Antwerp, was received into the guild in 1635, and took the freedom of that city in 1640; still living there in 1643, he is heard of at Amsterdam as early as 1652, and lived temporarily (1652-54 and 1661-71) at The Hague, where he was registered in the guild in 1661. Works: Visitation of the Virgin, Louvre, Paris; Christ on the Cross (1671), Nancy Museum; Allegory on Peace, Portraits of Admiral Tromp and his Wife, Amsterdam Museum; St. Peter, Rotterdam Museum; Scipio Africanus, Town Hall, Leyden; Abraham's Sacrifice, Brunswick Museum; St. Luke, Schwerin Gallery; Rustic Interior, Turin Gallery; Portrait of a Boy, Berlin Museum; Male Portraits (2), Dresden Museum; do., Old Pinakothek, Munich; others in Bergamo, Cassel, Copenhagen, and Oldenburg (2) Galleries, Cologne, Vienna, and Weimar Museums, Czernin Gallery, Vienna.—Allgem. d. Biogr., xix. 21; Ch. Blanc, École hollandaise; Engerth, Belvedere Galerie, ii. 243; Immerzeel, ii. 181; Kramm, iv. 998; Kugler (Crowe), ii. 391; Riegel, Beiträge, ii. 253; Van den Branden, 863; Zeitschr. f. b. K., iv. 5, 260.
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LIEZEN-MAYER, ALEXANDER, born
in Raab, Hungary, Jan. 24,
1839. History and portrait
painter, pupil of Vienna
and Munich Academies,
then of Piloty;
made his first success in
1867 with Maria Theresa
nursing a Poor Child;
then illustrated Schiller
and Goethe, and in 1870
went to Vienna, where he painted the Emperor.
After his return to Munich he painted
scenes from Cymbeline and Faust, made
illustrations for Scheffel's Ekkehard, Schiller's
Lay of the Bell, and Goethe's Faust.
Director of Stuttgart Art School in 1880;
professor at Munich Academy in 1883.
Works: Coronation of Charles of Durazzo
(1862); Canonization of Elizabeth of Thuringia,
Maria Theresa nursing Poor Child
(1867); Imogen and Jachimo, Faust and
Margaret, Elizabeth signing Mary Stuart's
Death-Warrant (1875); Irmgard and Ingo
(1877); Portrait of Emperor Francis Joseph;
Chorus of Nereids (1880), Miracle
of Roses (1883), National Museum,
Pesth; First Love (1884).—Dioskuren,
1865; Illustr. Zeitg. (1873), i. 9; (1875), i.
238; ii. 9; (1877), ii. 531; (1880), i. 454;
Kunst-Chronik, xv. 467; xvii. 261; xviii.
60; La Ilustracion (1880), i. 363; Müller,
337; Zeitschr. f. b. K., ii. 97; xv. 60; xix.
230.
LIFE, CIRCUIT OF, Hans Canon, Museum
of Natural History, Vienna; canvas, on
ceiling. One of the largest canvases ever
painted, the figures being three times
life-size. Allegorical illustration of the
birth and death of organic matter. In foreground,
Thought trying to solve the riddle
of life; in middleground, a bridge with
many persons of all ages, their movements
expressing the struggle for existence and
the strife for fame and power; at left, a
precipice and scenes of death; in the shadow
of the bridge's arch, the sphinx. Painted
in 1884-85.—Kunst-Chronik, xviii. 491;
xx. 284; Illustr. Zeitg. (1885), ii. 363.
LIFE'S IN THE OLD DOG YET, Sir
Edwin Landseer, John Naylor, London;
canvas. An old deer-hound, over-eager in
pursuit of a deer, has followed his prey in
a desperate leap from a high cliff; an ancient
sportsman, let down by a rope, sustains
the head of the dog and announces to
his companions above, in the words which
give a title to the picture, that he is still
alive. Royal Academy, 1838; Manchester
Exhibition, 1857.
LIGHT AND DARKNESS, SEPARATION
OF, Michelangelo, Sistine Chapel,
Rome; fresco on ceiling.
LIGHT OF THE WORLD, William Holman
Hunt, Keble College, Oxford; canvas.
The Saviour standing, with a lantern in his
hand, at a closed door, under a star-lit sky.
Painted in 1854. Presented by Mrs. Thomas
Combe to Keble College.
