(Jacobs), an eminent artist, more generally known by the name of Lucas van Leyden, or Hugens, was born at Leyden in 1494. He received his first instructions in the art of painting from his father Hugues Jacobs; but completed his studies in the school of Cornelius Engelbrecht. He gained much money by his profession; and being of a generous turn of mind, he spent it freely, drest well, and lived in a superior style. It is said, that, a few years before his death, he made a tour into Zealand and Brabant; and during his journey, a painter of Flushing, envious of his great abilities, gave him poison at an entertainment; which, though very slow, was too fatal in its effect, and put an end to his life, after six years languishing under its cruel influence. Others, denying the story of the poison, attribute his death to his incessant industry. The superiority of this artist's genius manifested itself in his infancy: for his works, even from the age of nine, were so excellent, as to excite the admiration of all contemporary artists; and when he was about 15, he painted a St Hubert, which gained him great applause. His tone of colouring (Mr Pilkington observes) is good, his attitudes (making a reasonable allowance for the stiff German taste) are well-chosen, his figures have a considerable expression in their faces, and his pictures are very highly finished. He endeavoured to proportion the strength of his colouring to the different degrees of distance in which his objects were placed: for in that early time, the true principles of perspective were but little known, and the practice of it was much less observed. In the town-hall at Leyden, the most capital picture of Lucas, the subject of which is the Last Judgement, is preserved with great care; the magistrates having refused very large sums which have been offered for it.

This artist painted not only in oil, but also in temper and upon glass. Nor was he less eminent for his engraving than for his painting. He carried on a familiar and friendly correspondence with Albert Durer. Lucas Durer, who was his contemporary; and, it is said, that as regularly as Albert Durer published one print, Lucas published another, without the least jealousy on either side, or with to depreciate each other's merit. And when Albert came into Holland upon his travels, he was received by Lucas in a most cordial and affectionate manner. His style of engraving, however, according to Mr Strutt, differed considerably from that of Albert Durer, "and seems evidently to have been founded upon the works of Israel van Mechlen. His prints are very neat and clear, but without any powerful effect. The strokes are as fine and delicate upon the objects in the front, as upon those in the distances; and this want of variety, joined with the feebleness of the masses of shadow, give his engravings, with all their neatness, an unfinished appearance, much unlike the firm substantial effect which we find in the works of Albert Durer. He was attentive to the minutiae of his art. Every thing is carefully made out in his prints, and no part of them is neglected. He gave great character and expression to the heads of his figures; but, on examination of his works, we find the same heads too often repeated. The hands and feet are rather mannered than correct; and when he attempted to draw the naked figure, he succeeded but very indifferently. He affected to make the folds of his draperies long and flowing; but his female figures are frequently so excessively loaded with girdles, bandages, and other ornamental trappings, that much of the elegance of the design is lost. He engraved on wood, as well as on copper; but his works on the former are by no means numerous. They are, however, very spirited; though not equal, upon the whole, to those of his friend Albert. The prints of this master are pretty numerous, but very seldom met with complete; especially fine impressions of them. For though they are, generally speaking, executed with the graver only, yet, from the delicacy of the execution, they soon suffered in the printing. Of his engravings the few following may be mentioned as among the principal. 1. Mahomet sleeping, with a priest murdered by his side, and another figure stealing his sword, a middling-sized upright plate, dated 1528, said to be one of his most early productions. 2. An ecco homo, a large plate, lengthwise, dated 1510. 3. The crucifixion on Mount Calvary, the same. 4. The wife men's offering, the same, dated 1513. 5. Return of the prodigal son, a middling-sized plate, lengthwise, dated 1518. 6. A large print lengthwise called the dance of Magdalen, dated 1519. 7. His own portrait, a small upright plate, dated 1525. 8. David playing before Saul, a middling-sized upright plate, dated 1525. This is a very fine print; the expression of Saul's countenance, in particular, is admirable. 9. A print known by the name of Uffington, which is the nearest of all the works of this master. It is in the collection of the king of France; and said by Marolles, and other masters, to be unique. But Bafan informs us, that M. Mariette had also an impression of this plate; and it has been since found in one or two other collections. It represents a travelling bag-piper with his family; himself playing as he goes along, and carrying two children in a basket at his back; his wife trudging by his side, supporting with one hand an infant on her shoulder, and with the other leading an ass loaded with two baskets, having two children in each; and another child going before, with a little dog, completes the singular group. This rare print is dated 1520, and is known to have been sold for 16 louis-d'ors. It is nearly 7½ inches high by 4½ broad; and has been twice copied. One of the copies is the reverse way; but the other is the same way with the original; and though not so well executed, might without a comparison be mistaken for it.

Lucas (Richard), D.D., a learned English divine, was born in 1648, and studied at Oxford; after which he entered into holy orders, and was for some time master of the free school at Abergavenny. Being esteemed an excellent preacher, he became vicar of St Stephen's, Coleman street, in London, and lecturer of St Olave's in Southwark. He was doctor of divinity; and in 1696 was installed prebendary of Westminster. His sight began to fail him in his youth; and he totally lost it in his middle age. He was greatly esteemed for his piety and learning; and published several works, particularly, 1. Practical Christianity. 2. An inquiry after happiness. 3. Several sermons. 4. A Latin translation of the whole duty of man. He died in 1715.