**Lucas Jacobs**, an eminent artist, and more generally known by the name of Lucas van Leyden, 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, dressed well, and lived in a superior style. It is said that a few years before his death he made a tour in Zealand and Brabant; and that, during his journey, a painter of Flushing, envious of his great abilities, gave him poison at an entertainment, which, though very slow in its operation, proved fatal in its effect, and put an end to his life, after languishing six years under its cruel influence. Others deny the story of the poison, and 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 fifteen, he painted a St Hubert which gained him great applause. His tone of colouring is good; his attitudes, making allowance for the stiff German taste, are well chosen; his figures have considerable expression in their faces, and his pictures are very highly finished. In the town-hall at Leyden, the most capital picture of Lucas, the subject of which is the Last Judgment, has been 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 distemper 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, 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 any wish to depreciate each other's merit. 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 Mecklen. 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 to his engravings, with all their neatness, an unfinished appearance, much unlike the firm substantial effects which we find in the works of Albert Durer. He was very attentive to the minutiae of his art. Everything 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. He engraved upon wood as well as upon copper, but his works on the former are by no means numerous. They are, however, very spirited, though, upon the whole, not equal 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.

Lucas, Richard, 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, London, and lecturer of St Olave's, in Southwark. He was created doctor of divinity, and in 1696 installed prebendary of Westminster. His sight began to fail in his youth, and he totally lost it in his more advanced 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; and, 4. A Latin translation of the Whole Duty of Man. He died in 1715.