LOLLARD. The religious sect known as the Lollards, which had numerous adherents in this country towards the close of the 14th century, and differed in many points of doctrine from the Church of Rome, more especially as regarded the mass, extreme unction, and atonement for sin, is frequently said to have taken its name from a Walter Lollard or Lolhard, who was burnt alive for holding heretical doctrines at Cologne in 1322. But it would seem that Walter rather received his name from the sect, than gave a name to it : just as in the Prognosticatio ' of Johannes Lychtenberger (a work very popular in Germany towards the close of the 15th century), great weight is attached to the predictions of one Reynard Lollard (Reynhardus Lolbardus), who was no doubt so called from the sect to which he belonged. The real origin of the term appears to be the German ' lullen,' lollen,' or 'lane:4 to sing, with the well-known termination of hard' which is subjoined to so many German words; and it implied a person who was continually praising God in sacred songs. Lollard subsequently became a term of reproach for all heretics, who were supposed to conceal erroneous doctrines under the appearance of piety; and, in England, at the close of the 14th century, it was given to the followers of Wycliffe. Knighton, noticing the success of that reformer's doctrines (` Twysd. Script.' x. col. 2664) says," more than half of the people of England in a few years became Lollards." But the term was in use in England before Wycliffe began to preach ; and though the name may have been derived from Germany, it is pvetty certain that the opinions of the English Lollards were very different from those of the German sect. The German Lollards appear to have been pietiete, such as have frequently sprung up in the Romish Church, who devoted themselves to a more than usually strict observance of devotional duties and works of charity, mingled with something both of asceticism and mysticism, but in no way presuming to impeach the doctrines or discipline of the church. The English Lollards on the contrary were filled with what might be properly called 'Protestant' opinions, and they appear to have circulated numerous predictions directed against the higher clergy and the priestly orders, and in process of time they seem to have ventured on political as well as theological prognostications; and hence numerous acts of parliament and orders in council were directly or indirectly promulgated against them. It seems indeed probable that the Lollard prophecies and traditions served to keep alive among the common people the old Wycliffite doctrines; and thus smoothed the way for the easy progress of the Reformation in England.
On the Continent the Lollards long remained as a permitted order in the Church. Mosheim, in his 'Ecclesiastical History' (b.
part it, ch. 2), observes, " Charles, duke of Burgundy, obtained a decree from Sixtus IV., in the year 1472, by which the Cellitte, or Lollhards, were admitted among the religious orders, and were with drawn even from the jurisdiction of the bishops; and Julius II., in the year 1506, conferred on them still greater privileges. Many societies (he adds) of their kind still exist at Cologne and in the cities of the Netherlands, though they have essentially departed from their ancient manner of life." This of course was previous to the French revolution.
(Furetiere, Diciionnaire Universal; Mosheim, Institutes of Eccle siastical History, by Murdock, 8vo, Lond., 1832, vol. ii., pp. 454-456.) LOMBARDUS, LAMBERT, the designation of a painter whose actual name is not known. He is sometimes called Lamprecht Suster man or Suterman, and, according to some, Lambert Suavius, and also Lamprecht Schwab. The place of his birth is equally unknown ; it is said to be Liege or Amsterdam, more probably Liege, as he settled there after his return from Italy in 1538, and he died there in 1560, aged fifty-four. Vasari mentions Lamberto Lombardo as the most distinguished of all tho Flemish painters, and styles him a great letterato, a judicious painter, and an excellent architect ; but his account of him is contradictory : he had it from D. Lampsonius, who wrote Lambert's life iu Latin; it was published at Bruges in 1565, five years after his death. Lombardus studied under Jan de Mabuse before he visited Italy. Frans Floris, Hubert Golzius, and Willem Key were his scholars. His works consist chiefly of drawings with the pen in chiaroscuro. ' His coloured paintings are scarce ; there are two of small dimensions in the Gallery of Berlin ; there is a Pieta in the Pinacothek at Munich, which used to be attributed to Daniele da Volterra. Lambert's style is strictly Italian ; he is said to have studied under Titian at Venice, and he lived some time in Rome. The sur name of Lombardus was probably given to him by his Flemish coun trymen on account of his style, which, different from their own, they distinguished as the Lombard style; Lombardy being formerly the general name for the northern part of Italy. (Vasari, Vite de Piltori, &c.; Van Mender, Het Levee der Schildsrs, &c. ; Sandrart, Teutsche Academie, &c. ; Heineken, Nadrickten von Kiinstlern, &c. ; Fiorillo, Geschichte den Zeichnenden Innate, &c.)