LEBRIJA, or Lebrixa, a town of southern Spain, in the province of Seville, near the left bank of the Guadalquivir, and on the eastern edge of the marshes known as Las Marismas. Pop. (1900) 10,997. Lebrija is 44 m. S. by W. of Seville, on the Seville-Cadiz railway. Its chief buildings are a ruined Moorish castle and the parish church, an imposing structure in a variety of styles—Moorish, Gothic, Romanesque—dating from the 14th century to the 16th, and containing some early specimens of the carving of Alonso Cano (1601-1667). There are manufactures of bricks, tiles and earthenware, for which clay is found in the neighbourhood; and some trade in grain, wine and oil.
Lebrija is the Nabrissa or Nebrissa, surnamed Veneria, of the Romans; by Silius Italicus (iii. 393), who connects it with the worship of Dionysus, the name is derived from the Greek νεβρίς (a “fawn-skin,” associated with Dionysiac ritual). Nebrishah was a strong and populous place during the period of Moorish domination (from 711); it was taken by St Ferdinand in 1249, but again lost, and became finally subject to the Castilian crown only under Alphonso the Wise in 1264. It was the birthplace of Elio Antonio de Lebrija or Nebrija (1444-1522), better known as Nebrissensis, one of the most important leaders in the revival of learning in Spain, the tutor of Queen Isabella, and a collaborator with Cardinal Jimenes in the preparation of the Complutensian Polyglot (see [Alcala de Henares]).
LE BRUN, CHARLES (1619-1690), French painter, was born at Paris on the 24th of February 1619, and attracted the notice of Chancellor Séguier, who placed him at the age of eleven in the studio of Vouet. At fifteen he received commissions from Cardinal Richelieu, in the execution of which he displayed an ability which obtained the generous commendations of Poussin, in whose company Le Brun started for Rome in 1642. In Rome he remained four years in the receipt of a pension due to the liberality of the chancellor. On his return to Paris Le Brun found numerous patrons, of whom Superintendent Fouquet was the most important. Employed at Vaux le Vicomte, Le Brun ingratiated himself with Mazarin, then secretly pitting Colbert against Fouquet. Colbert also promptly recognized Le Brun’s powers of organization, and attached him to his interests. Together they founded the Academy of Painting and Sculpture (1648), and the Academy of France at Rome (1666), and gave a new development to the industrial arts. In 1660 they established the Gobelins, which at first was a great school for the manufacture, not of tapestries only, but of every class of furniture required in the royal palaces. Commanding the industrial arts through the Gobelins—of which he was director—and the whole artist world through the Academy—in which he successively held every post—Le Brun imprinted his own character on all that was produced in France during his lifetime, and gave a direction to the national tendencies which endured after his death. The nature of his emphatic and pompous talent was in harmony with the taste of the king, who, full of admiration at the decorations designed by Le Brun for his triumphal entry into Paris (1660), commissioned him to execute a series of subjects from the history of Alexander. The first of these, “Alexander and the Family of Darius,” so delighted Louis XIV. that he at once ennobled Le Brun (December, 1662), who was also created first painter to his majesty with a pension of 12,000 livres, the same amount as he had yearly received in the service of the magnificent Fouquet. From this date all that was done in the royal palaces was directed by Le Brun. The works of the gallery of Apollo in the Louvre were interrupted in 1677 when he accompanied the king to Flanders (on his return from Lille he painted several compositions in the Château of St Germains), and finally—for they remained unfinished at his death—by the vast labours of Versailles, where he reserved for himself the Halls of War and Peace, the Ambassadors’ Staircase, and the Great Gallery, other artists being forced to accept the position of his assistants. At the death of Colbert, Louvois, who succeeded him in the department of public works, showed no favour to Le Brun, and in spite of the king’s continued support he felt a bitter change in his position. This contributed to the illness which on the 22nd of February 1690 ended in his death in the Gobelins. Besides his gigantic labours at Versailles and the Louvre, the number of his works for religious corporations and private patrons is enormous. He modelled and engraved with much facility, and, in spite of the heaviness and poverty of drawing and colour, his extraordinary activity and the vigour of his conceptions justify his claim to fame. Nearly all his compositions have been reproduced by celebrated engravers.
LEBRUN, CHARLES FRANÇOIS, duc de Plaisance (1739-1824), French statesman, was born at St-Sauveur-Lendelin (Manche) on the 19th of March 1739, and in 1762 made his first appearance as a lawyer at Paris. He filled the posts successively of censeur royale (1766) and of inspector general of the domains of the crown (1768); he was also one of the chief advisers of the chancellor Maupeou, took part in his struggle against the parlements, and shared in his downfall in 1774. He then devoted himself to literature, translating Tasso’s Gerusalemme liberata (1774), and the Iliad (1776). At the outset of the Revolution he foresaw its importance, and in the Voix du citoyen, which he published in 1789, predicted the course which events would take. In the Constituent Assembly, where he sat as deputy for Dourdan, he professed liberal views, and was the proposer of various financial laws. He then became president of the directory of Seine-et-Oise, and in 1795 was elected as a deputy to the Council of Ancients. After the coup d’état of the 18th Brumaire in the year VIII. (9th November 1799), Lebrun was made third consul. In this capacity he took an active part in the reorganization of finance and of the administration of the departments of France. In 1804 he was appointed arch-treasurer of the empire, and in 1805-1806 as governor-general of Liguria effected its annexation to France. He opposed Napoleon’s restoration of the noblesse, and in 1808 only reluctantly accepted the title of duc de Plaisance (Piacenza). He was next employed in organizing the departments which were formed in Holland, of which he was governor-general from 1811 to 1813. Although to a certain extent opposed to the despotism of the emperor, he was not in favour of his deposition, though he accepted the fait accompli of the Restoration in April 1814. Louis XVIII. made him a peer of France; but during the Hundred Days he accepted from Napoleon the post of Grand Master of the university. On the return of the Bourbons in 1815 he was consequently suspended from the House of Peers, but was recalled in 1819. He died at St Mesmes (Seine-et-Oise) on the 16th of June 1824. He had been made a member of the Académie des Inscriptions et Belles-Lettres in 1803.
See M. de Caumont la Force, L’Architrésorier Lebrun (Paris, 1907); M. Marie du Mesnil, Mémoire sur le prince Le Brun, duc de Plaisance (Paris, 1828); Opinions, rapports et choix d’écrits politiques de C. F. Lebrun (1829), edited, with a biographical notice, by his son Anne-Charles Lebrun.
LEBRUN, PIERRE ANTOINE (1785-1873), French poet, was born in Paris on the 29th of November 1785. An Ode à la grande armée, mistaken at the time for the work of Écouchard Lebrun, attracted Napoleon’s attention, and secured for the author a pension of 1200 francs. Lebrun’s plays, once famous, are now forgotten. They are: Ulysse (1814), Marie Stuart (1820), which obtained a great success, and Le Cid d’Andalousie (1825). Lebrun visited Greece in 1820, and on his return to Paris he published in 1822 an ode on the death of Napoleon which cost him his pension. In 1825 he was the guest of Sir Walter Scott at Abbotsford. The coronation of Charles X. in that year inspired the verses entitled La Vallée de Champrosay, which have, perhaps, done more to secure his fame than his more ambitious attempts. In 1828 appeared his most important poem, La Grèce, and in the same year he was elected to the Academy. The revolution of 1830 opened up for him a public career; in 1831 he was made director of the Imprimerie Royale, and subsequently filled with distinction other public offices, becoming senator in 1853. He died on the 27th of May 1873.
See Sainte-Beuve, Portraits contemporains, vol. ii.