Table of Coefficients of Friction between Steel Journals and Bronze Bearings lubricated with Sperm Oil, and run at different Pressures, Velocities, and Temperatures (from Thurston).

Temperature, Degrees Fahr.

150 130

110 90

Velocity in feet per minute.

30. Press. Ib per sq. in.

⚫ 100.

200. 100. 50.

Press. Ib per

Press. Ib Press. b Press. Ib sq. in. per sq. in. per sq. in. per sq. in. 4.200. 100. 50. 4. 200. 100. 200. 100. 200. 100. 050-025-012 -125-014-002 003 063 005 003 005 004 006 006 016 005 007 125 008 002 003 063 005 003 005 004 006 007 010004 006 094 004 002 003 063 003 004 006 005 007 009| 005 003 004 094 004 002 003 063-007005-007-006 010-015

The journal upon which the above results were obtained was 1 inches in diameter and 14 inches long. With a larger journal the results would probably not be exactly the same. (R. H. S.*) LUCAN. MARCUS ANNEUS LUCANUS, the most eminent Roman poet of the silver age, grandson of the rhetorician Seneca and nephew of the philosopher, was born at Corduba, November 3, 39 A.D. His father, Lucius Annæus Mela, had amassed great wealth as imperial procurator for the province. In a memoir by an anonymous grammarian, who may have abridged Suetonius, Lucan is said to have been taken to Rome at the age of eight months, to have displayed remarkable precocity, and to have incurred the displeasure of Nero by overcoming him in a poetical contest. The latter statement seems to be founded upon a misapprehension of a passage in Statius's Genethliacon Lucani; but it is certain that Nero, whether from jealousy, as Tacitus affirms, or on account of the republican spirit of Lucan's poetry, forbade him to recite in public, and that his indignation made him an accomplice in the conspiracy of Piso, 65 A.D. Upon the discovery of the plot he is alleged to have endeavoured to purchase safety by impeaching his own mother ("hoping," says his translator Gorges quaintly, "that this impiety might be a means to procure pardon at the hands of an impious prince"). The statement, however, of Tacitus, that letters were forged in his name to implicate his father, warrants the suspicion that the evidence against his mother may also have been fabricated. Failing to obtain a reprieve, he caused his veins to be opened, and expired with great courage, repeating a passage from his Pharsalia descriptive of the death of a wounded soldier ("Lucan by his death approved," Shelley's Adonais). His father was involved in the proscription, his mother escaped, and his widow Polla Argentaria survived to receive the homage of Statius under Domitian.

Besides his principal performance, Lucan's works included juvenile poems on the descent of Orpheus and the ransom of Hector, an unfinished tragedy on the subject of Medea, and numerous miscellaneous pieces. The Carmen ad Pisonem sometimes attributed to him is now more commonly ascribed to Saleius Bassus. His minor works have perished, but all that the author wrote of the Pharsalia has come down to us. It would probably have concluded with the battle of Philippi, but breaks off abruptly as Cæsar, beset by foes, is about to plunge into the harbour of Alexandria. This incompleteness should not be left out of account in the estimate of its merits, for, with two capital exceptions, the faults of the Pharsalia are such as revision might have mitigated or removed. No such pains, certainly, could have amended the deficiency of unity of action, or supplied the want of a legitimate protagonist. The Pharsalia follows history with inevitable servility, and is rather a metrical chronicle than a true epic. If it had been completed according to the author's design, Pompey, Cato, and Brutus must have successively enacted the part of nominal hero, while the real hero is the arch enemy of liberty and Lucan, Cæsar Yet these defects,

real hero of Paradise Lost, it has been repeatedly observed, is no other than Satan; and Shakespeare himself succeeded no better than Lucan in preserving unity of action when he wrote his Julius Cæsar. The false taste, the strained rhetoric, the ostentatious erudition, the tedious harangues and far-fetched or commonplace reflexions so frequent in this singularly unequal poem, are faults much more irritating, but they are also faults capable of amendment, and which the writer might not improbably have removed. As pointed out by Dean Merivale, the bombastic style of composition which prevailed under Nero yielded to a more sober taste under the Flavian dynasty; and the lapse of time would have contributed to mellow the poet's immaturity and chasten the ardour of temperament which made him essay great themes "ante annos Culicis Maroniani." Great allowance should also be made for the difficulties the highest genius must encounter when emulating predecessors who have already carried art to its last perfection, and thus necessitated to choose between mere imitation and a conscious effort after originality. Lucan's temper could never have brooked the former course; his versification, no less than his subject, is entirely his own; he avoids all resemblance to his great predecessor with a persistency which can only have resulted from deliberate purpose, while largely influenced by the declamatory school of his grandfather and uncle. Hence his partiality for finished antithesis, contrasting strongly with his generally breathless style and turbid diction. Quintilian sums up both aspects of his genius with pregnant brevity," Ardens et concitatus et sententiis clarissimus," adding with equal justice, "Magis oratoribus quam poetis annumerandus." Lucan's oratory, however, frequently rises into the region of poetry, especially where it sets forth ideas essentially sublime, and impressive in the mere statement. Such are the apotheosis of Pompey at the beginning of the ninth book, and the passage in the same book where Cato, in the truest spirit of the Stoic philosophy, refuses to consult the oracle of Jupiter Ammon. The exordium of the poem, and the portraits of Cæsar and Pompey, are examples of oratory blazing up into poetry, as a wheel takes fire by friction. In some cases Lucan's rhetoric is frigid, hyperbolical, and out of keeping with the character of the speaker, as in Cæsar's address to his legions before Pharsalia; in general, however, it may be said that the more he is of an orator or a moralist the more he is of a poet. If this denotes that his genius was not essentially and in the truest sense poetical, the same may be said of Dryden and Pope; and it at least proves him to have been in harmony with the living forces of his age, in which rhetoric was a note of culture and philosophical humanitarianism a growing idea, while poetry, though widely cultivated, was becoming more and more a mere ornamental accomplishment. This is not the case with Lucan; his theme has a genuine hold upon him; in the age of Nero he celebrates the republic as a poet with the same energy with which in the age of Cicero he might have defended it as an orator. But for him it might almost have been said that the Roman republic never inspired a Roman poet.

Lucan never speaks of himself, but his epic speaks for him. The author of the Pharsalia must have been endowed with no common ambition, industry, and selfreliance, an enthusiastic though narrow and aristocratic patriotism, and a faculty for appreciating magnanimity in others which is at least some presumption that he possessed it himself. He probably bore a strong family resemblance to his uncle Seneca; but the only personal trait positively known to us is his conjugal affection, a characteristic of Seneca also

are brilliant, but unsafe. The most elaborate criticism is that in

desired.

The most celebrated editions of Lucan are those by Oudendorp (1728), Burmann (1740), and Weber (1829). Bentley's emendations Nisard's Études sur les Poëtes Latins de la Décadence, stern to the poet's defects and unkind to his deserts. Dean Merivale has some excellent observations in his History of Imperial Rome, chaps. liv. and Ixiv. Brebeuf's French version is celebrated. Christopher Marlowe, a kindred spirit, translated the first book of the Pharsalia into English, and there are other old versions by Sir Ferdinand Gorges and Thomas May. The latter's supplement is one of the best examples of modern Latin versification. Gorges's translation is in octosyllabic verse, and very curious. The standard English version, by Rowe, is one of the most successful translations in our language. It is somewhat too diffuse, but as a whole reproduces the vehemence and animation of the original with a spirit that leaves little to be (R. G.) LUCANIA, in ancient geography, was the name given to a province of Southern Italy, extending from the Tyrrhenian Sea on the west to the Gulf of Tarentum on the east, while to the north it adjoined Campania, Samnium, and Apulia, and to the south was separated by a comparatively narrow isthmus from the province of Bruttium, which forms the southern extremity of Italy. It thus comprised the modern province of the Basilicata, together with the greater part of the Principato Citeriore and a small portion of Calabria. The precise limits were the river Silarus on the north-west, which separated it from Campania, and the Bradanus, which flows into the Gulf of Tarentum, on the north-east; while the two little rivers Laus and Crathis, flowing from the ridge of the Apennines to the sea on the west and east, marked the limits of the province on the side of Bruttium.

Almost the whole of the province thus limited is occupied by the rugged masses of the Apennines, which in this part of Italy can hardly be said to constitute a range of mountains so much as a group of lofty inasses, huddled together in a very irregular manner. The main ridge, however (if it be taken as determined by the watershed), approaches much more nearly to the western sea than to the Gulf of Tarentum, and is continued from the lofty knot of mountains immediately on the frontiers of Samnium, nearly due south, till it approaches within a few miles of the Gulf of Policastro, and thenceforward is separated from the sea by only a narrow interval till it enters the province of Bruttium. Just within the frontier of Lucania rises the very lofty group of Monte Pollino, the highest summit of which attains to an elevation of above 7000 feet, the greatest that is found in the southern Apennines. Towards the east the mountains descend by a much more gradual slope to the Gulf of Tarentum, constituting long ridges of hills which subside by degrees to the strip of plain that immediately adjoins the shores of the gulf. This narrow strip is somewhat wider from the mouth of the Bradanus to that of the Siris, and again expands to a considerable extent at the mouth of the Crathis, but between the two a group of rugged hills descends quite to the sea, and forms the headland of Roseto. The consequence of this constitution is that while the rivers which flow to the Tyrrhenian Sea are of comparatively little importance, those that

descend towards the Gulf of Tarentum have much longer courses, and attain to a considerable magnitude. Of these the most important are-the Bradanus (still called Bradano), which rises near Potentia, and enters the gulf just to the north of the ruins of Metapontum; the Casuentus (Basiento), which has a course almost exactly parallel with the preceding; the Aciris or Agri; and the Siris or Sinno. The Crathis, which forms at its mouth the southern limit of the province, belongs almost wholly to Bruttium, but it receives a tributary, the Sybaris (Coscile), which flows from the mountains of Lucania. The only considerable stream on the western side of Lucania is the Silarus or Sele, which constitutes its northern boundary, and has two important tributaries in the Calor or Calore, and the Tanagrus, which joins it from the south, after flowing through one of those trough-like upland valleys so characteristic of the Apennines.

The province of Lucania was so called from the people of the 5th century B.C. of that name, by whom it was conquered about the middle Previous to that period it was included under the general name of Enotria, which was applied by the Greeks to the whole of the southernmost portion of Italy. The mountainous regions of the interior Chones, while the coasts on both sides were occupied by were occupied by the tribes known as Enotrians and Greek colonies, which attained to great power and prosperity, and doubtless exercised a kind of protectorate over the interior also. (See GRECIA MAGNA.) The Lucanians were a Sabellian race, an offshoot of the Samnites of Central Italy, who pressed downwards towards the south until they gradually conquered the whole country (with the exception of the Greek towns on the coast) from the borders of Samnium and Campania to the southern extremity of Italy. Subsequently, however, the inhabitants of the peninsula which forms the extreme south (now known as Calabria) broke out into insurrection, and under the name of Bruttians succeeded in establishing their independence, after which the Lucanians became confined within the limits already described. After this time we find them engaged in hostilities with the Tarentines, and with Alexander, king of Epirus, who was called in by that people to their assistance, 326 B.C. It was immediately after this that they first entered into relations with Rome, with which they were sometimes in alliance, but more frequently engaged in hostilities, during the long-continued wars of the Romans with the Samnites. On the landing of Pyrrhus in Italy (281 B.C.) they were among the first to declare in his favour, and in consequence found themselves exposed to the full brunt of the resentment of Rome when the departure of Pyrrhus left his allies at the mercy of the victorious Romans. It was not, however, till after several campaigns that they were reduced to complete subjection (272 B.C.). Notwithstanding this lesson, the Lucanians again espoused the cause of Hannibal during the Second Punic War (216 B.C.), and their territory became the theatre of war during several successive campaigns, and was ravaged in turn by both contending armies. It is clear that the country never recovered the effects of these disasters, and under the Roman government Lucania fell into a state of complete decay, to which the Social War (90-88 B.C.) appears to have given the finishing stroke. In the time of Strabo the Greek cities on the coast, once so rich and flourishing, had fallen into utter insignificance, and the few towns of the interior were poor places of no importance. A large part of the province was given up to pasture, and the mountains of the interior were covered with vast forests, which abounded in wild boars, bears, and wolves.

The towns on the east coast, adjoining the Gulf of Tarentum, were-Metapontum, a few miles south of the Bradanus; Heraclea,

at the mouth of the Aciris; and Siris, on the river of the same naine. Close to its southern frontier stood Sybaris, which was destroyed in 510 B.C., but subsequently replaced by Thurii, founded within a few miles of the same site. On the west coast stood Posidonia, known under the Roman government as Paestum, immediately south of the Silarus; below that came Elea or Velia, Pyxus, called by the Romans Buxentum, and Laus, near the frontier of the province towards Bruttium. Of the towns of the interior, none of which ever attained to any importance, the most considerable was Potentia, still called Potenza, and now the capital of the Basilicata. To the north, near the frontier of Apulia, were Acheruntia and Bantia; while due south from Potentia was Grumentum, and still farther in that direction were Nerulum and Muranum. In the upland valley of the Tanagrus were Atina, Forum Popilii, and Consilinum; Eburi (Eboli) and Volceii (Buccino), though to the

north of the Silarus, were also included in Lucania.

For administrative purposes under the Roman empire, Lucania was always united with Bruttium. The two together constituted the third region of Augustus. (E. H. B.) See GREEK LUCAS OF LEYDEN (c. 1494-1533) was born at Leyden, where his father Hugh Jacobsz gave him the first lessons in art. He then entered the painting-room of Cornelis Engelbrechtszen of Leyden, and soon became known for his capacity in making designs for glass, engraving copperplates, painting pictures, portraits, and landscapes in oil and distemper. According to Van Mander he was born in 1494, and painted at the age of twelve a Legend of St Hubert, for which as many florins were paid to him as he numbered years. He was only fourteen when he finished a plate representing Mohammed taking the life of a friar, and at fifteen he produced a series of nine plates for a Passion, a Temptation of St Anthony, and a Conversion of St Paul. The list of his engravings in 1510, when, according to Van Mander, he was only sixteen, includes a celebrated Ecce Homo, Adam and Eve expelled from Paradise, a herdsman and a milkmaid with three cows, and a little naked girl running away from a barking dog. It will be seen to what a variety of tastes the youthful artist was asked to cater. Whatever may be thought of the tradition embodied in Van Mander's pages as to the true age of Lucas of Leyden, there is no doubt that, as early as 1508, he was a master of name as a copper-plate engraver, and had launched his boat in the current which in those days led to wealth and to fame. The period of the great masters of etching, which had not yet come for Holland, was being preceded by the period of the great masters in the use of the graver. It was the time when art readily found its patrons amongst the large public that could ill afford to buy pictures, yet had enough interest in culture to wish to educate itself by means of prints. Lucas of Leyden became the representative man for the great public of Holland as Dürer became the representative man for the great public of Germany; and a rivalry grew up between the two engravers, which came to be so close that on the neutral market of Italy the products of each were all but evenly quoted. Vasari devoted almost equal attention to both, affirming indeed that Dürer si rpassed Lucas as a designer, but that in the use of the graver they were both unsurpassed, a sentence which has not been reversed by the criticism of our day. But the rivalry of the two artists was friendly. About the time when Dürer visited the Netherlands Lucas came to Antwerp, which then flourished greatly as an international mart for productions of the pencil and the graver, and it is thought, not without reason, that he was the master who took the freedom of the Antwerp guild in 1521 under the name of Lucas the Hollander. In the diary which Dürer faithfully kept during his travels in the Low Countries, we find that at Antwerp he met Lucas, who asked him to dinner, and that Dürer accepted the invitation, and was much surprised at the smallness of the Dutchman's stature. But he valued

LUCARIS, CYRILLUS (c. 1572-1638). CHURCH, vol. xi. p. 158.

In

the art of Lucas at its true figure, and exchanged the Dutchman's prints for eight florins' worth of his own. course of time Lucas rose to more than a competence. In 1527 he made a tour of the Netherlands, giving dinners to the painters of the guilds of Middleburg, Ghent, Malines, and Antwerp. He was accompanied during the trip by Mabuse, whom he imitated in his style as well as in his love of rich costume. But festive cheer and banquets disagreed with Lucas. On his return home he fell sick and remained ailing till his death in 1533, and when he died he did so with the firm belief that poison had been administered to him by some envious comrade.

As an engraver Lucas of Leyden deserves his reputation. He has not the genius, nor had he the tact, of Dürer; and he displays more cleverness of expression than skill in distribution or refinement in details. But his power in handling the graver is very great, and some of his portraits, especially his own, are equal to anything that was done by the master of Nuremberg. Much that he accomplished as a painter has been lost, because he worked a good deal upon cloth in distemper. But some pictures have been preserved which fairly 1522 he painted the Virgin and Child with the Magdalen and manifest the influences under which he became productive. In a kneeling donor, now preserved in the gallery of Munich. His manner was then very much akin to that of Mabuse. The Last Judgment in the town-hall, now the town-gallery of Leyden, is composed on the traditional lines of Cristus and Memling, furnished with monsters in the style of Jerome Bosch, and figures in the stilted attitudes of the South German school; the scale of colours in yellow, white, and grey is at once pale and gaudy; the quaintest contrasts are produced by the juxtaposition of alabaster flesh in females and bronzed skin in males, or black hair by the side of yellow, or rose-coloured drapery set sharply against apple-green or black, yet some of the heads are painted with great delicacy and modelled with exquisite feeling. Dr Waagen gave a most favourable opinion of a triptych now at the Hermitage at St Petersburg, executed, according to Van Mander, in 1531, representing the blind man of Jericho healed by Jesus Christ in the presence of the apostles. Here too the great German critic observed the union of faulty composition with great finish and warm flesh-tints with a gaudy scale of harmonies. The same defects and qualities will be public collections, amongst which may be mentioned the Card Party found in such specimens of the master's art as are still preserved in at Wilton House, the Penitent St Jerome in the gallery of Berlin, and the hermits Paul and Anthony in the Lichtenstein collection at Vienna.

A few days before his death Lucas van Leyden was informed of the birth of a grandson, firstborn of his only daughter Gretchen. Gretchen's fourth son Jean de Hoey followed the profession of his grandfather, and became well known at the Parisian court as painter and chamberlain to the king of France, Henry IV.

LUCCA, a city of Northern Italy, the chier town of a province, an archiepiscopal see, and the seat of a court of assize, lies 13 miles by rail north-east of Pisa, in 43° 50' N. lat. and 10° 28′ E. long. Situated 50 feet above the level of the sea, in the valley of the Serchio, the city looks out for the most part on a horizon of hills and mountains. The fortifications-pierced by four gates-were commenced in 1504 and completed in 1645, and long ranked among the most remarkable in the peninsula. The city has a well-built and substantial appearance, its chief attraction lying in the numerous churches, which belong in the main to a well-marked basilican type, and present richly decorated exteriors, fine apsidal ends, and quadrangular campaniles. The cathedral or church of St Martin was begun in 1063 by Bishop Anselm; but the great apse with its tall columnar arcades is probably the only remnant of the early edifice. The west front, "built during the first forty years of the 13th century, consists of a vast portico of three magnificent arches, and above them three ranges of open galleries covered with all the devices of an exuberant fancy." The ground plan is a Latin cross, the nave being 273 feet in length and 84 feet in width, and the transepts 117 feet in length. In the nave is a little octagonal temple or chapel built (1484) by Matteo Civitali, which serves as a shrine for the most precious of the Lucchese relics, a cedar-wood crucifix, carved, according to the legend, by Nicodemus, and miraculously conveyed to Lucca in 782. The Sacred