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n. pl. lot·tos
1. A game of chance similar to bingo.
2. A lottery, typically with an accumulating jackpot, in which participants play numbers of their choice in a random drawing.

[Italian and French loto, both from French lot, lot, from Old French, from Frankish *lot.]


1. (Games, other than specified) Also called: housey-housey a children's game in which numbered discs, counters, etc, are drawn at random and called out, while the players cover the corresponding numbers on cards, the winner being the first to cover all the numbers, a particular row, etc. Compare bingo
2. (Games, other than specified) a lottery
[C18: from Italian, from Old French lot, from Germanic. See lot]


(ˈlɒt oʊ)

n., pl. -tos.
1. a game of chance that is similar to bingo.
2. a lottery, esp. one operated by a state government, in which players choose numbers that are matched against those of the official drawing.
[1770–80; < Italian < Germanic; see lot]
ThesaurusAntonymsRelated WordsSynonymsLegend: - a game in which numbered balls are drawn at random and players cover the corresponding numbers on their cardslotto - a game in which numbered balls are drawn at random and players cover the corresponding numbers on their cards
board game - a game played on a specially designed board


noun (Brit., S. African, & N.Z.) lottery, national lottery, draw, raffle, sweepstake If you won the lotto, what would you do with the money?


[ˈlɒtəʊ] N (= game) → lotería f
References in periodicals archive ?
'I like to do exhibitions that try to point out a problem in the history of art,' says Falomir, 'that try to present a painter who is not well known, like Bartolome Bermejo, or an aspect of a painter that's not well known, as we did with Lorenzo Lotto as a portrait painter.' He continues: 'I'm not crazy about blockbuster exhibitions: I firmly believe that the blockbuster era is almost over, because exhibitions are more and more expensive and museums are more reluctant than ever about lending their masterpieces.'
Not unlike the Arte Povera artists who played with viewership and art-historical memory--Giulio Paolini quoting Lorenzo Lotto, or Michelangelo Pistoletto appropriating a classical Venus--Celant used the works in "Post Zang Tumb Tuuum" to reflect back our act of looking: Seeing ourselves in the position of Goebbels, Mussolini, and, more generally, the interwar Italian public, we could realize this was the same public that saw (and caused) the collapse of parliamentarianism, the Fascist power grab, the enactment of racial laws, and World War II.
Contract award notice: Transport service of the temporary exhibition lorenzo lotto. Retro at the museo nacional del prado
Para iniciar el discurso expositivo del Renacimiento--dice Gaitan--se tiene la obra de Lorenzo Lotto, Pintaren su estudio (1527), que viene del Museo Franz Mayer, y acompana a un inedito y raro Concierto del frances Jacob Bunel, pintor de la epoca del rey Enrique IV, integrada por elementos muy adornados, por ejemplo, en la musica y los seres humanos.
Intorno alla figura di Lorenzo Lotto, studiato con passione da tutti e tre gli autori, emergono complesse, sottili trame di mutue influenze, a loro volta determinanti per lo sviluppo di larga parte della letteratura italiana del Novecento, e oltre.
La vida civil se abraza con el genero del retrato y las pinturas de Lorenzo Lotto, Alessandro Allori, Anton van Dyck, Agustin Esteve y Marques, Justus Sustermans y Marie Louise Elisabeth Vigee Le Brun, pintora de la corte de Maria Antonieta de Francia.
Marco Boschini is especially clear when he described the church in a clockwise manner after the removal of the barrier in 1664: "opera molto esquisita, di Lorenzo Lotto Bergamasco.
It is thought Raphael, who lived from 1483 until 1520, only sketched the outline of the fresco, with team member Lorenzo Lotto carrying out the 'Stallone' paintwork.
After appearing in portraits by master painters such as Lorenzo Lotto and Hans Holbein, they began to be known as "Lotto carpets" in southern Europe, and "Holbein carpets" in the north.
A number of the illustrations are of title pages, the earliest from Vasari's Le vite de'pia eccelenti pittori, scultori, e architettori published in Florence in 1568, the most recent being Bernard Berenson's Lorenzo Lotto: An Essay in Constructive Art Criticism published in London in 1895.
The artist Lorenzo Lotto kept a painting notebook in which he listed materials that he bought.
Ruvoldt's text is divided into six chapters and includes extensive reproductions of well-known Italian paintings and drawings (Lorenzo Lotto, Dosso Dossi, Michelangelo, Raphael, Titian, and Botticelli).