At nine o'clock on Wednesday | state equipages. The state hearse, evening, the remains of this cele- containing the body, was followed brated artist were removed, in a by a great number of noblemen and hearse and four, from his house gentlemen's carriages.

in Russell-square to Somerset-house The corpse was followed by four members of his family and his executor, attended by an old and faithful servant. On its arrival at the Royal Academy it was received by the council and officers of the institution, and placed with solemnity in the model-room, which had been previously hung with black cloth, and lighted with large wax tapers, and numerous wax candles in silver sconces. On Thursday morning the body lay in state in the model-room. The academicians, associates, and students, were all in attendance about ten o'clock, in the Royal Academy, and none but the private friends of the deceased were admitted to witness the lying-instate. Shortly before ten, the mourning coaches and carriages of the nobility entered the square of Somerset-house, and placed themselves in four lines. The family assembled in the library, and the mourners and members of the Academy met in the great exhibitionroom. At the head of the coffin was placed a large hatchment of the armorial bearings of the deceased, and the pall over the coffin bore escutcheons of his arms wrought in silk. The members of the council and the family having retired, the body lay in state all night. The old servant of the President watched through the night the remains of his kind and beloved master-a feeling in which he was very properly allowed to indulge by those who had the direction of the funeral.

The hearse arrived at the great west door of St. Paul's about a quarter before two, and about half-past two the body reached the choir, preceded by the dignitaries of the church, and the members of the choir, singing the sentences at the commencement of the burial service, to the solemn and affecting music of Croft. The body being placed on trestles, the chief mourner was seated in a chair at the head of the coffin, attended by the old servant of the deceased. The mourners being also seated on each side of the choir, the funeral service proceeded; the proper portions being chanted. The lesson was read by the Rev. Dr. Hughes, the canon residentiary, whose feelings were more than once so overpowered as to prevent his proceeding without a pause. Green's fine anthem, "Lord, let me know mine end!" was sung by the choir, accompanied by the organ; after which, the body was removed into the crypt, and placed under the centre of the dome, when the mourners being summoned, and preceded by the clergy and choir, went in procession to the centre, and turning to the right, formed a large circle, which during the time the music continued fell into a double line round the perforated brass plate, where the remainder of the service was read by the Bishop of Llandaff, Dean of St. Paul's, in a most impressive manner. The whole concluded with part of Handel's matchless Funeral Anthem, "Their bodies are buried in peace. The ceremony having conAt half-past twelve the body was cluded, the mourners returned to placed in a state hearse, which was their carriages. Afterwards the preceded by the Lord Mayor's car-academicians, associates, and sturiage and by the Sheriffs, in their dents of the Royal Academy, re

tired to Somerset-house, where refreshments were provided for them. His late Majesty having granted permission to the family publicly to exhibit, for their exclusive benefit, all the portraits of royal and distinguished personages painted for the King by Sir Thomas Lawrence, a number of other fine works from his pencil were obtained in addition from various quarters; and towards the latter end of May, 1830, the collection was opened to the public at the gallery of the British Institution. Of this exhibition, the following notice appeared in a popular weekly journal:

ties, arising from the singular costume, and from other circumstances, as the finest work of his life. While we gaze at it, we fully agree with him; but when we turn round, and behold his portrait of the venerable Pius, we at least hesitate to which the palm of excellence ought to be adjudged."

For the materials of this memoir we are greatly indebted, among other respectable publications, to the Annual Biography, A. Cunningham's Lives of Eminent Painters, the Gentleman's Magazine, and the Court Journal.

LEEPE (John Anthony Vander), "Of the three apartments of which a Flemish landscape painter, born the British gallery consists, the North at Bruges in 1664, and died in Room, containing twenty-one por- 1720, aged 56. He was born of a traits, the majority of them whole- distinguished and noble family, and lengths, painted by order of his formed his first ideas of painting by Majesty for the Waterloo Gallery observing the works of a young lady. at Windsor, is particularly attrac- His fancy led him to paint landtive; both because most of the scapes, which he always sketched pictures are new to the public, and after nature, and likewise to reprebecause they are the striking re sent views of the sea, in storms and semblances of distinguished and ce- in calms. His landscapes are very lebrated persons, several of them much in the taste of Genoels, and 'men of royal siege,' and all of them frequently in the style of Poussin. sharers, more or less conspicuous He painted with extraordinary and important, in the events of one readiness and ease, having a light of the most extraordinary periods of free touch, and a good tone of colour, history. It is not our intention to though sometimes it appears rather enter into any detailed description too grey; but his sea-pieces are of these pictures, but we cannot re- more highly valued than his landfrain from expressing our unbounded prospects. The figures in his picadmiration of two of them in par-tures are generally painted by Mark ticular, which appear to us to be transcendent; we mean, Francis the Second, Emperor of Austria,' and His late Holiness, Pope Pius VII.' We know of no productions of a similar kind, by any artist, ancient or modern, with which they would for an instant suffer in the comparison. It is said that Sir Thomas considered the portrait of the Emperor of Austria, in which he has conquered so many difficul

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Van Duvenede and Nicholas Kerckhove, two good masters, who adapted the figures to the subjects with great skill and propriety.-Houb., Pilk.

LEEUW, or DE LEONE (Gabriel), a Dutch painter of animals, &c., born at Dort in 1643, and died in 1688, aged 45. He received the first instructions in the art of painting from his father, Sebastian Vander Leeuw. Though he soon surpassed his father, he seemed conscious that

he stood in need of farther improve- | but his manner of pencilling and ment, and therefore to obtain a better colouring was quite different from taste, he resolved to travel to Italy, Gabriel's, and better adapted to the and in his progress visited France, taste of his countrymen; for he Turin, Naples, and Rome. He finished his neatly, and took all adopted for his model the style of possible pains to render them tranCastiglione and Philip Roos, called sparent, giving them also an agreeRosa da Tivola. He studied his able and natural tone of colour. Of scenes and every object after nature, all the Flemish artists he admired and spent whole days in the fields, Adrian Vandervelde; he made him to observe the forms, actions, and his model, and was so ambitious to attitudes of those different animals imitate him, that whenever he sat which he intended for his subjects, down to paint any design of his own, sketching them with great exactness, he always placed a picture of Adrian's by which he not only acquired the before him, that he might strike out habit of designing correctly, but some resemblance of that master, furnished himself with a variety of either in respect of his composition, objects proper to be inserted in many colouring, or design, so that his paintof his future compositions. When ings have always somewhat that rehe returned to Holland, his works minds one of Adrian.-Houb., Pilk. were much approved by the public, and bought at considerable prices; but as he painted expeditiously, and finished his pictures very fast, their numbers proportionably diminished their price, and he felt a severe mortification, on observing that the demand for his works decreased daily. That discouragement made him resolve to return to Rome and Naples, where he had formerly experienced the greatest success; but death prevented him from putting that project into execution. His invention was lively and ready, and his hand as expeditious as his thought. His pencil was free, broad, and firm, and his colouring showed the style of the Roman school; but that tone of colour was not agreeable to the Flemish taste, which seems to prefer the high finishing in pictures, and invincible patience in neat handling, to almost every other perfection in the art of painting.-Houb., Pilk.

LEEUW (Peter Vander), a Dutch painter, and brother of Gabriel, born at Dort about 1644. He painted the same kind of subjects as his brother, and with considerable merit,

LEGNANO, called LEGNANINO, (Stephano María), an Italian historical painter, born at Bologna in 1660, and died in 1715, aged 55. He received the first instructions in the art of painting from his father | Ambrogio, who at an early age sent him to Rome. He was first a disciple of Carlo Cignani, at Bologna, and afterwards of Carlo Maratti, at Rome, with whom he continued three years. During that time he applied himself diligently to copy the works of the best artists, and formed a peculiar style, extremely pleasing, in which he blended the different manners of the Romans, the Milanese, and the Bolognese painters. He painted subjects taken from the sacred as well as profane writers, which he executed with great spirit, especially in fresco. Some of his best works are at Milan, in which a judicious observer may behold a fine turn of thought and invention, a charming diffusion of light, and excellent arrangement of the chiaroscuro, a bold relief, and the whole touched with a free and sweet pencil. Vasari, Pilk.

LEISMAN (John Anthony), a | added landscapes in the back-ground German historical painter, born in of his pictures, in a style peculiar to 1604, and died in 1698, aged 94. himself, and admirably suited to his He became a painter by the force of subjects. However, he had a very his own exertions, without any in- peculiar expression in the eyes of structor, and merely by studying his female figures; a tender languishthe best paintings to be seen in his ment, a look of blended sweetness own country. After some years and drowsiness, unattempted before spent in close application, he travelled his time by any master, which he to Venice, and pursued his studies certainly conceived to be graceful. there so very assiduously after the But, although in some particular works of Titian, Tintoret, and Paolo forms it might happen to have a Veronese, that he rose into high desirable aud fine effect, yet as his esteem. The principal nobility in expression is the same in all, he is that city kept him constantly em- considered as a mannerist. Philip, ployed, and his paintings were ad- Earl of Pembroke, then Lord Chammired for their spirited and lively berlain, introduced him to Charles touch, also for the delicate colouring I., whose picture he drew, when in his sea-ports, landscapes, architec- prisoner at Hampton-court. He was ture, and historical compositions; also much favoured by Charles II., all which subjects he painted with who made him his principal painter, great truth, nature, and elegance. knighted him, and would frequently Balthasar Pozzo mentions two of converse with him as a gentleman his pictures as being universally ad- of great knowledge and accomplishmired one a landscape, with dreary ments. He was much employed mountains, from which issues a gang and caressed by the principal nobility of robbers to assault some unfortu- and gentry of the kingdom. He nate travellers; the other a sea-port fell in love with a beautiful English enriched with views of elegant build- lady, to whom he was soon after ing and antiquities.-Pozzo, Pilk. married, and purchased an estate at LELY (Sir Peter), a German Kew, to which he often retired in historical portrait painter, born in the latter part of his life. His only 1617, and died in 1680, aged 63. disciples were Greenhill and BucksHe was placed as a disciple under horn, and he appeared so jealous of Peter Grebber, at Haerlem, with having a rival in either of them, that whom he continued for two years; he would not permit them to see in and, at the age of twenty-five, was what manner he mixed or laid on accounted an excellent painter of his colours, nor how he marked and portraits. He visited England in distributed them with his pencil; 1641, where he at first painted though each of them copied the landscapes and historical subjects, works of their master to very great but finding more encouragement perfection.-De Piles, Vertue, Pilk. given to portrait painting, he turned LEMENS (Balthasar Van), a his attention that way, and became Flemish historical painter, born at unrivalled in the graceful airs of his Antwerp in 1637, and died in 1704, heads, the pleasing variety of his aged 67. He visited England after postures, and the elegance of his the Restoration, and followed his draperies. The hands of his por-profession. He had a free pencil, traits were remarkably fine and with a ready invention, and someelegantly turned, and he frequently times showed elegance in his figures.

But De Piles says, that owing to his ( settled in England, and published misfortunes in the latter period of in London an excellent edition of Palladio's Architecture, in folio, 1742.-Gen. Biog. Dict.

his life, he was constrained to procure a livelihood by making sketches for other painters.-De Piles, Pilk. LEMPEREUR, (John Dennis), a French amateur engraver, born at Paris in 1710. He possessed an extensive collection of pictures and drawings. For his amusement he etched a variety of plates, after Pietro da Cortona, Benedetto Castiglione, Vandyck, and others.— Strutt.

LEPICIE (Bernard), a French engraver, who was also secretary and historiographer to the academy of painting at Paris, where he died in 1755. His engravings of portraits and historical subjects are very fine. He compiled a catalogue of the pictures in the possession of the King, in 2 vols. 4to. His son, Nicholas Bernard, was a professor in the academy of painting and sculpture. He painted several fine pictures after the manner of his master, Carlo Vanloo.-Nouv.Dict. Hist.

LEMPEREUR (John Baptist Dennis). He was the son of John Dennis Lempereur, born at Paris in 1740, and inherited the taste and talent of his father. He etched several plates after various masters, as well as from his own designs.-painter, born at Breda about 1667.

Strutt.

LEMPEREUR (Louis Simon), a French engraver, born at Paris in 1725. He was a pupil of Peter Aveline, and followed the style of his instructor. We have several prints by this able artist, which prove him to have possessed very eminent talents. He was a member of the French academy. Strutt.

LEUR (N. Vander), a Flemish

Descamps says he was sent to Rome when he was only twelve years of age, and placed under the care of one of the cardinals, who observing his genius for the art, procured him access to the richest collections of paintings; and by that means afforded him an opportunity of seeing and studying the most capital performances of the great masters. LENS (Bernard), a miniature He devoted his whole time to his painter, who died about 1741. He improvement, and was as diligent was miniature painter and enamellerin his studies after nature as he was to George II. Lens's chief excel- in copying from the noblest models; lence consisted in copying the works till at last he was accounted the of great masters, particularly Ru- best copyist at Rome. He excelled bens and Vandyck, whose colour- in portraits, and might have been ing he imitated exactly. He was without a competitor in that branch, likewise painter to the Crown, by if he had confined himself entirely the title of enameller, which was to it. Though he was allowed to changed from limner when Boit held design and colour well, and underthe office. He published some stood perspective and architecture, drawing books, and several views. and might be esteemed a good He made two sales of his pictures, painter of history, yet his imaginaand died at Knightsbridge, whither tion was cold, and his invention he had retired from business. slow and difficult; so that it was Monthly Mag., Pilk.

LEONI (Jacomo), a Venetian architect, who died about 1746. He

rather a labour than a pleasure to him to undertake a composition. His best performance is in the