life he had won for himself such a double crown of glory in verse and in prose as has been won by no other Englishman but Milton. And with that special object of his lifelong veneration he had likewise in common other claims upon our reverence to which no third competitor among English poets can equally pretend. He had the same constancy to the same principles, the same devotion to the same ideal of civic and heroic life; the same love, the same loyalty, the same wrath, scorn, and hatred, for the same several objects respectively; the same affection and kinship to the spirit of the Romans, the same natural enjoyment and mastery of their tongue. Not accident merely but attraction must in any case have drawn them to enlist in the ranks and serve under the standard of the ancient Latin army of patriots and poets. But to Landor even more than to Milton the service of the Roman Muse was a natural and necessary expression of his genius, a spontaneous and just direction of its full and exuberant forces. At the age of twenty he published an eloquent and elegant vindication of her claims upon the service and devotion of modern writers, the first sketch or suggestion of a longer essay, to be published in its final form just fifty-two years later. In 1795 appeared in a small volume, divided into three books, The Poems of Walter Savage Landor, and, in pamphlet form of nineteen pages, an anonymous Moral Epistle, respectfully dedicated to Earl Stanhope. No poet at the age of twenty ever had more vigour of style and fluency of verse; nor perhaps has any ever shown such masterly command of epigram and satire, made vivid and vital by the purest enthusiasm and most generous indignation. Three years later appeared the first edition of the first great work which was to inscribe his name for ever among the great names in English poetry. The second edition of Gelir appeared in 1803, with a text corrected of grave errors and improved by magnificent additions. About the same time the whole poem was also published in a Latin form, which for might and melody of line, for power and perfection of language, must always dispute the palm of precedence with the English version. In 1808, under an impulse not less heroic than that which was afterwards to lead Byron to a glorious death in redemption of Greece and his own good fame, Landor, then aged thirty-three, left England for Spain as a volunteer to serve in the national army against Napoleon at the head of a regiment raised and supported at his sole expense. After some three months campaigning came the affair of Cintra and its disasters; “his troop,” in the words of his biographer, “dispersed or melted away, and he came back to England in as great a hurry as he had left it,” but bringing with him the honourable recollection of a brave design unselfishly attempted, and the material in his memory for the sublimest poem published in our language between the last masterpiece of Milton and the first masterpiece of Shelley—one equally worthy to stand unchallenged beside either for poetic perfection as well as moral majesty—the lofty tragedy of Count Julian, which appeared in 1812, without the name of its author. No comparable work is to be found in English poetry between the date of Samson Agonistes and the date of Prometheus Unbound; and with both these great works it has some points of greatness in common. The superhuman isolation of agony and endurance which encircles and exalts the hero is in each case expressed with equally appropriate magnificence of effect. The style of Count Julian, if somewhat deficient in dramatic ease and the fluency of natural dialogue, has such might and purity and majesty of speech as elsewhere we find only in Milton so long and so steadily sustained.
