Th e G re a t Ma s te r s in Painting an d S cu lptu re W illiam s n Edited by G . C . o

B ERNARD I NO LU I NI TH E GREAT MASTERS IN PA INTING D PT RE AN S CUL U .

E b . C . I I O LI . D . dited y G W LL AMS N, TT

LI S T O F TH E S ERIES .

I B A. . B OTT ICELL . y STREETER

I B O . BRUNELLESCH . y LEADER SC TT

M A . CO IO . WY N B N O N . RREGG By SEL RI T ,

M. A . IV I . B G . Mc NEI L U S H F O H CR ELL y R RT ,

B the C H S B U RLA MA CC HI . DELL A RO B BIA . y MAR E A

B . S S . ANDREA D EL SARTO . y H GU I N N E

O P . DO NATELLO . By H E REA

W Ph. D . R D O U . B . N GE ARD y MARTI ,

I H S Y . GAUDENZIO FERRAR . By ET EL HAL E

CI . O G C . MS O N Litt. D . FRAN A By GE R E WILLIA , K M A IO IO . B CO O . . G RG NE By HER ERT ,

F . S O PE RK l N S . GI OTTO . By MA N

B S . V S M A . FRANS HALS . y GERALD DA IE ,

I I . O G C . M S O N Litt. D . LU N By GE R E WILLIA ,

B U C RU T T WE LL . MANTEGNA . y MA D

I W . M S . MEML NC . By . H J A E WEALE

IC O . O O N U H N OW E F. S A . M HAEL ANGEL By L RD R ALD S T ERLA D G R ,

I O . O G C . MS O N Litt. D PERUG N By GE R E WILLIA , W M A I O C C . . G . S . . P ER DELLA FRAN ES A By WATER ,

PIN R H I B VE Y N R H H PPS . TO ICC O . y E L MA C P ILLI

B . H EY . RAPHAEL . y H STRAC

B O M E . REMBRANDT . y MALC L B LL

B O P . RUBENS . y H E REA

U RUT TW E LL . S I GNORELLI . By MA D C - B the CO N S S O N ZO R U BO N . S ODOMA . y TE A L RE P I LI

M. A I O O . B . . O UG H O N O BO N . T NT RETT y J B ST T H L R ,

VAN C . B O N CU S E. S . A. DY K y LI EL T,

M. V S O . V . B R . A N N ELASQUEZ . y STE E

W MC U RDV M. A O O DA VI CI . C . LE NARD N By ED ARD ,

E DGC U MBE S TA LEV B . A . WATTEAU . By ,

I B O O N U H N OW R E. S .A . WILK E . y L RD R ALD S T ERLA D G E .

ND LO N D O N : GEO RGE BELL A S O N S .

I N LITT D L MS O . . . W I L G C . A ,

“ U O O F O U S S EL L I C D A TH R J HN R , R HAR ”

CO S W AV R . A. A ND H IS I F E AND PU PILS , , W , ” PO R I MI I U ES ETC. RT A T N AT R , z e s a g

LON DON

I 90 7

7 K, (O % 3 8 First u s Au u s I 8 p bli hed, g t, 99. R n 1 0 0 1 0 epri ted , 9 , 9 3. C a R ssu he per ei e, ’ P A U T HO R S REFA C E.

UT few words O f preface are needed to i ntrod uce this

book to the reader. It is necessarily a very imperfect s O f ketch the life and works of the painter, but it embraces , n I believe, all that is at present known regardi g him . f has b n O f Every ef ort been made , y dilige t search records s and work , to clear up some of the mysteries that surround ’ Lu ini s life, but in only a very few cases has the effort been s M uccessful . uch still remains to be done in delineati ng

s its this interesting life, and in ettling many of dates, and I can only hope that this little volume may serve a s an inducement to others to still more diligent inquiry .

W t s i h respect to the picture , I have endeavoured to

s s is s avoid uch critici m as purely de tructive . It is the

f n . easiest to make, and the most di ficult to substa tiate I a att ch considerable importance to tradition , and hesitate to distu rb it unless able to give well -defi ned reasons for

so . At doing the same time I have been critical , and , I hope, discriminative ; but in many cases have preferred O to leave a question pen , rather than to dogmatize upon A insuffi cient evidence . lmost every picture has been n b b ns carefully exami ed y me and , y mea of a large n collectio of photographs , I have compared picture with

m s picture, and included in y scrutiny tho e few works The which it has been impossible for me to examine . vi AUT HOR’S PREFACE record at the end of thi s volume is the result of this labour, and by it I am content to be judged . I believe such a comparison as I have adopted has never before

S O s f been sy tematically carried out , and , in act, it has only

s n as quite recently been po sible, i asmuch many pictures w s use The ere photographed for the fir t time for my .

s h s s as C learned re earc e of uch workers Burckhardt, rowe

Cavalcaselle E s s K and , a tlake, Jame on , ugler, Layard ,

M s n n Mr orelli , Nagler, Rumohr, Ro i i , Volckman , . Herbert

C S n s n ook , ig or Beltrami , and other , have bee laid under

n a nd s s heavy contributio , my thank are mo t heartily due to the authors and publishers O f these works . I would al so express my gratitude to Baron Edmond

M s Mr n n s C . Roth child , Prince Esterhazy, is ohen , Be so ,

O f and the Director the Hermitage Gallery, for the courtesy which enabled me to reproduce the pictures in

n s s their collectio s, and al o to the variou firms which have x kindly permitted the use of their e cellent photographs.

G . C. W . TA BLE O F CO NT ENT S

CHA PTER LI ST O F ILLUSTRATIONS B IBLIOGRAP HY I BIO IC . GRAPH AL I I H I . S MASTERS II I F CO O . RES W RK IV H I S FI O . NEST W RK P PI V. ANEL CTURES V O L O I I. W RK AT UGAN AND M LAN VII S I PIC PO I . PEC AL TURES AND RTRA TS

CATALO GUE O F TH E WO RKS BERNARD IN O LU IN I Austria - H unga ry British Isles Denmark France Germany Italy Russia S pain

INDEx .

L IS T O F ILL U S T RAT IO NS

S t. Catharine and Two Angel s Petersbu rg Pieta Hebrew Women Giving their Jewels Vul can F orgi ng Arm s for Achilles Three Girls Playing a t Forfeits The Bu a f Ca a n ri l O S t. th ri e Th e S election of S t. Jo seph The M adonna and Child Blessing a N un

The a nn An n and S t. Ba a a M do a and Child with S t. to y rb r

The Christ Lou vre The a nn and Chdand S Anna M do a il t. The Adoration of the M agi Pa ris The N ativity The Crowning of Christ Head of Christ Christ In Argument with the Phari sees S tudy for the same pict ure B rig/won Family of Tobit with the Angel The M arriage of the Blessed Virgin Head of Luini from Christ D isputing with D octors

The Presentation in the Temple The Adoration of the M agi S S arormo t. Catharine The Adora tion of the D ivine Child S aromzo The Interior D ecoration of the Ch u rch Of S an M auri zio Mila n

S t. A l n a and S t. Luc a m sam C u c pol o i i , fro the e h r h I a S a and A n an S a n s m sam C u c ppolit forz tte d t i t , fro the e h r h The Madonna of the Rose Hedge x LIST O F ILLU ST RAT IO NS

The M adonna and Child S usanna and the Elder

The Holy Family . The Ma donna and Child with Two S ai nts B udd -Pest!: S ketch for Three Children The D aughter of Herodias Florence h Ca a n T e M a rriage O f S t. th ri e The Passion Fresco L ug a no ’ ' oz M ila n a O f S t. C a a n B es zzClza el He d th ri e p , Th n a ur n n L u a e M ado n with O Lord a d S t. Joh g no M a rtha and M ary L in S t Petersbu r a Columb a . g BIB LIO GRA PHY .

C IVI I B I M n . AR H A STO R CO DELLA LO M ARD A . ila

L n n 1 888. A . The t n s s. ow L TTWELL I alia Ma ter , o do ,

K L n n 1 8 . B u e . AEDEKER, . G id to Italy o do , 95 ’ B MI L C L e ne r c e L m a . ELTRA , U A . art gli ar edi sa ri d lla o b rdia n 1 8 Mila , 97

1 8 Certosa di Pavia . 95

B I CO I . u u d n . 1 8 . AN N , C N ova G i a di Mila o 7 7

C s e des P n s. L n n 1 8 2 . BLAN . H i toir ei tre o do , 5

s e n ss n en . P s 1 88 . Hi toir de la re ai a ce Italie ari , 9

R n ss n in a n Art. B I O S . R NT N, e ai a ce It lia

- S m n L nd n 1 8 8. i pki , o o , 97

’ ’ B K m Ku n u nd Ku nstler. . Lu n in B s s RUN , ARL i i, oh e t D n n n B . t P s. B Lo n 1 8 RYAN ic io ary of ai ter ell, do , 93.

n i L n n 1 8 B C . Art u P n n . . UR KHARDT G ide to ai ti g Italy o do , 79 I O FI A x BURL NGT N NE RTS CLUB. Catalogue of E hibition of

L m P s. o bard icture 1 898.

C C . n u s n . n 1 8 8 ANTU, ESARE Gra de Ill trazio e Mila , 5 .

C I O G I I . T P . n 1 th n ENN N ENN N rattato della ittura Italia s ce t.

E AVALCAS ELLE. R n ss nc i CROW AND C e ai a e n Italy .

L n n 1 8 o do , 77.

s on B a . EASTLAKE, C. Note the rera G llery L n m n L n n o g a , o do , n L u Notes o the o vre.

L. P s LO S ff . L n n GRUNER , late of ca ale o do , n F c P n in Italia res o ai t g. xii BIBLIO GRAPHY

A. s of n and C n r . HARE, Citie Norther e t al Italy A n L n n lle , o do ,

MRS . s P n n . L n n HEATON, Hi tory of ai ti g o do ,

a n M s s in n e . HEWLETT . It lia a ter Natio al Gall ry L n n Hibberd, o do ,

B c D n . P HOEFER . iographi al ictio ary aris,

. M n n 1 8 1 . L d . ITALY Guide to urray, o o , 9

O S and Le n Art. JAMES N, acred ge dary

u L n n 1 8 2 M rray, o do , 7 . L n s n ege d of the Madon a. L n s n s s ege d of the Mo a tic Order .

s H i tory of Our Lord . M m n s . L n 1 8 e oir of o do , 59.

n Of P n n . u L n n 1 8 K . . UGLER Ha dbook ai ti g M rray, o do , 55

L I L. s P n n in . ANZ , H i tory of ai ti g Italy

O . l P u . R m 1 8 LOMAZZ Idea del a itt ra o e, 44 . ’ a P u . n 1 8 . Tratt to dell arte della itt ra Mila , 5 4

En s ns n r . O x 1 8 gli h tra latio of pa t ford, 59 .

W s Art. L . L n n 1 868 UEBKE, Hi tory of o do , .

B n s . MICHAUD . iographie U iver elle

I u . M LAN . G ide to In n MONKHOUSE, C. the Natio al Gallery . nn s L n n 1 8 I e , o do , 95

Mu - O I . a n P n s. L n n 1 8 2 M RELL It lia ai ter rray, o do , 9 3

D P n . M n 1 8 ella ittura Italia a ila , 97.

La l in B m . B m 1 8 2 Ga leria erga o erga o, 9 in m n Italian Painters Ger a Galleries.

‘ B l L n n 1 8 2 e l o do , 9

1 0 Of all ac s c nc n n art s is one m s 4, f t o er i g , thi the o t n c ssa n wn a manu ac u is e e ry to be k o , th t while f t re the work Of a n s n art is s man h d o ly, the work of the whole pirit of and as a s is so is it and a th t pirit , the deed of by wh tever c u an art is uc sam c power of vi e or virt e y prod ed, the e vi e u an c T a c is n or virtu e it reprod ces d tea hes. h t whi h bor of evil beget s evil ; and that which is born of valou r a nd u All a i inf honour teaches valou r and hono r. rt s either ec ” mu st ne n uca n. It o s tio or ed tio be or other of the e . ' ” R I Tb e ueen o llze A zr 1 8 8. USK N, Q f , 9 BERNARDINO LUINI

CHA PTE R 1 z e 8 3 8 BIOGRAPHICAL

T is to the fascinating pages of Vasari that the writer O f a book on an old Italian artist naturally turn s for biographical and historical information .

as s O is Inaccurate Va ari ften is , he the main authority for such detail s ; but with regard to Bernardino Luini he

s The is my teriously Silent . astonishment of all writers ’ on Lui ni at Vasari s omi ssion has been well expressed ’ ” I r by Rio in his work entitled De A t Chrétien . De ” ’ n ns toutes les lacu es, he says, qu on a signalées da ’ I O uvra e - a g incomplet de Vasari , celle ci est la fois la plus ” et impardonnable la plus incompréhensible. Abounding in references as Vasari is to artists of small

n n s importance incomparably i ferior to Lui i , Rio complain bitterly that il accorde a peine u ne mention courte et é s a un o d daigneu e peintre comme Luini , dont les euvres ’ fraichement écloses S étaient pour ai nsi dire imposées a ” a a recia tion son admiration ou d u moins son pp . It is this significant silence on the part of the O ld gossip that renders the task of delineati ng the life/ O f this artist s one almost of impo sibility .

l Vo . iii. 1 93. II 2 B ERNA RDINO LUINI

N 0 one has been able either to explain this omission or to remedy it . True it is that there are two references to Luini in ’ S O s own Vasari , but inaccurate are they, that the artist name is misspelt and his identity confused with that O f

. . 1 6 another man In volume iii (p . 5 ) Vasari writes thus sic M Bernardino del Lupino [ ], who was also a ilanese ; this artist was an exceedingly delicate and pleasing painter, as may be seen by many works from his hand

s . At S s which are still in thi city arone al o, a place about M M u r twelve miles from ilan , there is a arriage of O Lady, is x by this master, which admirably e ecuted , as are also

n O f O f S ta . M certai his pictures in the church aria, which are most perfectly painted in fresco [f a tte in f resco x peffltlissima mente] . Bernardino worked e tremely well

’ O il s la voroa nco in olzo molto ulita mente in al o [ p ], he was s O a mo t bliging person , friendly and liberal in all his To s actions . him therefore is de ervedly due all the praise which belongs by right to those artists who do themselves no less honour by the bourtesy O f their manners and the

O f t excellence heir lives, than by the distinction to which ” they attain in their art .

is O f This the only general notice the artist. In the fourth volume (page 547)there occurs thi s further passage : O f Bernardino di Lupino , whom we have already made s ome mention elsewhere, depicted various works for the Gianfranceso house of the S ignor Rabbia , which is situate

an O f M near S S epolcro, in the city ilan , the front of the house, that is to say, with the Loggie, halls , and other The O f apartments . subjects these pictures were taken ’ M ’ Th from Ovid s etamorphoses and other fables . e

figures are good and beautiful , and the work is carefully BIO GRAPHI CAL 3 executed and very delicately finished [belle e bnonefigure t m n e M M i e lavorate diliea a e t ] . In the onastero agg ore e Bernardino produc d certain works , having decorated the entire front of the high altar with stories O f different

and S C subjects , painted a picture of Our aviour hrist scourged at the column , with many other productions, all of which are of very fair merit [e molte altre opere elze ' ” tu lle sone ragzonevolzj . ‘ ’ These two passages complete Vasari s allusions to Luini and in them he gi ves not one single biographical his fact, and praise is either withheld or bestowed with a

the grudging hand , in terms very inadequate to merits of ’ T the master s poorest work . here must be some reason for this curious circumstance, and many writers of modern time have endeavoured to fathom the mystery without success . ’ The unfortunate result of Vasari s silence is that the ’ f u ini s e details O L life are shroud d in mystery .

He was born at Luino, on the shores of the Lago M 1 6 1 M aggiore, perhaps between 4 5 and 475. orelli

1 . 1 puts his birth at 475 He lived , it is known , till 533, and he is believed to have died at Lugano ; but at present

e nothing definite as to his birth, death , or burial, has be n

s di covered . T O f f here was, in the early part the fi teenth century , n a other eminent man who derived his name from Luino, one Bartolommeo of Luino, an architect, largely em ployed by the S forza family. T here had also been one Beato Giacomo of Luino , who had founded a church and a monastery in his native 1 place, and who died in 477, and whose nephew was W t called Bernardino . he her this nephew became the 4 BERNARDINO LUINI master of whom we write is a matter of complete un certainty .

Two n x as : other traditio s e ist to Luini one, that he was a pupil of S tefano S cotto (whom Orlandi calls A S cotto who G ndrea ), also is said to have taught audenzio was O f Ferrari ; and the other, that he the son one

M 1 0 0 . Giovanni Lutero of Luino, and went to ilan in 5 A He is said to have had two brothers , mbrogio and one A e Evangelista, and son, urelio, who lived b tween 1 0 1 8 53 and 5 4 ; while another writer, Brun , gives him

A . T three sons, Pietro, urelio, and Evangelista his series O f conjectures represents all that can be said as to ’ his Lu ini s early life . Of later years a few facts will be given in a succeeding chapter. “ a T Lomazzo, an e rly critic (born in his rattato ’ ” A s dell rte della Pittura, add but little information in O f 1 584 to our small stock knowledge. He certainly speaks of Luini in a more sympathetic manner when he “ ” s x writes of him as thi e cellent painter. He says he s n 1 0 0 was already di ti guished in 5 , and implies that he was a well - known and finished artist ere he reached ’ Lu i Milan . In another place he quotes a saying of ni s “ that a Painter without a k nowledge O f Perspective is ” 1 like a Doctor without a knowledge of Grammar. He O f al so speaks Luini as a poet, and refers to his poems in terms of praise ; but although careful search has been

A s made in the mbrosian Library, and in other likely place , nothing that can be attributed to our artist has yet been discovered . Lomazzo refers to several pictures by Luini that cannot

ma P ac . i I Lo zzo , ref e, vol . 6. BIO GRAPHICAL 5

now be traced , but in his allusions he never connects the w artist ith Leonardo, or refers to him as his pupil . The historian Morigia says that Luini wrote a treatise 1 on Ar ellati O f painting, and g includes Luini in his list M n ilanese writers, but here agai we have nothing to

s sub tantiate the statement . Not a line that can be attributed to the artist has at present resulted from the diligent search that has been made. F s O f ather S eba tian Resta, the younger two writers O f that name who apparently stood in the relationship O f grandfather and grandson , mentions most definitely G ” e in his alleria Portabile, in which he seems to quot

O f was from the information the elder Resta, that Luini S a pupil of cotto, and he also states that Luini came to M 1 ilan in 50 0 . In the eighteenth century we come to the Abbate a nd Luigi Lanzi , and he but quotes from Vasari, Resta ,

s t Lomazzo, and repeat their statements wi h slight cor rections . He alludes to the generally accepted portrait n S 1 2 and of Lui i at aronno, painted , it is known , in 5 5, from the aged appearance given by the artist to his own portrait in that picture, argues that Luini probably M 1 n reached ilan before 50 0 , and was one of Leo ardo da ’ Vinci s own pupils . Lanzi 2 upbraids Vasari for his want of sympathy with ’ O f n s the work Lui i , and he give to the master s pictures

and s n a far more accurate di crimi ating criticism . He n s A n refers to Eva geli ta and urelio Lui i , also named by and Lomazzo, to their works , but in biographical information he has nothing new to state

“ ” Ar ellati S c M l ii 1 . edio . 8 6. g , ript . 2 ’ R sco s transl n . i o e atio , vol i. 494. 6 BERNARDINO LU INI

’ From Lanzi s time to that of Ruskin but little atten tion was given to Luini either by writers or travellers, or by the custodians of galleries . The error made by Lanzi when he call s Luini the most distinguished imitator of Leonardo was accepted ’ f Bem ardinos as a matter O fact. Pictures now known to be work were in all the great European galleries either attributed to Leonardo , or else pronounced to be copies of his works or ideas taken from them and executed by “ ” ’ his wa O f Lu ini s pupil , and in this y the importance own original work was overshadowed. n Other circumsta ces combined with this ignorance, with the result that Luini was practically forgotten . His best fresco pictures were at places that the eighteenth century traveller in Italy seldom visited . S aronno and C M Legnano, omo and Lugano, Ponte and onza lay out

O f . T l im the way hey were sma l places , of but slight portance, and comparatively inaccessible ; and buried ’ in the churches O f these towns were Lu ini s finest

s work . The M M n r galleries of ilan and unich , Lo don , Pa is, F Rome, lorence, and Vienna all contrived to ignore the F n artist and to attribute his works to the great lorenti e, the glamour of whose name overshadowed all the artists O O f n of his school . S the fame Lui i died . It was left for a later period and for the genius O f s K C Ru kin and the critical investigations of ugler, rowe Cavalcaselle M and , and of orelli to brush away the dust O and error of past times, and allow Luini nce more to have the credit of his own works . It was too late,

’ Roscoe s ns a n vol. II. 2 tra l tio , 49 .

8 BERNARDINO LUINI

t a cheerfulness and sinceri y, a grace and feeling which ” his give an elevated pleasure to the student of works . Morelli was the first among the critics to recognize that it was erroneous to consider Luini solely as a pupil n x of Leonardo . By di t of careful e amination he revealed ’ L ini s the special characteristics of u work . He speaks “ ofhim as not gifted with any great power of imagination , n s S and as a creative ge iu far below odoma, but an ex ” tremel . y conscientious painter, and full of charm In another passage Morelli draws attention to the ’ peculiarities O f Luini s drawing.

H is forms , says he, are round and somewhat heavy, toob road the feet usuallytoo long and the hands and large, eyes long and narrow, and lips protruding and then he distinctly makes the statement that he was a pupil of n Borgogno e, although at one time in his career an imitator As of Leonardo . already mentioned , Luini is said to M have come to ilan in 1 50 0 . Leonardo da Vinci had left it in the previous year. The F great lorentine had written to Ludovico S forza, s [ l Moro n M urnamed , who was gover ing ilan during the O f w minority his nephe , Giovanni Galeazzo, and who was gathering to his court all the great and clever men of the ’ f n O s e. day, f ering his service to the duk Lore zo s mag nifi cent x - n court had attracted the lu urious, comfort lovi g

s arti t, and Lorenzo was on his part only too glad to attach to his court the foremost worker of the day. n M It is not quite clear whe Leonardo arrived in ilan , 1 8 but probably it was previous to the year 4 7, and he remained there during the prosperity of his patron . was s He in comfortable circumstance , with an easy h to patron, and able to devote imself without anxiety BIO GRAPHICAL 9

' the pursuits which he loved and in which he so greatly excelled . The Padre Luca PaciOlO informs us that it was in ac c ordance with the special desire of [ l M 0 7 0 that Leonardo n n fou ded a academy .

The prince had long desired , he says , to form a union O f learned men and skilful artists who might reciprocally communicate their knowledge and forward the progress

. S of literature and the arts uch an academy, the first n n M was 1 8 1 86 ever k ow in ilan , founded about 4 5or 4 by Leonardo, and to it he gave his name.

Vasari vouches for this fact, while the manuscripts still A the in remaining in the mbrosian Library, and engrav gs A ” inscribed ccademia Leonardi Vinci , preserved in the same library, make the matter doubly certain . A mongst the scholars who shared the advantages of A Boltraffio M this cademy are said to have been , elzi ,

and s C . Lomazzo, esare da S e to n A Leonardo took considerable i terest in this cademy, and watched over it during his sojourn in the city : but in 1 499 an entire change took place in the government of M h . T e n ilan duke, who had steadily befrie ded the artist, his had to fly for life. The machinations of his enemies had resulted in a n M revolutio , and the city of ilan was taken by Louis the T O F f . The l l M 0 7 0 welfth rance duke, , was imprisoned

s s in the ca tle of Loche , and died there after ten years of n n confi eme t. Leonardo does not appear to have left Milan immedi n ately, hoping for the retur of] ! Mora and for the success

S n s af of his army of wiss merce arie , who ter all basely sold the F duke to the rench. Later on, however, Leonardo left I o B ERNARDINO LU INI

M n ila , retiring to his villa at Vaprio, thence to

Florence. is It , therefore, quite possible that Luini and Leonardo me t in M a oss e in il n , and even p ible that Luini receiv d r F n struction from the g eat lore tine master. f x Resta, however, a firms the e act contrary to be the t case, and says hat Luini did not reach Milan till after e S L onardo had left, and that cotto was his master, and

F - Gaudenzio errari his fellow pupil . Lafenestre M states that on his way to ilan , Luini stopped at Vercelli , and there met S odoma ; but he gives o t no auth rity whatever for his interesting statement, i a u wh ch , if re i tr e, is most important.

Be all this as it may, it is quite clear that the Leonard S O M esque influence, so strong and prevailing in ilan , n a ffected Luini to a very co siderable and definite extent. This fact will be brought out more clearly when we ’ d O f Lu ini s come to consider the second perio work, his

Leonardesque period , full of the influence of that master, but yet possessing certain unmistakable marks of original thought. There is so little left to the world O f Leonardo da ’ f The Vinci s own work that comparison is di ficult. great olo M Mona Lisa Cenac at ilan , the famous portrait of at

A nnuncia tion S t. A nne the Louvre, and the , the , and the

o ile Rocks M a donna f t in the same great gallery, the m uch -debated M adonna of tlze Rocks in the National om Adoration S t. er e Gallery, the j of the Vatican , the in F the lorence, and the wonderful cartoon at Royal an Academy, are about all the pictures that can with y d a s ort of accuracy be attributed to Vinci . Even in these the possibilities of definite study are b ut

’ h enacolo Wr Ba ttle o A n l ua ri few . T e C is a eck, the f g BIO GRAPHICAL 1 1 was O s A dora tion Uffizi never painted in il , the in the is A nne n S t. little more tha a cartoon , the unfinished , the

M ona Lisa A weird and mysterious, and our own cademy treasure a cartoon that bears many marks of damage r and pa tial destruction .

Cenacolo in Yet in all , especially in the ruined and the f n wonderful cartoon , there is su ficie t left to enable the ’ s x student to under tand Leonardo s fine drawing , e alted

i n s A - imag nation , and profound tech ical kill . well known writer thus speaks O f him : He was unquiet and curi

t s ous , wi h the restlessne s of his times , and the surface O f his deep soul was too much troubled and ruffled by countless i nfluences to reflect the pure blue O f heaven as ’ Lu ini s f n did . He Split up the river O his ge ius into too m s M any current , and we can hardly wonder that ichael A n e X as g lo and Leo . regarded him more a man of large ” s O f promi es than true fulfilment .

s s Ru kin , in his emphatic manner, contra ts the two men and their works to the praise of Luini and disparage n r ment of Leo a do . ” Luini , he says, is ten times greater than Leonardo, i f a mighty color st, while Leonardo was only a ine

s n C draught man in black, staini g the hiaroscuro drawing like a coloured print. Luini perceived and rendered the d elicatest types O f human beauty that have been painted

n O f s si ce the days the Greek , while Leonardo depraved his finer i nstincts by caricature and remained to the end of his days the slave of an archaic s mile ; and he is a de i as n s i x s Tintore s gner fra k, in truct ve and e haustles as t, ’ n O f while Leonardo s design is o ly an agony science, admired chiefly becau se it is pai nful and capable of ” e n analysis in its b st accomplishme t . 1 2 BERNARDINO LU INI

T hese are strong words , stronger than the occasion n ’ demanded , and less discriminative tha in Ruskin s usual mode . If the exquisite cartoon in the possession of the Royal A cademy be taken as representing the best work of ’ Leonardo, then Ruskin s criticism is far too strong and the condemnatory ; but words are valuable, and will serve to emphasize the statement that this monograph will ff over and over again contain , to the e ect that Luini was n no imitator of Leonardo, not eve his pupil , and that only at one period of his life did he fall under the influence of s the Leonarde que mannerism and feeling.

The men O two were always contrasts , Leonardo bjective,

s : n n Luini ubjective Leo ardo the genius , the epicurea , dwelling at courts, living a luxurious life, the favourite of the O f three monarchs, man science and the man of many and diversified talents ; Luini a man of limited talent, hardworking and industrious, having a large family and

s household care , and therefore obliged to work hard ’ O f n s Leonardo a man power, Lui i of ympathy ; Leonardo s ’ “ Luini S friends amongst the great and rich, amongst those who wept and those who prayed Leonardo doing few x O f works with an e treme perfection detail , Luini many, with his heart and his soul Leonardo aboveall a draughts man n s , Lui i a ympathetic poet, a sorrowful man , and yet

s able to comfort other . We have in these pages to deal with an original genius ; s but as he, in common with all other artist , owed much to

s his teacher and companions, it will be well to proceed his with more detail to examine the sources of inspiration. CH APTE R I I

H IS MAS TERS

the N dividing work of Luini into periods, it becomes apparent that early in his artistic career the influences O f F Bramantino oppa, Borgognone, and are those which characterize his productions . F O ppa was the only man of the Lombard S chool who th n n remained entirely outside e Leo ardo influe ce . He O f S and is looked upon as the father the Lombard chool , it is not needful in this chapter to go back to any earlier

n his his a period tha , or to consider connection with Padu ci n n or S qu ar o e. His best works are to be fou d at C r O f S avona, Brescia , and the e tosa Pavia, and his leading

s is his s characteri tic vigorous study O f form . His figure n are stro g and well set, generally solid and robust, and his n is colouri g dark and somewhat heavy , and marked

s s O f by the pre ence of a con iderable amount red . His

- flesh colours are gray or ash coloured . Without going into any elaborate details as to the two O f ss chief his succe ors , it may suffice for the purpose O f

s st s thi work to sum up their special characteri ic briefly . Borgognone is distinguished from his contemporaries n by one rigidly defined li e. A ll his pictures deal with

s s. sacred ubject He treats them in a calm , quiet manner the colouring O f the flesh is extraordinarily pale and

n s gray, the backgrou ds are trictly architectural there is 1 A 4. BERN RDINO LUINI

a marked use, in the earlier pictures especially, of gold ff ornaments , but with all the cold sti ness of the com position there is generally interwoven a pathos and n T sweet ess that is characteristic . here is far more detail ’ In Lu ini s his work than in , and draperies and robes, mitres, jewelry, and architectural ornamentation receive more care and more minute treatment than Luini ever condescends to supply. Bramantino has other features that distinguish his

flesh- work. His flesh is far more like and far less pallid

’ ‘ Bor o none s colou rin is i than is g g , his g very var ed , and T his palette a rich and diversified one. here is greater originality and vigour in his composition than Luini ever

Showed , and there are certain curious mannerisms that are noteworthy. The strange turban around the head of the Madonna is an almost invariable characteristic, and the round f bodied , puf y children an equally noteworthy mark . The face of the Madonna is generally lacking in ex a pression , and is merely melancholy and sentiment l , and the attendant male saints possess somewhat effeminate expressions and weak faces . One important feature in ’ Bra mantinos work is carefully pointed out by Crowe and Cavalcaselle :

A cross light, they say, reflected from below breaks

-defined each body into well portions , the greater breadth

- of space being in half tone, whilst the light and shade are ” reduced to streaks . Both of these artists appear to have had considerable influence upon Luini in the earlier part of his career, To before he came under the Leonardo sway. each of F them and to oppa he is indebted , and we are disposed

HIS MASTERS 1 5 to think that he owes even more to them than to T Leonardo . radition has hitherto stated that the earliest O f ta known work of Luini is the Pietd in the apse S . M The s in . Maria della Pas ione, ilan church was erected 1 8 1 0 1 6 2 in 4 5, added to in 53 , and in 9 still further n increased by a west fro t.

It is certain that Borgognone worked in this church, and there are in the sacristy several O f hi s paintings of ’ o n sai nts and prelates up n the ceili g. ie d o and m The P t is in a dark p sition , it is ost

O 1 8 8 difficult to get a good view f it. Until 9 it had the never been photographed , but, in connection with recent exhibition of Milanese works at the Burlington F n A C a i e rts lub , it was felt to be most important that 2 photograph should be taken , and the result completely

disposed O f the current tradition . The picture is an important and well - arranged com

’ ’ Luini s It position but has not any of individuality. is a l clearly not an e ry work from the pencil of any artist.

s It hows distinct signs of maturity, is well grouped , and

- well arranged , unusual in its composition , and quite dis two n tinctive in its faces . Only faces are remi iscent of one M r Luini , and the chief is that of the a y who stands

s s s by the cro s and hold up her hands in astoni hment. Her features especially recall a face that Luini adopts

a wide for the daughter of Herodi s ( the picture at Vienna), n ss is O s but the like e not a very bviou one. In all other n respects there is nothi g resembling Luini in it. The

’ Vide u a s an 1 2 . M rr y H dbook, p . 4 3 B ss s . An s n R m n m n s v y Me r der o of o e, the arra ge e t ha ing been

ma C u . e t Co o de for the l b by Mr Herb r ok, at wh se advi ce the picture

was photographed . I 6 B ERNARDINO LUINI

n s es background recalls Borgog one ; the attendant apo tl , s and F bi hops, saints , Gaudenzio errari the composition ,

M Bramantino. S olario and a ary with folded hands ,

It is no early work at all , and whoever may have painted i S O The it, most certainly Lum did not do . question ! then arises , which are the earliest works of the artist Bearing in mind the very defi nite statements of Resta and Lomazzo that in 1 50 0 he was already a distinguished painter, and comparing these statements with the gener ally accepted portraits O f the artist at S aronno a nd Lu ano we x g , have a period to account forwhich e tended for t e M n fifteen years , or even longer, ere h artist came to ila .

His birthplace, as already stated , is said to have been “ Old in 10 m O at Luino , and an house a pen space, reached ” from the lake by a steep, tortuous way, is pointed out ’ n n Th as the young Ber ardi o s dwelling. e townsfolk claim

s him as their child in a most definite manner. Hi name and place O f birth are marked upon the Piazza in conspicuous

hear letters , and the adjacent Via and Vicolo his name. ’ ”

W . . A ithin a stone s throw, said the late J B tkinson , ’ O f the parental dwelling is a jeweller and watchmaker s shop kept by two brothers who claim descent from the

s hear . T painter and till his name hey are fine, intelligent

s fellow , shrewd tradesmen , free from suspicion of art . A sensibilities . sister gives lessons in the Italian lan

and x s s guage, ne t door lives a cou in who boa ts of the ” higher calling of an advocate . n t S an I he church of Pietro near by, which stands on an eminence overlooking the small town , are some The frescoes ascribed to the artist. main one is eleven

Adora tion o tko Ma i feet long , and represents the f g . ff It is in terribly bad condition , but its general e ect can HIS MAST ERS 1 7

e M s the be seen . Th adonna, in red and blue, hold O f O ld Divine Child , who is in the act blessing one king A e who kneels before him . nna and Joseph are b hind n the kneeling king, the other two kings are approachi g, O f and near by, cut off from the rest the picture, are the

s Suites and follower . A representation of Lago Maggiore is in the back n A is an n s and grou d . bove a gel at a de k four other The angels . figures, and especially their heads , are

s clum ily painted , and it is quite clear that very much of

n The n an the fresco has bee repainted . kneeling ki g d

t. S t. A nn the figures of S Joseph and a , however, dis tinctl the n y remind student of Lui i , and recall the figures n in in the similar sce e depicted in fresco the Casa Litta , and now to be seen at the Louvre. There is a general sen se of immaturity in the fresco it ’ x Lu ini s O f e emplifies great fault in composition , a want

in s coherence the diversified scenes , a separation of cene n n from scene, and a general deficie cy in the pulli g to gether ” that another master would have given to the picture . F M h rom Luino it will be well to travel to ilan . T e

t G s x S . church of iorgio at Palazzo should be fir t e amined , ‘ the is Pieta and in third chapel on the right a , above it

Crow nin wit/z Tlzorns s s n O f a g at the side , the ce e the

S cou r i n Eeee H omo and Cru c ixion g g and , in the dome a if s cene .

O ne P i eta is feature about the , which by far the most

s important of this serie , is that a group of five figures appears in it which is exactly repeated in the great Lugano crucifixion ; and also that the representation O f Mary

M s s s agdalen , a mo t eloquent figure, at Lugano, i almo t C 1 8 BERNARDI NO LUINI

. T s equally powerful in this fresco here is in other respect , w s however, evidence of immaturity in these orks, slackne s

s in drawing and poverty in conception , and we con ider them to be quite early works , and include with them the n Lui o frescoes . M n ore close attentio must, however, be given to the fresco paintings which were originally in the Casa Pelu cca M near onza, and which now, unfortunately for critical

x in s s s. e amination , are everal eparate gallerie S ome of the frescoes are in the Brera, some in the Palazzo Reale M a nd t in n in ilan , o hers the Louvre, while the remaini g in M n ones are in two private collections in Paris and ila . T is here great variety in these frescoes , and they are taken from two distinct classes of literature . The sacred subjects include : The D ea th of the F irst horn The D epa rtu re f rom Egypt ; The P assage of the Red S ea The Tha nhsgi ving af ter the D estru ction of ’ Pha raoh s H ost; The F east of the H ebrews The B u ilding of the Ta hernacle ; The Ga thering of the M a nna Mou nt S ina i a nd the P ray er of M oses ; and The B ringi ng of r r m the Roch Wa te f o . The mythological scenes represent : The Birth of A donis The Meta morphosis of D aphne ; The S acrifice toP an; Vu lcan Forging A rins for A chilles and another

Vulcan in the Louvre, in which the Venus is a model of grace and seduction called Making a new Wing f or m hs Cupid; and The B athing of the Ny p . s su Beside these are certain domestic scene , ch as ’ three girls playing at a game offorfeits (gu ancialinod oro) and a child riding swiftly on a white horse. There is an interesting love story told of Luini in n F con ection with these elucca frescoes , and although we ‘

M zla n P a 1a zso R ea le. I . TH E H EBREW WO MEN O FFER NG M u ( o ta bone flwtoo THE I R J EWE LS FO R TH E CO N L S TRUCT IO N O F THE TA BERNAC E .

2 0 BERNARDINO LUINI

The lady, however, would have nothing to do with the murderer and still favoured the artist ; b ut her parents

e she interven d and was shut up in a convent, and years afterward s it is said Luini discovered her at Lugano when

x his s he went there to e ecute famous frescoe . In proof of the truth of the story the people of Monza o n T C p int to two places amed orneamento and riminale, which they say derive their names from the Tournament C and the rime respectively. They al so point to works by Luini in the Duomo and in the churches of S an Gerardo and S an Martino at

T s Monza. here is certainly a fine fre co by Luini in the

S an s n church of Gerardo representing the patron ai t, and others in Monza may possibly have been his work and

is whether the love story true or not, Luini was certainly C F n for a long time at asa elucca, and did there a lo g O f s series work . It is exceedi ngly doubtful whether a fall in the church of S an Giorgio at Palazzo would have killed the parish ’ s Lu ini s prie t , as works in that church are not at a great hei ht b u t is g , are easily accessible and it also strange that the painter should have been blamed for an occurrence in

so . The which he had little fault story is , however, given as a popular tradition, to be taken for what it is worth . The present house of La Pelu cca near Monza is only an e xtensive farm - house with a large entrance courtyard The o and various rooms around it. fresc es were removed 1 1 n Barezzi from it in 8 7 by S ignor S tefa o , for fear that they might be irretrievably damaged , and in order that the local gove rning body might use the house as a farm house and stables. Barezzi removed them by a plan which he claimed to VULCA N A ND V E N US FO RG ING M O F C I THE AR S A H LLES .

HIS MAST E RS 2 1

. e a have inv nted , that of attaching a canv s to the fresco and whe n quite dry peeling off the decoration together into o r with the layer of nac upon which they we e painted ,

and transferring them afterwards to boards . The t e process, which at h time was considered of mar

llou s . S ve importance, was not wholly successful ome of

the frescoes were much damaged , others reversed in appearance ; but the most serious mistake was that no account was kept of the position of the frescoe s in the

separate rooms, and that consequently it is impossible

now to reconstitute, even by a plan, this unique example

of interior decoration by Luini . There is only one fragment of work remaining at Casa Pelu cca , and that is in the vaulting of what was probably

the o T chapel , and was overlo ked . here is also a slab of

marble let into one of the mantelpieces , which was at one time underneath the two frescoes depicting Vulcan

and Venus that adorned these two fireplaces . The slab of marble, x bears the family arms

U : pon it, and the following inscription

VVLCANO ET CO NIVGI

GNI DEI DON O S ACRVM VOD E T N M N I S Q S O E . T O CCVL IVS QVANTO VRIT ACRIOR TAN DEM. ERVMPIT AVRVM VT EXCOQVENS N ITORI ADDIT

N1 PABVLVM ET DES IT FVTVRVS AETERNVS .

All these Pelu cca frescoes are exceedingly simple in

their conception , pleasing, and calm ; there is variety d fi about the figures , and there is a certain e niteness and

security in the technique ; but there is no passion , no n emotion , and Luini never rises in them to a ything above efi a certain level of good work, with an equally d nite l evel 2 2 BERNARDINO LU INI

of poor composition and unemotional expression . A ’ peculiar characteristic of Luini s style at this time is to be seen in the hair of many of the girls represented in these frescoes . Parted in the middle and tied at the s t back , it falls away on either side moo hly, but on the

s s neck and houlders straggles loosely into curly lock . The in girls playing at forfeits, Venus the Vulcan picture, the nymphs , and some of the Israelitish women, all have A this arrangement of hair. nother feature evidently borrowed from Bramantino is to be seen in certain head h dresses . T e Hebrew women in several pictures wear the curious turban headdress which is so characteristic aman ino of Br t . ’ Foppa s influence is to be seen in the sturdiness of the

figures , and their habit of standing squarely on their very Th large feet. e architectural backgrounds are from Borgognone and Bramantino; the occasional use ofgilded s n ornaments in these early work from Borgog one, and the pale flesh work from the same artist. The Leonardo influence is not yet ; the faces of the women are uninteresting and expressionless , ordinary s Lombard peasant girls , muscular and trong rather than dainty and refined , and bearing no evidence of the sweet and lovely development that was to follow. ’ s S Bramantino influence is , in ome pictures, so strongly marked as to render it diffi cult to separate the work of the two men . A The message of the angel to S t. nna is one of these The difficult pictures . headdress , the background , land

- Bramantino. The rie dieu scape, the trees , all bespeak p ,

S t. A however, at which nna kneels exactly resembles one n in the fresco in S t. Pietro at Luino ; the flying a gels are ’ I L GUANCIAL I N O D O RO t ( Al onta bone pho o. ) FO RFEITS ) .

24 B ERNARDINO LUINI more noticeable than the calm and peace of the entire The conception . angels are still Lombard peasant girls ; their hair falls in the same way, although a fillet serves to retain the upper part ; their limbs are strong and mus cular : but the charm of Luini has begun to appear, and ff e his secret, that which di erentiates him from L onardo , is visible in this picture. The secret to which we refer is the evident Simplicity of his religious feeling. One writer, commenting on this matter, doubts whether anyone can say that he has ’ felt the better for gazing on any picture of Leonardo s . He probably excepts the Cenacolo from this state C ment, although even in that it is the face of the hrist, or the little that remains of it, that conduces to peace or i religious feeling. But Luini , once the first trial per od passed , charms more and more. His pictures soothe and 1 “ purify, and as Rio truly says , Le sentiment chrétien ’ ” le domine sentiment de l art . This will be more evident o as we proceed t examine later works . The fresco to which we are now alluding will have to be noticed again , inasmuch as it forms a part of the series

‘ b Lu ini S t. C of pictures painted y , in which atharine of x Ale andria forms the most prominent figure .

In the whole series , however, we doubt whether Luini ever exceeded in mystic beauty this particular repre io sentat n of the S aint. It was the beginning of the finer work of the master ; but it was an inspiration , and the glowing words of Rio, in O f which he speaks this picture, may well conclude our ’ e sketch of the master s first period . Rio says of this fr sco,

“ ’ ” Rio De l Art C é en 1 8 . 1 . , hr ti , 74, p 94

HIS MASTERS 2 5

“ ’ a fra ment a whole le g only of series , that it is fruit d une inspiration vraiment céleste, peut se comparer avec les ’ plus parfaites productions de l art mystique en Toscane et O et e le F a en mbrie, j doute que peintre de iesole travers le prisme de ses visions b éatifiqu es ait jamais entrevu une figure plus ravissante que celle de S ainte Catherine portée le M par des anges sur mont antz , in his Chefs ’ ” “ ” d CEuvre , speaks of the tender care with which the “ angels carry their sweet burden toward its mysterious M ” tomb on the mountain, where God spake to oses. CH A PTE R I I I

FRES CO WORK E have now to consider a vast quantity of fresco ’ Lu ini s work and many panel pictures , the fruit of M i prolific pencil during his second period , or, as orell ” terms it, his maniera grigia . It is not at all necessa ry to imagine Luini in this period as an actual pupil of Leonardo da Vinci . If Resta and

acce ted he Lomazzo are to be p , could not have been taught by Leonardo. It is quite possible that he was not even at Leonardo’s A F cademy, but the influence of the great lorentine is M . was marked most surely ilan , when Luini reached it , ’ The s s full of Leonardo s fame. Skill of the great arti t wa w t every here praised , and o her artists from all parts of M Lombardy and Umbria were working in ilan , eagerly ’ copying Leonardo s productions , adopting his ideas in

his colouring, composition and expression , and following lead with determination and with skill . To paint in Milan during the period that followed 1 498 ’ was to paint in Leonardo s method . It was practically impossible for a Milanese painter to emancipate his ideas from the Leonardo influence, or to escape from the and Leonardo style of face expression , which dominated all his work and forced itself upon his attention . W e s now bid farewell , to all intents and purpose , to

28 BERNARDINO LU INI

In some of the earlier frescoes of the Pace series there are odd features in headdress and in hair; but the dull x The faces have given place to faces full of e pression . A M s S t. thank giving of nna when the adonna was born ,

“ the tenderness of the nurse bathing the infant, the care and solicitude of the three attendants , all mark a great ’ o change in the master s meth d, and bespeak careful

s In Election study from an actual domestic cene. the

o t ose h . f S . j p the faces are wonderfully fine and varied The r strength and power of the elde s , the bewilderment t of S . Joseph, the sorrow and surprise of the other suitors, and yet their full acquiescence in the wisdom of the the choice , and exquisite reverence of the espoused pair kneeling in the window above, all bespeak a new power in the artist. Even more markedly is this seen in the final fresco ( E the Divine Child in His mother’s arms in the act The are of blessing a nun . faces all perfectly lovely, the

: f mother calm , sweet, and placid but her ace is full of deep thought and solemn tenderness ; the attendant sain ts nun are watchful and reverent, the waiting in calm per suasion for the inestimable and holy gift and the Divine r Child ale t, active, childlike, but already conscious of a ’ The more than human power. nun s name was probably

S t. Giovan a, as upon her shoulder rests the hand of John Mr A the Baptist, and , as . Grant llen has pointed out, this action O ften typifies the name of the person kneeling

I near the sa nt. M Besides S anta aria della Pace other churches , closed or demolished , have yielded up their spoil of fresco to the Brera. s la M S t. Ur u From the Old onastery came the figures of ,

FRESC O W ORK 29

T m A u inas S t. A nthon the A rchbisho S t. ho as q , and y p,

e Risen hrist b stowing alms also a C , surrounded by four angels, and a fresco representing the vision of the prophet T H aba hhuh when he was awakened by the angel . here is n s and , beside these, an a gel who bear an incense boat, other Angels in Adoration . A wonderful fresco (B 3) comes from a suppressed s n M adonna a nd Child Carthusian house. It repre e ts the ,

h Ba tist Was C S t. o n the and j p , and brought from the ertosa The O f of S an Michele alla Chiusa. vivacity the Divine

Child and of S t. John , both of whom are embracing a

is M lamb, wonderful the tender solicitude of the adonna as she holds the Child , and fears lest He should fall from her arms , is very marked in her beautiful face ; and the landscape in the background is quite different from

’ Lu ini s The earlier work . necks of the figures are, as ose and E s , , astlake point out somewhat constrained in p . the fresco is in very bad condition . From the church O f S anta Maria di Brera have come

fi ne c n several pictures , in ludi g one of his dated pictures .

s e s M It is a fre co , and repres nt the adonna enthroned

a nd C t. A t. with the hild , attended by S nthony and S

n BERNARDINVS . LO VINVS 1 2 1 Barbara, and is sig ed , 5 .

an x s The n It is e ceedingly dignified compo ition . Virgi C i n and hild are the midst, on the throne, at the foot of n n which is a child a gel playi g upon a guitar ; S t. A nthony d n s stan s by holdi g a crozier and a cla ped book , and

s is S t. and ll oppo ite Barbara with a chalice a palm . A

n and the figures are admirably draw modelled , and are s A full of weetness and dignity . curious feature in this

s picture is the pre ence at the feet of S t. Anthony of the i emblem of p g, unclean desire, and symbolizi ng the temp 30 BERNARDINO LUINI tation to uncleanness that the saint had presented to A the him . bove this picture was originally hung won derful triangular fresco of God the Eternal Father that now hangs near by . ’ Lu ini s A feature of work , noteworthy in this picture, should not be overlooked . He gave up, as already stated , the use of gold in his ornaments, but he intro ’ s d uced a mo t skilful efi ect of gold instead . In the nimbus of radiating rays that adorns the heads

. M C and of the adonna and hild , in the Similar glory seen Resurrec in other frescoes of this period , notably in the A ’ tion one ( the yellow colours are, to use Eastlake s “ abso admirable phrase, so cleverly painted as to have lutel ff y the e ect and glitter of gold , though no gold is ” actually used . ’ In all these frescoes Luini s colouring is of a very low : his tone there is much gray in colours , pale pinks, and

and salmon orange hues, yellow often shaded with n and crimson , very pale gree , a curious puce, which is a ’ A favourite colour on the artist s palette . delightful harmony of blues and greens was also very much used , and his colours are always very transparent, and lights A s is thinly glazed . a rule the treatment flat , there is

s a nd but little cast shadow, high lights on feature

s s draperies are eldom seen , and the Shadow are generally s represented by hatched line .

To s x this general rule there are, of cour e, e ceptions, and these are especially marked in four frescoes from a the Augustinian church of S t . Marta . They repre

M . M S t. S t S t. and t M sent arcella , artha, Lazarus, S . ary

ss s Magdalen . It is po ible that these figure are not by

Luini at all . They have been attributed to him mainly L ou v re. TH E C I HR ST . N eu rd ein F ré res o o ( ph t . ]

32 BERNARDINO LU INI

r One mo e fresco in the Brera must be mentioned , The ir in a nd h d A nna ‘ V il and S t. g C , a charming com n of positio three figures, the Child in the midst, bright, d vivacious , and childlike. It is not state where this fresco came from , but it is an early one, and may be com r t a tha ne pa ed in treatment with the S . C ri from La Fe lucca . To this same period must be attributed the frescoes

C The N a tivit A n from the asa Litta now in the Louvre, y , nuncia tion Adoration o the M a i H ead o hrist , f g , and the f C . ’ Vu lcan s F or e s g ( No . which hang near them, has n F already been mentio ed , as it came from La elucca and is an earlier work . T o hese fresc es are important for another reason , inas much as they reveal to the student that by this time ’ Lu ini s work had so much increased that he was forced , in his larger compositions, to receive assistance. Whether this assistance came from his three sons A n c Pietro, urelio, and Eva gelista, or from a s hool over

his s which he presided , or from pupils in own tudio, cannot, of course, be determined but it is quite clear to

s anyone who carefully studie these frescoes, especially

Adora tion o the M a i The N a tivit the ones of the f g and y , ’ that the backgrounds are not the master s work . There are i nequalities in execution and differences in colour scheme in these Litta frescoes only to be explained

s by their being in part the work of pupil , and in the A dora tion of the M agi all the background is of far i nferior

s s s merit in other re pect the e frescoes are good , typical , The n second period work . use of yellow glitteri g as gold is marked ; the face of the Madonna has not yet acquired the Luini perfect beauty ; the outli ne is hard and con \IA D O N N W I TH THE D IV I NE

z /i ota B re IL A ND A . e e ) C H D ST . NNA

L ou v re. THE ADO RATIO N Neu rd ei n F ré r ( cs photo. ) “ I! T “ ! R

L ou vr . e TH E IVI NAT TY . N eu rd ei n F ré r ( es photo. )

34 BERNARDINO LU INI

he the the master. T face is of same type as we shall see re

. the presented in laterpictures It is an acceptance, in grace n n n e of its solem , serious counte a ce, of a traditional lik t es ness hat had been handed down through countless ag , but it is tinged by Luini with his own special sweetness. The its garb, with embroidered ornament at the neck and sleeves , also will be remembered when examination of other pictures is made, and the gracious bearing of this marvellous figure raising one hand in benediction over the world , and in the other bearing lightly the

is s crystal globe of kingdom , full of maje tic character. ’ Lu ini s Like other of pictures, it bears an inscription underneath it

BOSCE NE DUBITA QVOD QVODCV PATRI I N NOMIN E ME° PETIERIS

FIET TIBI .

There are other churches in Milan that contain the work of Luini . s In the church of S t. Ambro e will be found another

Ecce H omo Le end o S t. Geor e , a beautiful fresco of the g f g , - M adonna a nd a ints A and an altar piece of S . nother

M S ta. M C adonna is in the church of aria della armine, S t S n with S t. Roch and . ebastia and yet another is on M e S ta. r th organ in aria della G azie, but it is out of reach and cannot be examined . S an S c In the church of impliciano , on an ar h in the to choir, are numerous figures of children attributed and Luini but these also are out of reach, it is not very m clear, even with a glass , whether more than one of the i’ is from Lu in s hand . He is said to have furnished the designs for some

FRESCO W ORK 35 beautiful arabesques painted upon the presses (Lo ' M S ta. S cafi ale) in the sacristy of aria della Grazie, as to which we refer later on . i The greatest fresco, however, which Luin wrought at this period was the one painted for the Confratem ity of a nta orona in the Holy Crown ( S C ), and which is still situ in the hall which was the meeting-place of the A Confraternity, and now forms part of the mbrosian

Library . The object of this charitable society was, “ o according to Murray, to relieve the sick p or at their ” Lu ini who homes ; and , is believed to have been intimately was connected with the society, commissioned to paint i r - th s g eat fresco to decorate its chief meeting place, and to keep always within recollection the symbol of the t ff Order, and the humili y, patience, and su ering of the

Holy Redeemer. “ Lady Eastlake says that the grandest form in which ” this subject was ever represented is in this fresco . It is a t a m gnificent devotional pic ure, and the central figure,

placed on a regal height, is indescribably fine. ’ The i Luini s picture is character zed by charm , and by ’ Lu ini s s. is fault It not a coherent composition , b ut ff scattered , and therefore lacking in the e ect that a more e r resolute, finish d g ouping would have given . T here is, however, no failure of skill in the several The groups . fresco is divided into three parts , which - t are separated by crown wreathed pillars , suppor ing the

roof under which the dread tragedy is being enacted . In

the centre is the majestic figure of the Redeemer, seated t on a hrone raised above three steps . His hands are

C T s bound , He is crowned with the terrible rown of horn , a ff and His face is that of patient, dignified su erer content 36 BERNARDINO LUIN I to suffer the pain and cruelty that He may open the door

Mrs. s of the kingdom . Jame on Speaks in her description n of the wondrous sweet ess and dignity, knit together by ” patience, to be perceived in His compassionate face. A round Him is a crowd of violent and merciless exe cutioners , who are striking Him , jeering at Him , and insulting Him in every way. Above are wonderi ng angels , overwhelmed with sorrow, and unable to under stand the meaning of this most mysterious scene of

f The s suf ering . other two compartment of the picture, beyond the dividing columns, have each in the foreground ix n s kneeling figures of men, probably importa t O fli ce in C n bearers the onfrater ity at the time, or donors of the

. T s o picture heir face are full of dignity and p wer, it is t quite evident they are all portraits, and hey are masterly T in conception , in beauty, and in strength. hese twelve a figures are really so grand , that they t ke away the atten tion from the central figure. s n a “ Rio draw attentio to this when he S ys, Le seul défaut de cette superbe composition c ’est que les portrai ts n x du age ouillés , surtout ceu premier plan, sont tellement grandioses et tellement imposant que le spectateur en est ’ ’ ’ ” d ab ord ne du plus frappé qu il l est sujet principal . A bove these kneeling figures are other groups : S t. s John the Divine pointing out the cene to Our Lady, and, r “ on the left, a soldier in a mour and a man in civil costume making the same gesture to lead the attention n of a venerable man , who sta ds near, to the central and A tragic scene . bove each group hangs the Crown of T s n s horn , behi d is a hilly land cape, and at the very back

is S t. a cavern , in which Peter is depicted kneeling . The venerable bearded personage on the right is FRESCO W ORK 37

s and traditionally said to repre ent Luini himself, corre sponds closely with a similar figure at S aronno which bears the same attribution ; also with a portrait in the pic

S u sa nna the ture of , and with face of the kneeling king

dor tion We on in the A a . are much firmer ground with regard to this fresco than is often the case with other

s n works of the arti t . It is definitely k own when it was n and and pai ted , how Short a time it took to complete ,

s ih what meagre emolument the artist received . It is al o teresting to note that the painter was assisted by one

n and . pupil o ly, the lad who ground the colours The x original document concerning it still e ists , and is as follows l ’ Messer Bernardino da Luvino pictore s é accordato a pingere il Cristo con li dodici compagni in lo oratorio ’ et comenzO a lavorare il di 1 2 octobre : e l opera fu

fi nita 2 2 22 E la a di marzo 1 5 . vero che lui vorb solo

‘ opere 38 et uno suo giovene opera 1 1 et oltra le dicte

1 1 li teneva missé rimeschi opere , ala molla (gli ava Ia

al s n n s calcina) bi og o, ed a che empre aveva uno garzone v u che li ser iva . Li f dato per sua mercede computati 1 I tutti i colori lire 5 soldi 9. Above the fresco is a cartouche with these words

CAPVT REGIS GLO RI/E S PI N IS CO RO NATVR

Thirty years before this Giovanni O modeo had com menced n s n C the wo derful we t fro t of the ertosa di Pavia,

' and since then all the great artists and sculptors of Italy had been engaged in lavi shing their finest work upon s n thi magnifice t building .

“ ” C sa Can u an Il us a n L m a e re t Gr de l tr zio e del o b rdo Veneto.

an 1 8 8 i. 1 . Mil , 5 , 5 5

2 2 6 8 3 8 3s B ERNARDINO LU INI

’ Luini s work in the Certosa was not of a very important b character. He was probably too usy elsewhere to have much time left for Pavia ; but there is one beautiful picture by him in the Lavacro which is very representative of this period . In the vestibule leading from the gateway to the large

t. inner court are frescoes of S t. S ebastian and S Chris ’ t T r tophe , attributed to the master s hand . hey are ve y much damaged by exposure to the weather, and it is consequently not easy to determine whether or not the attribution is correct. T here is no other fresco or representation of S t. C hristopher attributed to Luini , although there are very

t. n many of S S ebastian undoubtedly ge uine. The combination of these two saints is not even a usual one in contemporary art, and there are faults in the draw ’ n h Lu ini s i g of the S t. C ristopher which are unusual in work . Th e S ebastian is very probably his work , and the other The s the work of a pupil . fre co in the Lavacro is , how Ou r Lad a nd the eve r, undoubtedly genuine. It is of y

D ivine Child.

It is a beautiful fresco , albeit somewhat hard in its n M pai ting, and the sweet face of the adonna has not yet in ’ the artist s hands attained to the celestial loveliness that was eventually reached in the picture of the Madonna

d Rose-hush C s a n , which was originally in the same erto a, but is now in the Brera.

Two more pictures need attention . S In the Ambrosiana is a famous head of the aviour, showing one hand raised in benediction , and in England is the celebrated picture of Christ in A rgu ment with the

FRESCO W O RK 39

i at Pha r sees. T hese two are very closely allied , and are ’ the very borderland which separates Luini s second period from the later time when he revealed himself in all the splendour of his creative sweetness and power. It is quite clear in both these pictures how much Luini Owes to

Leonardo . It is equally clear how he spiritualizes the n Leo ardo face . Leonardo had set a special and notable e face. Luini always gives reminiscenc s of this face, and in his composition he follows the ideas laid down by ’ Leonardo, and the master s method of grouping . n It ca not, however, be too emphatically pointed out that no Single picture by Luini is an imitation of one of ’ Leonardo s , nor is that the case even in any individual

figure, or group of figures .

In the instance in which he came nearest to Leonardo , A e the picture in the mbrosiana, which is so like to th great cartoon of Leonardo belonging to the Royal A cademy, there is distinct change, and one more figure is introduced by Luini than Leonardo had in his cartoon . He was not even so ardent a copyist as S alaino and ’ Marco d Oggione and while he cannot be compared with S such a man as odoma for originality, yet in all his

s s picture there is, with the justifiable remini cence of o n Le nardo , a modest strivi g after originality. To u Borgognone, his colleag e at this time at the C ertosa, he owes the pallor of much of the second period fles h work in fresco to Leonardo he most evidently owes the graciousness of the face : but to no one save to himself and his religious enthu siasm does he owe the spirituality that distinguishes his work , and which marks s O f it out so trongly from that Leonardo . The Christ in A rgument with the Pha risees in our 40 BERNARDINO LUINI own National Gallery was for many years attributed to e is s x n L onardo, so typical it of his pecial e pressio and

- . d features It is a life size group , and is frequently calle

hrist is u tin with the D octors W C D p g . e prefer the former S ai title, as the youthful aviour in the picture is cert nly

r not that of a boy in his teens , but of a ve y young man .

’ It may be said quite justly that he is equally too young for the famous dispute with the Pharisees ; but we believe, by comparison with the picture at S aronno of the Christ a mon st the D octors g , that it is not that event which Luini depicts in this group. The costume of our Lord will at once recall that in the the Louvre picture, and closely resembles garb de

ic h st n ned c p ted in the C ri i Be i tion in the Ambrosiana. The resemblance does not end here, for the faces in the one pictures bear a striking relation to the other, that in the Ambrosiana being the younger of the two ; while the s n hand , with their long, fine, femini e fingers, and small delicate wrists, are equally allied . Our Lord is evidently emphasizing some point in the argument by the use of a notable gesture with his hands or it is possible He is checking off point after point of as the controversy, they are answered , upon his fingers .

Around Him are four men of mature age, grandly drawn and most powerfully expressed ; and here again the hands are deftly painted and full of expression . are The feminine features of our Lord in each picture , as already said , strongly Leonardesque, but each picture is marked by a spirituality and devotional feeling that is e very noteworthy. O riginally the pictur in the National s be Gallery was at Rome, in the Borghe e Gallery, and was

C . queathed to the nation in 1 831 by the Rev. Holwell arr

B ri ton g h . HEAD O F CHR I ST . ° 11 D ix on 67 S ons oto. ( . ph )

FRESCO W O RK 4 1

S A panel picture, said to be the original ketch for the head of Our Lord in this picture, and which we accept as u ndoubtedly the work of Luini , and probably part of his study for this picture, belonged for generations to the S F trozzi family at errara , and is now at Brighton in the possession of the Misses Cohen . The A mbrosian Library has yet t wo other treasures ’ revealing more and more the growth of Luini s character.

O ne is the exquisite fragment of fresco representing S t. n The Joh with the lamb. baby face shines out from the dimness and mystery of the faded fresco with a wonder

ful The is . glory of its own . child exquisitely childlike He is clasping the lamb and laying his own little curly ’ head upon the lamb s head and looking up with an arch and piquant expres sion .

It is but a broken fragment, but full of genius , and

the the might well be a part of latest work of master, so happily is it conceived . In the Chiaroscuro drawing called the F a mily of Tobit with the A ngel we see one of the best arranged composi

n x T a c ai tions Lui i ever e ecuted . here is ert n sentiment T ality about the face of obit, a somewhat constrained pose and a want of good drawing in the hand but the

is angel Splendid , and the other faces well conceived and executed . The fi nished picture from the drawing is in the Poldi Pozzoli Museum (84) but at the risk of being considered hypercritical we must decline either to consider it as fine ’ as r t Lu ini the o iginal drawing, or to at ribute it to s hand . ’ The Lu ini s a drawing is clearly in every det il , the picture has probably his work in the figure of the angel ; but es much of the r t we attribute to his pupils. CH A PTE R IV

HIS FI N ES T WO RK

’ E have now reached the period of Luini s finest

pictures , and see the artist exultant in the full strength of his ability, and prolific in work . It is not to be imagined that the Leonardo influence T n has vanished . hat i fluence continued as long as his : life lasted but it was chastened , spiritualized , permeated ’ with Lu ini s deep religious fervour and there were side by side with it the growth of the artist’s own ideas and the s ability to repre ent them . The and fame of Luini was spreading, his work lay not M F 1 22 only in the city of ilan , but around it . rom 5 to ’ 1 Luini s es 533, eleven short years , we have b t works in a on series of masterpieces , both in fresco and panel , in M n S C . Leg ano , Ponte, aronno , omo, ilan , and Lugano He had attained such eminence in his profession that

s in many directions came the call to labour, and the year must have been very crowded years , and his pencil very seldom idle. His chronology is much easier to under stand ln these later years of his life. n 1 2 We know that he was at Leg ano in 5 3, for the con x S tract for the work still e ists , and that he was at aronno

1 2 . in 5 5, for the date is on one of his frescoes Records M t M prove that he was working in ilan at S . aurizio 1 We a s 26 1 2 0 . between 1 5 and 5 9, and again in 53 l o HIS FINEST W ORK 43

a in 1 2 1 0 know he was t Lugano 5 9 and in 53 , inasmuch as these dates appear on his frescoes in that town , and we have records to prove his presence in the same city in

1 5331 F s rom that point all record ceases . He uddenly dis in appears apparently the full force of his strength , when b his est work is being done, leaving as his finest and n most lovely group the lunette at Luga o, which appears as s to be his latest work, and , Ruskin aid in his beautiful “ language, Luini passed away cloudlessly, the starry ” twilight remaining arched far against the night . The S anta Corona fresco in the A mbrosiana was 1 2 2 finished , as we have seen , in 5 ; and in the following e year Luini was at L gnano, where he painted a great altar-piece of Madonna and S aints in fifteen compart M ’ ments. This was pronounced by orelli to be the artist s s masterpiece, and imilar praise has been given to it by

rizzoni . Dr. Gustavo F and other eminent Italian critics

Eastlake, many years ago, tried hard to purchase it for the

National Gallery, but without success and it still hangs o n n in the p sition for which it was pai ted , and owi g to the

darkness of the church can only be seen with diffi culty. A strong effort was made to have it photographed for

s this volume, but re ulted in complete failure . The contract for painting it, drawn up by the notary ’ ’ I Isolano s M , and Signed in the archbi hop s palace at ilan , is x n still in e iste ce, and a copy of it is preserved in the

church at Legnano . 1 2 S In 5 3Luini was at aronno, a small town near to M C ilan, on the way to omo, which contains a large

” ueen of Air iii. 1 Q the , 57. 44 BERNARDIN O LU INI

h ] S n pilgrimage c urch, I a tuario della Vergine, which had been commenced in 1 498 from the designs of Vincenzo ’ “ ” dell O rto in a pompous baroque style . It is not necessary to attach any importance to the popular story that Luini fled from Milan on account either of crime or political intrigue, and took refuge at S and aronno , while there was forced by the monks to paint the frescoes in return for the sanctuary and hos italit f T p y that they af orded him . his story, which is still repeated at the church, is quite refuted by the records that remain s tating the emolument which the artist received for some of the work , and also by the freedom and entire want of restraint shown in the whole series of

. S frescoes Other artists were employed at aronno , and T s worked at about the same time. here are subject by ’ F Lu ini s Lanini , Abbiati, and Gaudenzio errari close to work, and above it, in the cupola, a wonderful fresco by

F 1 . Gaudenzio errari , executed at a later date, in 535 ’ Luini s work consists of two large frescoes in the passage and connecting the nave choir, and representing the M a rriag e of j oseph a nd M a ry and Christ D i spu ting with t D octors The P re he ; two more close to the high altar, senta tion in the Tem le O The Adora tion p , and pposite to it, of the Magi ; two more of S aint A pollonia and S aint Catharine in an apse built out from the choir ; some

s F l S ibyls, Evangelist , and athers in the pane s and

s lunette , and a lovely Nativity in the cloister leading ’ s to the priest s hou e . The M a rriage of Ou r La dy is a picture which at once proves that Luini , even at his best, had not learned from The Leonardo how to compose and group a picture. s separate figures are lovely, the fresco it elf is lovely ; but

46 BERNARDINO LU INI t o is t ruth and human life of the wh le scene notewor hy. ’ Lu ini s and n men women are always huma , not ethereal s creatures , neither angels nor spirit , but represent true s s human being , with all their affection and delights de icted in p their countenances . Forwomen he appears to have had a Special tenderness ; he s and it should remarked that so far as Mr . Jameson n k ew, and her knowledge was remarkably complete, no other Italian artist had painted the two scenes in the life ofthe Madonna that Luini most beautifully depicted at La The Pelucca. first of these two scenes is the presentation M to the High Priest when ary, in her fourteenth year, is S he told that should marry, and after replying to the High

Priest that she has been dedicated to the service of God, modestly accepts his commands , which he has received in s a vision from God , and consent to espouse the selected suitor. The t e o her scene is the vision of S t. Joseph , wher the ai t M s nt, doubting whe her he should marry ary, and attach any truth to the reports that have been brought to him about her, receives the vision from an angel revealing

the . tru th M to him , and pointing out the adonna, who is s of engaged in dome tic work in another part the picture.

t. S Joseph, after this vision, entreated forgiveness of T Mary for having wronged her even in thought. hese b this M two scenes, depicted only y aster, reveal the special tenderness of his thought toward the Queen of Heaven The and all womankind . scenes are represented in the ’ ’

M Mrs. n n evid mosaics of S t. ark s ; but Jameso s opi ion

ently relates to paintings only, and is borne out by our

own experience. The D ispu tatio fresco at S aronno is distinctly superior S a ronno. HEAD O F LUI N I . A ( nd erson photo. )

48 BERNARDINO LUINI

point to the story , and the whole is depicted in what “ Woltman and Woerman call his charming idyllic ” n s manner of telli g a tory.

is x It is poetic, but it true, and every e pression and

' n n gesture is full of spo ta eous grace. ’ Rio s criticism on this fresco is worth quoting for its eloquent eulogium upon the artist ’ L artiste a représenté J esus - Chri st enfant au milieu des

: s le le le Docteurs la po e, geste, regard , mouvement de n ui la figure principale, font presque devi er les paroles q sortaient de cette bouche divine et peuvent servir de

au x S tu ehant a u tem commentaire te te de S ainte Luc, p ” a ha nt omnes gu i eu m udie .

sc n x These two fre oes are long and arrow, the ne t two

s are upright and inclosed by arche , and they mark a still

s greater skill on the part of the arti t . In the Presentation , n n A the Mado na is the ce tral figure, the Prophetess nna C stands close by, and the Divine hild is in the arms of the n High Priest, near whom stands a lad beari g the mitre . M n n Behind the ado na are other wome , with their x children , and a lad bearing a lamb. On the e treme

S t. right is a group of lovely figures , Joseph and the holy women eagerly engaged in congratulatory conversation

M . The while S t. Joseph points out the adonna to them scene is represented in a church with circular arches , and in the distance can be seen the S antuario della Beate re resen Vergine, in which these frescoes appear, and a p n tation on a minute scale of the flight i to E gypt. On a

is panel , depicted as being high up inside the church, n M the old covena t, oses with the law, and the great leader is represented looking down upon this fulfilment of law and prophecy. S a ronno. TH E PRESEN TATIO N ( A li na ri photo IN THE L TEMP E .

50 BERNARDINO LUINI

is h in an knee . He partially clot ed a light garment d is ’ s is supported by His mother s hand . He full of brightness s in and vivacity, is thoroughly a child , and is repre ented the act of stretching out one hand toward the king who

s n s kneel before Him , while with the other he e deavour to ’ draw His mother s attention to the sight that interests

Him . Before the Child kneels one venerable ki ng clad in

has M ermine. He laid his gift at the feet of the adonna, a nd n in n his now k eels veneration . Behi d him is his n attendant , bearing sword and crow , and a little

s is farther back stand a second king, who in the act of

s his n receiving his gift of a golden ve sel from serva t. T n M hese two ki gs , Balthazar and elchior, are already o familiar to us . In the fresco in the L uvre, already men tioned s , they appear clad in very imilar garb to the n S represe tations at aronno, but when the two frescoes are compared a great change can be seen . The third

n s is ff n ki g, Ga par, a very di ere t person from the very n s s a ordinary ki g in the Louvre fre co , and the t nding s figure of S t. Joseph Should be carefully tudied . All the faces in this striki ng fresco are far more and spiritualized than in the one in the Louvre, Gaspar especially is revealed as a man of wonderful thoughtful beauty. n M n a timid H e kneels o the right of the ado na in , half

nn s n n. Shrinking ma er, nervou ly holding his turba or crow Even more than the others he is con scious of the solemnity

His n t ss his of the moment . own u wor hine , his sin , trouble, is in are all crowdi ng in upon his recollection . He the

- - M ssi and presence of the long looked for e ah , hardly dares to approach. r n n . S a o o A THA R I N . S T. C E ( A lm a ri photo

52 BERNARDINO LU INI

s h my tery and raises his and to God in thanksgiving.

Behind our Lady are the cattle, lowing in their open

. s n stable In the background , on a gradually dimini hi g scale, is the long, winding train of attendants , with camels,

s and ff ff s horse , a gira e ; while above, di ering in this re pec t altogether from the Louvre fresco , is a band of singing

s T angel . hese delightful cherubs, five in number, resting

s on the cloud , are grouped together in a charming way ,

- and are open mouthed , singing with exultation the “ Gloria in E xcelsis from a parchment scroll which s they hold in their hand . The star seen in the east rests in mid - air by the stable

The s roof. fresco is a very triking one, and will well repay careful study. ’ Luini s In it we see the proof of development, and this

M s is especially the case in the face of the adonna . At la t there is more than a merely human peasant face ; there is x s in s a sweetness that fails e pre sion word , a tender com n n s n passion , a enduri g love, and the patho of approachi g s sorrow . W e shall have occa ion later on to recall this first appearance of the matured face that Luini loved to paint . A n entirely different countenance and expression is seen on the two female saints in the apse opening from s in s the choir. The two figures tand niche , the per

ive s s n spect and the hadow are cleverly arra ged , and there is a not unpleasant effect of relief. and S t. Catharine holds a clasped book in one hand , s s n the other, holding a palm, re t upo her wheel of martyr s dom . S t. A pollonia also bear a palm , and in her right n hand the traditional pincers holdi g her tooth . Both n the figures are well draw , the draperies easy and soft, colouring rich but subdued .

54 BERNARDINO LU INI s their flock , and the angel announcing the Divine message

. n to them Below, and nearer to the stable, is a other piece S n of symbolic teaching, the hepherd returning, beari g on

His shoulders the sheep that had been lost. The h S t. t e reverent air of Joseph, the tender love of

the Virgin are expressed in a most subtle manner, com and position is perfect, the lunette one of the loveliest works that Luini ever did , rivalling the more celebrated lunette at Lugano . If Luini gave it to the monks as the s u s n u tory tells , he certai ly gave to them ungr dgingly and of his very best.

M n ci rca Luini now, in all probability, returned to ila ( 1 524 - 1 526) and commenced his most elaborate and im n n n The porta t scheme of i terior decoratio . little church S an M s of aurizio attached to the large monastery of nun , is intimately connected with the refugee monarchs of and f Bologna their amily, and its decoration forms a s hrine to their memory.

In its vaults lay the remains of Giovanni Bentivoglio , who became master of the state of Bologna in 1 46 2 and n ruled with a stern sway for nearly half a ce tury. He

' a F A was great patron of the ine rts , and adorned his city with sumptuous buildings, and decorated them with 1 0 6 the finest works of the Bolognese artists . In 5 Pope n his Julius I I . made war against him , in continuatio of masterful idea to rid himself Of the various powers under which the temporal power of the Papacy was almost overwhelmed . Events favoured the Pope. He conquered

first Perugia and then Bologna, drove Bentivoglio from the throne which he had usurped , and a few years after s united the state of Bologna to the papal dominion . v n Gio anni Bentivoglio fled to Mila , but sent his son H IGH ALTAR O F

A lzna rz hoto. ( p ) I IO . S T . MAUR Z

HIS FINEST W O RK 55

w Alessandro to France to plead ith Louis X II. for his The a u C aid against the Pope . le g e of ambrai had , how h ever, been arranged , and the friends ip of the ambitious Pope was of too great importance to the King of France and the Emperor for either of them to be induced to M e . t help B ntivoglio He died at ilan at the age of seven y, whilst his son was absent pleading for help for a lost M cause. Alessandro continued to reside in ilan until his 1 2 death in 53 , and he and his wife were, like the father, M A buried in the church of S t. aurice . lessandro married 1 2 and Ippolita S forza in 49 , they had one daughter, A lessandra, who took the veil in the same church , and

entered the monastery with which it was connected . Luini was selected by Bentivoglio and his wife to carry out a famous series of frescoes in the church which con tained their buried hopes, and which they eagerly thought r The would serve to perpetuate their memo y. S forzas in were at the time power, and the commission from S Bentivoglio and his wife, Ippolita forza, was a notable

one , and well did Luini carry it out. His frescoes cover the screen or eastern wall of the

- . The is x n church altar piece not his work , but it e te ds on either side and above it right up to the baldacchino

and rood crucifix . On the right is a lunette representing A lessandro (who was at that time about fifty -four) kneeling and holding in his a book of devotions hand , while around him are

S t. e S t. ohn he grouped Ben dict, J t Baptist with his lamb,

S t. v . t u and John the Di ine Below his l nette, and divided o from it by some delightful b rders of decoration , are the life-sized figures of two saints standing on either side of

. S t. ustina the tabernacle One is J of Padua, with her palm 56 BERNARDINO LUINI

and ie ce and book, denoted by the sword which p r s her

S t. S t. breast . The other is either Ursula or Dorothea ; hei' a She also bears a palm and a book, and general p pearance seems to denote her as S t. Dorothea . Below the tabernacle and between the saints is a cherub, bearing two symbolic torches . he On the opposite side is a similar arrangement. In t lunette is Ippolita S forza, also kneeling and holding a

s s book of devotions, and around her are three female aint , s Th A t C . e t. S t. S S cholastica, gne , and S atharine balance with the other lunette is accentuated by the fact that in this one there is also a lamb, denoting the presence of

A . A S t. gnes fresco of the Holy Redeemer takes the O f place the tabernacle in the corresponding fresco, and below this is the same child cherub mourning because the lights he was hearing so joyously in the other fresco have now gone out for ever. On either side this time

S t. A appear pollonia with her palm and book, and also the t pincers and tooth, and S . Lucia with her corresponding emblems . High up above the lunettes is a third tier ofde

coration. the A In the centre is ssumption of the Virgin , and numerous saints grouped around her empty tomb, watching Our Lady as she rises up Queen of Heaven . O n the right is a scene representing the attack upon M S t. aurice, and the martyrdom of the saint, who kneels in the foreground and is being beheaded by a huge e xecutioner. On the left is a similar fresco representing in the fore K S ground ing igismond presenting the church to S t. M aurice, who in this picture stands aloft on a pedestal . In the background King S igismond himself suffers martyrdom by the sword

HIS FINEST W ORK 57

These three pictorial frescoes are full of movement and vivacity, the figures are well drawn, and the faces the admirably painted , but all reveal lack of power in t composition , the lack of coherence in grouping hat his The distinguished Luini even at best. lunettes below far them , and the standing figures are finer than the pictorial work . There is a majestic dignity about all these saints that r The is ve y impressive and delightful; colour scheme is most harmonious, and all the frescoes are in very fair preservation . u The The selection of the saints is instr ctive . house

n S t. was a Be edictine one for women , hence Benedict and

s S t. S cholastica are repre ented . ’ Luini s commission did not, however, end with this f ’ series . By a door le t of the altar the nun s choir is reached , and here, on the back of the screen , is a further i series of frescoes , for the most part in very bad cond tion . M any of them are almost invisible, and doors have been cut through two of them to their very serious injury. t i One of the mos beaut ful , representing the marriage ’

Mrs. at Cana in Galilee, which in Jameson s time was only just visible, has now nearly gone. but It is not an ordinary representation of the miracle, a mystical one, and evidently symbolized to the nuns C the Divine union of hrist with the consecrated religious,

The the t. M bride is a nun and bridegroom S aurice, and what remains of the fresco reveals it a graceful and well grouped work . A mongst other scenes on this side of the church are The Betra al The Mochin o Christ The Cru ci xion The y , g f , fi , De osition The S cene in the Ga rden o Gethsema ne p , _ f , The 58 BERNARDIN O LUINI

Resu rrection N oli me ta n ere t , the g , nine frescoes in all , wi h

1 0 . 4 figures in them , but every one seriously damaged Below them is another series of life - sized erect figures

s S t. A S t. C including his favourite saint , pollonia, atharine,

S t. S t. S n as S t. A n s and Roch, and ebastia , as well g e t S . Lucia . Even yet the finest work of Luini in this building has

n n s not bee described , but as it belo g to a somewhat later period than all the other frescoes it must be mentioned in its proper chronological place. Rio discu sses at some length the question why the

Bentivo li s in S an M g elected Lu i to decorate aurizio , and suggests that it was the resemblance of his work to that F n s The of ra cia that account for the choice . theory is

sts an ingenious one, for the two arti had much in com mon M adonna with the Rose H ed e , and the g may be ’ ’ taken as typical of the resemblance of Lu ini s to Francia s T s work . here is the ame rich chromatic harmony, sim

li i s s s s p c ty of direction and religiou enthu ia m in each arti t. 1 26 C n In 5 Luini was at omo, and three frescoes remai to us of his work in that city, all of which are in the O ld The A dora tion o Cathedral . His favourite subjects , f the S he herds The A dora tion o the M a i p and f g , appear as

- S t. A altar pieces for the chapels of bbondio, third Bishop M C S t. of omo, and Joseph and a adonna is over the altar of S t. Jerome T S an M hese frescoes are finer than those at aurizio, and s the fullest development of tender, artles grace in M is T the face of the adonna to be seen. here is a ro ’ b ustness s s about the ma ter work at this period , and the

of S t. heads Joseph, the attendant shepherds, and the

M are nd . agi , all strong, definite a full of character

CH APTE R V

PAN EL PICTURES

T may be well in this chapter to give some attention to the series of panel pictures and detached frescoes by Luini that belong to his best period , and especially to F his representations of the Holy amily, of the daughter

S t. C A x . of Herodias , and of atharine of le andria One representation of the Holy Family has already been mentioned as the work of Luini that most nearly resembles that of Leonardo . The Holy Fa mily at the Ambrosiana is evidently taken from Leonardo’ s great cartoon now preserved in A T London at the Royal cademy. here is the addition ,

S t. however, of a grand figure of Joseph leaning upon

ff S t. A his sta , and the figures of Our Lady and nna are clothed in the customary garb, and veiled in the manner that Luini specially adopted . F The various groups depicting the Holy amily, may be divided under three heads . ’ T a I st. hose in which Our L dy s face is partially veiled , the light white veil covering the forehead and coming nearly down to the eyes .

In all these the eyes are looking downwards , and

s s con sequently the lid are partially clo ed .

s and. Tho e in which the whole face is revealed , the T II E MADO NNA A N D C H I LD

A N D TH E O - R SE HEDGE .

6 2 BERNARDINO LU INI

n became as seen in the expressio , which , , the painter grew O and t and lder, more more serene, more e herealized spiritualized and marked at last by an exceedingly touch The C F ing sweetness . asa elucca frescoes are not to be

t Madonna o the Rose H ed e compared for beauty wi h the f g , but the treatment of the faces attaches them each to this group . Of third period work in Group 2 we have this beautiful

Ma donna o the Rose H ed e — f g , both the pictures at Buda Pesth M adonna a nd Child and H oly Fa mily the M M orelli one at Bergamo, the fresco at adrid , one of the M adonna a nd hild S t. Petersburg pictures and the C that so s s Czem in clo ely resemble it in the Gallery at Vienna, the Madonna in the Poldi Pezzoli Gallery and the very similar group belonging . to Colonel Cornwall Legh at

s Legh Hou e . The third group in which the eyes are fully opened ,

n s Madonna i clude two very similar pictures , one being the a nd hild a C C in the Layard collection at C apello, in which C s the Divine hild, clothed in a hirt , stands erect by the

is e Side of His mother, who gazing at Him with sw et content not unmixed with wonder ; and the other a picture s s in the Louvre of very Similar po e , ave that the head of the Madonna is not turned so much toward the Divine n Child and that the Child is wholly ude . In each picture the Madonna holds a book the Child in the Venice

is picture holding an apple, and the one in the Louvre a

S t. s piece of drapery. In the latter picture Jo eph appears

s in in the background , but he doe not appear the former,

ns T s which was painted for a convent of nu . he e are almost the only representations of Our Lady where the eyes are fully seen. Ven ice L a a rd Ga , y ll. M O AN D C I AD NNA H LD . A i na ri oto l ph . )

B u da -Pe t s h . H O LY FAM I LY “ A d . B ra zen C a ( C . photo

PANEL PICT U RES 63

’ n i 5 ff Rio s comme t on Luin work , which is to the e ect that he seemed to have chiefly as his patron s ceux qui ” x n pleurent et ceu qui prie t, is especially true when

n s S s and attention is given to his Mado na picture . adnes devotion are the characteristic features which are given to

u r and n S n s s the face of O Lady, i asmuch as ymo d pecially “ states that the works of this master are like melodies ” so s n s and create a mood , we di cover that Lui i trove by his s s pictures to oothe, to comfort and to encourage tho e x for whom he e ecuted them . It is undoubtedly in this capability that is seen the

e and he marked divergence betwe n Luini Leonardo. T

x n s e treme perfectio of Leonardo, the mystery, the ubtle,

s n his is f fa cinati g beauty of pictures , dif erent altogether

s n from the artle s and unstudied poetry or the deep, te der ’ s u ini s s chord s of patho that mark L work . They do undoubtedly exert an influence and “ create nn n a mood , and while the Spectator ca ot fail to wo der at

w s e n s n n the ork of L o ardo , he is comforted and tre gthe ed

and his e by those of Luini d votion is deepened . The master appears to have earnestly striven to place

I n O u r n n the face of Lady that k owledge of comi g trouble, that pres entiment of approaching torment that was u n

n her s A t s doubtedly withi brea t . the ame time the anxious desire to shelter her Divi ne S on from all this

ns is trouble and to guard Him agai t it clearly revealed .

Two s o in M s c picture , b th the u eo Borromeo are typi al ’ h s The n S on is s s i of t i . Divi e clo ely cla ped in H s mother s

and sad s she s n arms with , tearful eye gaze upo Him . The wonderful fresco in the Louvre in whi ch our Lord ’ His mother s is fast asleep upon . breast has the same characteristic . 64 BERNARDINO LUINI

The f Virgin, with downcast, sorrow ul eyes , gathers the

n S t. s n sleepi g Infant in her arms, while John ha te s to e cover Him with some drap ry while He sleeps . The somnolence is perfectly rendered, the light Sleep has just crept over the Child and the limbs fall away loosely from their position , while gradually the whole frame comes under the influence of the slumber. That she might ever keep Him so protected is the desire that flashes through the mind of the Madonna and that she could ward off the trouble that stands before that tender life . The Divine Child has invariably curly hair in all these and groups , this feature continues right down to the The Lugano lunette. only two representations of the Madonna and Child that are really alike are the one in Czemin n o S the Gallery , Vie na, and one of the tw at t.

Petersburg. Photographs Show that both the S t. Peters burg pictures , which but few critics have seen, are very n much repainted , and it is probable that the one in Vien a t s is the genuine one and that the picture at S . Peter burg is only a school picture. It is much harder and coarser

The - than the one at Vienna. Buda Pesth pictures are M n remarkably beautiful , the face of the adonna belo gs 2 to Group , and is the spiritualized face that culminated The C and in the Lugano lunette. Divine hild in one the

Child and S t. John in the other are full of vivacious as n movement and childish glee, so much so to asto ish M n S the ado na and aints who stand near by, and who are bewildered by the movements and activity of the Child . ’ Lu ini s In several of these pictures favourite flower, the

s s d C jasmine, occurs , sometime gra pe by the hild and sometimes growing near by, as in the mysterious fresco

PAN EL PICT U RES 65

at Madrid It also adorns the head of S t. Catharine in

more than one picture.

The M adonna o the Rose Hed e f g , one of the most lovely ’ Lu ini s s of all picture , is the only one in which roses are

- O f won presented , and in it the curly headed Boy is full

derful x - n beauty, and has those e pressive and far seei g eyes which lead to a comparison with the Child in the

M adonna di S a n S isto and a , give rise to the phrase p

plied to Luini as the Raphael of Lombardy . The picture in Naples is almost equally lovely, and Ca C that , with the one at apello and the two at Buda ’ s Lu ini s Pesth , are perhap the finest of representations of n C the Mado na and hild . The large fresco at Madrid gleams out from a very dark

and O f t background , contains a dignified figure S . Joseph

in the rear. It is noteworthy however for the importance of the two children embracing one another at the foot of T x s a the picture . his beautiful scene e i ts also, separ tely,

M ff is at adrid , with Slightly di erent position , and the moti ff same fi di erently drawn in each case, which is to be in M r seen the orelli group at Be gamo , in one of the two

- n and its Buda Pesth pictures , in the picture at La gton , in A n fullest perfection in the lunette at Lugano . drawi g in A s Indian ink of three children , preserved at the mbro iana , is almost certa inly one of the studies made for this oft

repeated group .

The daughter of Herodias beari ng the head of S t.

s s in John Bapti t was a popular subject, e pecially Lom

hard was n y , and Luini commissio ed to paint it many

times . He always characteristically tried to avoid the horror x of the scene, e erting his utmost ability to present the F 66 B ERNARDINO LU INI

moment of the drama with truth and reality, but yet to s avoid a painful impre sion . There are special representations of this event at F M n cer lorence, ilan, Vien a and Paris, and they all have s F tain general characteri tics . In three, those of lorence, ’ M x is n ilan and Paris, the e ecutioner s hand holdi g its

a ct s dread burden , and in the of placing it in the di h .

' The executioner himself is only to be seen in the U fli zi n picture, his hand alone in the other two . In the Vie na x n picture, the e ecutio er is in the background , but the head

s is e already re ts in the dish . In each case it the sam n head , a beautiful , calm , peaceful face, ador ed with long i n dark curling locks , parted in the centre . Hardly any S g

s n s of blood is to be ee , there is more in the Pari picture than in the other three, but this material element is kept out of sight as much as possible

The s Uffizi dish is in three cases the ame, but in the picture it has a magnificent foot, and partakes much more f s i n of the form of a chalice. S alome di fer features in

O f ss s n each picture, but her style dre , her full bo om , o ly h partially hidden by the undergarment, her long, ric ,

s waving hair confined by a fillet, and her large fle hy s hands, with long pointed fingers, are imilar in each pic

. S he s ture is a beautiful , sensuous and voluptuou woman ,

s s -satisfied indif devoid of ympathy or tenderness, elf and

rent ff fe to the su erings of others , and these characteristics are marked not only in her face, but in her form and her

he hands. T executioner is a hard , rough, hideous man , l strong in physica power, and wanting entirely in tender n ness , and he stands out of the backgrou d in brutal con trast to the lascivious and careless woman who bears the dish , and who is so proud of her own beauty and Skill .

PANEL PICTURES 67

n The picture at Flore ce is a masterpiece of work , but le Rio rates it somewhat too highly, when he terms it ’ ” - plus admirable chef d oeuvre qui soit sorti de son pinceau .

He is quite right, however, when he goes on to praise “ ’ x r sion ne une énergie d e p es qui lui est pas ordinaire, u ne s défie fines e de travail qui la plus minutieuse critique, et il est parvenu é répandre nu charme inexprimable sur une composition qui semblerait ne devoir in spirer que ’ ” l horreur de . The S is s face of alome lovely in all the picture , but Uffizi M s perhaps in the , the Louvre and the u eo Bor romeo pictures more expressive than in the one at

Vienna. There is a picture painted at this same period which

s s cannot well be grouped with any other. It repre ent the only scene from the deutero - canonical books which

n and The Chas te Lui i appears to have painted , is called

S u sa nna .

The is in the M e M fresco us o Borromeo at ilan , and

n s represe t a beautiful woman , almost nude, standing by a n tree tru k , her hair falling on to her neck, and her hand

is one resting on her breast . In the distance the head of

s . n n n n of the elder S usa na has a sweet, e gagi g countena ce,

n s and s full of thoughtful e s and peace, her features po sess none of the horror which a less timid painter would

have depicted upon them . The main interest however of the fresco lies in the fact that if the figure that tradition points out as Luini him

in s S n D is u ta tio self the fre co at aro no of the p be correct , then the mas ter has again i ntroduced his own face as in s that of the elder thi picture. It was the ha bit of the Italian artists to introduce their 68 B ERNARDINO LU INI

ss n own likene es i to their pictures , generally depicting n themselves amo gst the spectators of the scene . Doubt less Luini adopted the conventional arrangement and cer tainly this remarkable face with its long white beard s The appear in several of his frescoes . face may very possibly be that of the artist, but it would not be well to state the case in any stronger terms than those of

ss i po ib lity . There was an hereditary affection on the part of all the

s s S t. C n of AlexandrIa Lombard school of arti t for athari e , and Luini not only fell under its influence but seems to have possessed on his own part a strong regard for the s memory of this great aint . We have already noticed in the earlier part of his career the lovely fresco of the body of S t. Catharine borne to its

n e s tomb on Mount S inai by three a gels . W have een t C the figure of S . atharine with Ippolita S forza in the ’ M n S t. church of aurice, and also repeated inside the nu s

S ix s choir as one of the great aints there represented . In

- H l mil s o F a S t. C n the Buda Pe th y y athari e, typified by

a s s is one her wheel worn a buckle fa tening her robe, of

s the M n in the two aints who stand near adon a, and M C s n Florence, unich and openhagen are repre e tations n n O f the same sai t attributed to Lui i . The s n is n ta ding figure the usual represe tation , but the n mystic marriage of S t. Catharine is also well represe ted . The two most notable examples of this scene closely n ne resemble one a other . O is in the Poldi Pezzoli M M s n useum at ilan , and the other, at Legh Hou e , belo gs n one to Colonel Cor wall Legh . In the Poldi Pezzoli the Divine Child is seated on a pillow and placing the ri ng ’ he M h upon t Virgin s finger ; the adonna stands be ind,

PANEL PICTU RES 69

n C i supporti g the h ld , and from a window near by can be seen a charming landscape with water, mountains and a be The t. t ust house. wheel of S Ca harine can j seen down by her side. In the picture at Legh House the Divine Child is

is n standing and S t. Catharine holdi g her wheel as though An she was offering it to Him in exchange for the ring. open book of devotion is on a table between our Lord

n is a d H virgin S pouse. t t In each picture S . Ca harine is richly garbed in a

patterned silk brocade beautifully painted , but only in the Legh House picture is S he wearing the crown of

martyrdom . A nother very beautiful representation of this saint is n Mr the S t. C n . in England . It is atharine belo gi g to

M . Ludwig ond In this picture the emblems of the saint , one palm and wheel , are held by two child angels of

is . S t. C whom on either side of the virgin atharine is, as

s u ual , richly attired in velvet and silk and has a light

n s he n gauzy drapery falli g over her shoulder . S sta ds n faci g the spectator, looking down upon an open volume

in her hand .

S he s s wears a wreath of ja mine, and the expres ion of is A her face particularly sweet and lovely. very Similar composition to this one is in the Hermitage Gallery where s o n it inaccurately bear the name of Le nardo da Vi ci , but n in n we believe the origi al composition is the one E gland . s as In both the e pictures, well as in most of the M S adonna and alome pictures named in this chapter,

s the draperies hould be noticed . ’ In Lu ini s third period they are masterly, and fall in an easy grace d soft richness . 76 BERNA RDINO LUINI Nothing more clearly marks the progress of the master in than the draperies , which his early period were hard and t rigid, with ei her an entire absence of shadows, and ff therefore a flat e ect, or else with definite outlined shadows which but increased their wooden effect and the

his want of grace that distinguished them . In later work all these faults have disappeared . ’ The greatest of Luini s representations has not yet n e been mentio ed , but it belongs to a succe ding chapter which will have reference to the last frescoes executed by the master.

72 B ERNARDIN O LU INI

s to the Same subject by various arti ts . Ghirlandajo s work can be seen at S an Marco and at the O gnissanti ; Giottesque work at S anta Croce ; Peruginesque ideas ’ ’ at S ant Onofrio Andrea del Castagno s treatment at ’ ’ S ant Apollonia ; and A ndrea del S arto s work at S an

S alvi . Not one of them is so wonderful as that which remains M n S ta. a d at aria della Grazie in wrecked condition , the scene painted by Luini comes very close to it in beauty o and in devotion . Tw columns divide the long table into three parts, at each of the side divisions are three apostles . Our Lord and the remaining six are all in the centre portion . Judas who is grasping the bag, and at the whose feet rests a huge sleek cat , is seated outside the table, close against one of columns , and another apostle occupies a similar position with regard to the other column . This method of placing Judas outside the table is in accordance with the plan adopted by Giotto at S anta

Croce, but the attitude of Judas in the Luini picture is more like the attitude in the other Giotto Cenacolo in the F s Accademia in lorence, where Judas is een looking up n alarmed a d rising in order to escape. In this same ~

t. and picture S Philip is pointing to him , it is probable

vis -h- vis that it is S t. Philip whom Luini places to Judas in his pictures . Ghirlandajo, like Luini , gives to Judas t the bag, or common treasury of the lit le band, which is clasped tightly in his hand , and he also represents the

- ill omened cat, which is probably intended to typify n S ata .

t. h S John , overcome wit amazement, appears , both in ’ u inI L s and Ghirlandajo s pictures , to have swooned away W ORK AT LU GANO AND MIL AN 73

on the breast of the S aviour . Raphael in his Cenacolo in the Vatican and the unknown Raphaelesque artist of ’ s S ant Onofrio al o place Judas away from Our Lord , O f A on the opposite side the table, but ndrea del S arto

follows the Leonardo method . e It is quite easy , when the picture by Luini is examin d , f to see how entirely dif erent it is from the one by Leonardo. A Leonardo put all the postles on the one side of the table.

Judas he put quite close to our Lord , so as to intensify the surprise of the other A postles that one so intimate t ’ should be the traitor. S . John in Leonardo s picture

S t. has just been addressed by Peter, and is leaning his ’ Lu ini s clasped hands on the table, but in he has swooned ’ away in amazement . In Leonardo s picture many of the A postles have risen from the table in their horror and ’ Lu ini s one surprise , but in only is on his feet, and is in

h s . The t e act of ri ing up , and is at the end of the table e others are all seated , one points to Judas , the oth r two gaze at him with amazement ; one Clasps his hands and is one stolid , petrified with horror, near to Our Lord doubts T t S t. whe her he has heard aright, and homas ventures to S s rebuke the aviour for His tatement, as it appears to him

to be manifestly inaccurate . All these details differ entirely from Leonardo’s com

s po ition , and more resemble that of Giotto, save that the line of heads to be seen in Giotto’ s work is cleverly in broken up the picture by Luini . It is worth while n dwelling upon these divergences , i asmuch as there is a ’ general notion that Lu ini s Cenacolo may be dismissed n as an imitatio of the celebrated one by Leonardo.

It is nothing of the kind , but it is an original work of

high merit, influenced strongly, of course, by the great 74 BERNARDINO LUINI

F i lorentine, but full of Luin s own Spirit. There is much tenderness about this picture ; several of the A postles are evidently thinking more of their own faults and self s n accusation than of the traitor, others poi t to Our Lord , and tremble to think of the effect of this knowledge n e and upo His s rene composure , of those who look on Judas the countenances are more expressive of pity for n him tha of contempt for his crime .

The picture is worth careful study, and more attentive

was consideration than it generally receives . It probably the earliest of the three Lugano pictures , but as a rule it is neglected by visitors to the church by reason of the

s great Passion fresco near by, which demands uch over whelming attention . T s his enormous work cover the whole of the wall , a the x sep rating the nave from choir, and e tends right up i IS to the ceiling. Its base l ne one drawn along the tops of the three circular headed archways in the wall that

s give access to the choir, but the head of these archways , the spaces in between each arch and the corners to each n T archway are also filled with decoratio . here are two S S t. S S t. giant figures of ebastian and Roch, ituate on either side of the central archway, that appear to hold up the huge Pas sion scene above them . In the com ers of

s s S n the archway are figures of six prophet , Ezekiel , imeo , Z n Hosea , Jeremiah , David and echariah , bei g those who A specially foretold the death of Christ. round the arches s are inscriptions , and above ri es the great Passion fresco .

It is a very crowded composition , including several hun _ s s dred figure , which are arranged more or les in two lines . n s n u Id the ce tre is a gigantic cro s, beari g pon it the

TH E C R U C I Fl O BT P I CO ASS O N FRES .

76 BERNARDINO LUINI

w stretched out at full length do nwards, and the hands x one h e tended , and in this figure, of whic the back and the profile only are seen by spectator, Luini touches a chord of dramatic power that nowhere else in his pictures does he even approach . Close by this kneeling figure is The M a very pathetic group . adonna is seen swooning away in an agony of sorrow, and supported by the holy women . On the other side a noteworthy figure is that n n of the ce turio , who is depicted riding on a great white horse and gazing on the scene with astonishment and wonder. A A a figure near him , called Joseph of rimath ea, is bearing a vessel of vinegar, into which a sponge has been dipped , which is at the moment being elevated to In n the cross . the foregrou d are three Roman soldiers ,

u C s s riv violently contending for the vest re of hri t , and t ing to tear into two pieces the coveted garment The s n whole pace is full of men , wome , children, s s S soldiers and hor e . ome of the faces are of remark able beauty ; one mother with a child by her side and

s x another in her arm , at the e treme right of the fresco, is as finely conceived as any work ever done by the n e master, and almost every face, whether uptur ed to th f S uf erer or engaged in looking on its own concerns, bears signs of careful thought and attention , and of suitability to the picture.

On the left, amongst the figures on horseback , is one venerable man with a long white beard , who is appar ently the same person as the one already alluded to at

s f. S S aronno, representing the master him el ome have ’ ’ Luini s said that the centurion s face is , but if that is the case then the S aronno portrait and the tradition that W O RK AT LU GAN O AND MILAN 77

is supports it must be rejected , as the face that of a much n younger man than was depicted at S aro no . A is bove this crowd , on a raised plateau of ground , another line of figures , equally crowded , but broken up somewhat into detached groups . The figures are all much smaller in size and depict in ’ s succession , from right to left, the scene in our Lord s x T is s history that preceded the Crucifi ion . here fir t the

s crowning with thorns, which is more or les a copy of the much larger scene painted in the S ala di S anta Corona in the A mbrosiana that is followed by the pro

ss His ce ion to Calvary , in which our Lord is bearing cross ; then comes the embalming and entombment of ’

His S t. T n body, and lastly the scene of homas s u belief

n s s s when the rise S aviour tand in the mid t . S till further in the background is a land scape with

ns and n mountai hills , including a view of Luga o and of

s s the church in which thi decoration appear , a similar idea to that carried out by Luini at S aronno in his Pre s n ation s e t fre co . Upon two of the hills to the extreme right and left of the picture there are yet two more scenes from the life

s in n of Chri t. On the right is the scene the Garde of

an s n Gethsemane, where angel appear beari g the cup of

C s in a n n and s sorrow for the hri t ago y of prayer, clo e at n s n s In ha d are the disciple lyi g fast a leep . the opposite

s n A s n O ur is corner is repre e ted the scen io . Lord in the

s s a nd is n cloud surrounded by angel , below the a gel of the Holy S pirit coming to comfort the throng of kneeling s n ns Apo tles and compa io . Pillars a nd arches of the temple appear to frame in l these ast two scenes. 78 B ERNARDINO LU INI

e s is Th entire compo ition of course far too crowded.

n a nd It is lacking in distinctness , in definitio , in suitable m The co position . crosses by reason of the two lines of not a figures are far too high, and could be re ched by the n one soldiers, even with the giga tic spear that of them Th holds. e very tops of the two standards that wave in b ‘ the reeze, and which are on enormous poles , do not reach the arms of the central cross. Even the air is so fu ll of winged spirits that the dignity of the Cru cified O ne 13 1 m aired and its ‘ p , the cross with Divine Burden

s n lo es the promine ce that should attach to it. The wondrous beauty however of m any of separate ‘ the s i i faces, the charm of the di t nct groups, each with a certa n n its grace in compositio of own , the perfect drawing of the important figures in the foreground , and the verve

vibr and movement of the whole picture, set in a deep at ing chord of rich colouring, cannot fail to attract . Above

s all , the entire composition is charged with an inten e de votional s and s s pirit, the arti t was mo t evidently strivi ng s to render as well as he pos ibly could , and with all the a religious enthusi sm of which he was capable, the events ’ of the world s tragedy.

r ff s s s The ve y e ort fru trated the ucces of the scheme, n and destroyed the sponta eity it should have had , but f the fresco is very wonderful , full of spirit and e fort, and in every way a remarkable work . is e u S t. It dat d at the foot, close to the fig re of Roch, XVIIII is s MDX , and one of the large t uninterrupted

s s s fre coe that was ever painted by any arti t . In the same year Luini was back in Milan working n again in the church of S a Maurizio .

T s s hi time his commi sion was to decorate one chapel ,

W ORK AT LUGANO AND MI LAN 79 and the donor O f the work and founder of the chapel w s as one France co Besozzi. The was 1 th work completed , we know, by the s of

A s 1 0 s in 1 2 t ugu t, 53 , but Be ozzi died 5 9, and herefore did not live to see the wonderful frescoes executed in hi s chapel . ’ In the altar- piece We have a marked example of Lu ini s earnest desire to avoid the creation of any feelings of horror or repulsion in the minds of those who worshipped at the altar. The subject which was selected by Besozzi was that of the fla ellation g , but Luini did not attempt to represent it in customary form . He characteristically chose to depict the unbinding of Our Lord from the column after the dread scourging had taken place. ’ To u s Mr e s. x ss r is Jameson s e pre ive ph ase, Christ ” ss Th strengthle and fainting from the torture. e bar barous soldiers are loosening the ropes that bound the n and O u r o in victim to the colum , L rd , the very act of falling to the ground , is being roughly supported by one of the men . The o b dily weakness, almost triumphing for a moment n n x over the i te se mental courage, is finely e pressed , and to those who served or knelt at the altar the picture s an n would alway be enkindli g of deep sympathy, of n and ss profou d pity compa ion , and of wonder at the

s u s . C s s S t. orrowf l ight lo e at hand tands Lawrence, ’ robed in a deacon s tunicle and wearing the stole across his s W one brea t. ith hand he carries a clasped book and

t s a palm , the o her hand he stretche out, pointing to the

S f s Divine uf erer, and with a piteou expression of grief

s s n direct attention to the central ce e. 8o BERNARDINO LUINI

is O n the other side a majestic figure of S t. Catharine he h n n leaning upon her wheel . S lays her a d te derly o F up n rancesco Besozzi , who, in the garb of a lawyer,

his his s and holding rosary between clasped hands , kneel humbly by her side, gazing in great reverence at the figure

s n the n of Chri t. Behi d sai ts are tall , armed warriors, and near by are the clothes of the executioners and the

C o . vesture of hrist, while on the flo r are the scourges High up above this representation are two smaller s s cenes , divided by the column which passe right through T the picture. hese two smaller pictures , each containing

s Resurrec only two figures, appear to refer to the Ea ter M M S t. i . t on In one Peter is approached by ary agdalene, O who points to the pen tomb and the Roman soldier, and in the other Our Lord appears to Mary in the garden in H is risen form , and forbids her to touch Him . The sides of this chapel are occupied by two frescoes depicting the legend of S t. Catharine. In one fresco is seen in the distance the destruction of the four wheel s O f God x by the angel , and the slaying of the e ecutioners and three thou sand people by the fragments that flew t C around . In the foreground is S . atharine kneeling in

ra er askin ma be stren thened the p y , g that she y g for terrible death that at that moment was before her. In the other fresco is seen the decapitation and burial M of S t. Catharine. eekly kneeling in the foreground is n x the sai t, while above her towers a gigantic e ecutioner, brandishi ng the sword with which her martyrdom is to

. s take place Near at hand are Roman guard . In the is M S transfi ured n distance ount inai g in bur ing light, and in the midst of the light angels are placing the body of

C . S t. atharine into the marble tomb prepared for it

82 B ERNARDINO LUINI

A will upon him . long and untrue story of the previous A rdizzino n hi s cruelty of i flamed anger, and to win her f enduring af ection he undertook to execute her wishes.

- W - fi ve he A rdizzino ith a band of twenty men met , C Mavino C ount of , and his brother arlo , and set upon The n them and murdered them both . Duke of Bourbo , u M had who was at that time the titular r ler of ilan , wn T Pietro arrested and thro into prison . hen S an severino came forward and told the whole story, and the city rang with the intelligence of the crimes of this famous beauty. Pietro by some connivance was allowed to escape from prison , as it was evident that he was only a tool in r a in lli the hands of his mistress, and a man of ve y we k te C G e gence, but the ountess of ellant was b headed as the penalty of her crime. This was the story that was in every one’s mouth at the time Luini was working at the Besozzi Chapel , and C he made use of the beauty of the wicked ountess, and painted her fascinating features in his representations of t S t. Ca harine, and so perpetuated her memory and the story of her crime. A In the roof of the chapel appear the two sibyls, grippa

Erithrea and , and angels bearing the emblems of the

s s Pa sion, the crown , the nail , the spear, the sponge, and s are other emblems, and these mighty piritual beings gazing down upon the scene of Christ unbound from the n colum , and their faces are expressive of great pity and of comfort . The mot whole if of the decoration of this chapel , dis

' missing the mere accident of the use of the -Countess of ff Gellant as a model , seems to be that of su ering without W ORK AT LUGANO AND MILAN 83

s ff r fault, and of heavenly comfort given to the u ere . : The ff S t. C S t. su erings of our Lord , of atharine, of Law A M rence, of the postles at the empty tomb, of ary M n in ff agdale e the Garden , were all meritorious su erings , ff not the result of the sin of the su erer, but for the All f n purification of the soul . these suf eri gs were blessed

s from heaven , all the sufferer received heavenly comfort t and and eventually the reward of mar yrdom , this scheme O f thought seems to be the idea upon which the selection both of the frescoes and of the standing figures is s based . If, as ome writers state, the figure to the left t S of Our Lord is that of S . tephen the marty r rather

S t. moti is than Lawrence, the f not in any way altered , ff for each saint su ered martyrdom for his faith, was com forted by angels , and received into glory. T d his great work completed , Luini returne to Lugano, and in I 530 executed the last work that we can identify; n e He was evide tly in the full vigour of his pow r, and it may fairly be said that the lunette from the cloister that has now to be described , is the culminating point of his genius . He never painted anything more exquisite in and refined in its beauty, more lovely expression , n more te der in sympathy, and the grace of composition ,

O his so ften lacking from more ambitious works, came to his aid in the conception and carrying out of this

A s fresco . fresco painter he was to the la t; all his n greatest works were do e in that medium , and although ' tem era aintin there is peculiar beauty in his oil and p p g, s yet it lo es by contrast with the fresco, and it is by his s e fre coes that he will ever be rememb red . The very rapidity of fresco work, and its simplicity, ’ Luini s and want of elaborate detail , were all factors in 8 A I 4. BERN RDINO LU IN

r favou . His own quick , active brain needed rapid work to satisfy it. His desire for simple spontaneous beauty x led him to attach the greatest importance to e pression , and to neglect not only composition , but accessories and draperies . He was less happy with more pretentious treatment, and it may also be fairly argued that, being s a a deeply religious man , his happie t work was done in a church rather than in preparing an easel picture for . palace . His time of work was so short, and his labours o s abundant, that the careful elaboration that painting in oil demanded was beyond his reach for sheer lack of time. Only once did he produce a really complete and theMadonna elaborate panel picture, and beautiful though o tfze Rose Hed e f g is, yet it lacks, by reason of its very x fine detail work, the minuteness of its e ecution , and its high surface, the charm of beauty that belongs to his fresco work . E xaggerated shadows , too smooth and and solid quality, a general studio light and atmosphere All mark the work of the master in oil and tempera. this is absent in fresco, which is much more spontaneous a f and open n i n its ef ect. The 1 530 lunette represents the Madonna with the

t. Divine Child and S John Baptist. t Our Lady is in the midst, and wi h extended arms t the embraces bo h of children , one of whom is on either side of her. The who Divine Child, is nude, is holding a lamb, and has one arm around its neck . He is endeavouring to

its . mount upon back, and is full of childish playfulness

O t. On the pposite side is S john , wearing a rough skin n is garment, and holdi g his long cross of wood . He and use kneeling on one knee, is bubbling over with am

W O RK AT LUGANO AND MILAN 85

i ment wh le he looks round to the spectator, and points with one hand to the Christ child . r Our Lady sweetly smiles on them , and d aws each child toward her. Her tender glance specially rests upon C - hrist, but her arms are all embracing, and the downcast eyes and thoughtful meditative countenance is full of

- deep love and world wide sympathy. Tradition states that the face O f the Madonna was ’ f u ini s O L s . taken from that own ister It is an ideal face,

i s n s s w th pensive eye , se sitive lip , not without sadnes , but of ready to sweeten into a smile, and an ample expanse forehead , serene and calm . A t r l hough there are but the three figu es and the lamb,

ff O f The yet there is no sti ness outline. Virgin is in the

the C S t. n midst, hild is standing and john k eeling, and r the whole is contained within the easy cu ves of an arch. Above is the signature

BERNARD I N O LUI N O

AN N O MDXXX .

Between 1 530 and 1 533we know nothing of Luini or I n his work. In 533 he was again at Lugano, receivi g is The the completion of the small payment for h labour. entry in the books of the convent can still be seen . It reads as follows : “ De anno I 529 de mense Jul11 D Baptista de S omazzo nu i M n Lu no ictori merav t . Bernardi o de y p pro mercede 1 sua passionis dipictae in praefata ecclesia Lire 5. “ ze 2 1 8 Item de mense D ecemb ri dat sunt Lire 5. Die

Junii 1 530 De Helias Brochi nu meravit M. Bernardino 1 1 0 a M de Luy no pictori Lire 84 4 . Die 9 junu 53 dat . Bernardino de Luy no pictori pro drapo alto Lire 86 B E RNARDINO LUINI

Item de anno 1 533 a Domenico A ndrea Pochobello numeratae M B de L pictori pro completa solutione sic! assionis T i opus ( ) p Lire 50 . otale Lire 244 8 S m ” eriali p . The a payment which, therefore, came to so meagre sum , was spread over many years and handed out by the head of the monastery to the hard - working painter

F 1 is . in small sums . rom 533all silence Luini suddenly s T vani hes from our sight, and is gone. rue, S alvatore, C C a apuchin monk , stated that on a wall of the apuchin ’ M convent of Vittore all Olino, near ilan , was a picture, 1 dated 547, begun by Bernardino and finished by his son , A t urelio, but we know no hing of the picture, and have

s All no definite tradition to support the tatement. our 1 knowledge of Luini closes at present with the year 533, t A ” al hough Orlandi , in his becedario, says he survived 1 till 540 .

1 “ Iconografia Italiana degli uonimi e delle donne celebri ” no 1 8 6 vol. i. Mila , 3 ,

88 B ERNARDINO LUINI

’ C i t Ma 1 8 8 sale at hr s ie s, in y , 9 , to four different pur

The n - in chasers . Special i terest of this altar piece is the no predella, which represents a series of scenes of which

n is other pictorial represe tation is known . It the history

S Mart rius and A x . of three saints , isinnius , y , le ander To T these saints was dedicated the church of La orre, and Luini was probably instructed to commemorate

n Torriani M their story by his patro s , the di endrisio

- family,who commissioned the altar piece. To Mr McNeil the learning of . G. Rushforth, of Oriel

C . ollege, we owe the elucidation of the story of the saints By dint of considerable research he found out from Latin records all the details as to the martyrdom of these three friends in the fourth century. T T n hey were sent out by Vigilius , Bishop of re t, in C 397, in order to found a hristian mission amongst some A nu w pagan tribes in the valley of the ra i , now kno n as the Val di Non . C the hristianity was, in the fourth century, religion of the monarch and of the government, but it had not ex tended into many rural districts and had still to combat a vast amount of hostility on the part of the pagan tribes .

S Mart rius isinnius , a deacon , and two friends , y and A x le ander, who were in minor orders, were placed amongst a people devoted to a Celtic deity whose cult s The re embled that of S aturn . people had a great festival of their local god , and endeavoured to persuade n one of the new Christia converts to join the sacrifice. “ s S isinnius and his companion , who were present, con ” in s T s s firmed the neophyte his refu al . hi tarted the h s S attack upon the t ree mi sionaries , and isinnius, their

90 B ERNARDINO LU INI clearly represents Mary Magdalene rebuked by her sister

Martha for her vanity and luxury, and in every way bears l The out the details of the popu ar legend. attitude of ” Mrs the . veiled figure, said Jameson , is distinctly that of t remonstrance and rebuke, the o her, decked and smiling, s her look out of the picture, holding flowers in hand, as ’ e uncon yet unconvinc d by her sister s arguments, and ” s verted the va e of ointment stands near her. To quote M of again the same author. artha was always the model virtue and propriety, a little too addicted , perhaps, to M r e worldly cares ary, on the contra y, abandoned hers lf x s to lu urious pleasure , and was notorious for her dissolute ” M t life. ar ha frequently rebuked her, and at last was u Th successf l and brought her to the feet of Christ. e scene is vividly presented, and very typical of Luini . The large hands, the oval Leonardo faces, the loose hair, the embroidery on the robes, and, above all , the eyes, ’ Lu ini s when carefully compared with types , present the

' most definite assurance that this superb picture is from ’ the master s hand , and belongs to his Leonardo period , or possibly a little later, and is very characteristic of his pencil . We now come to the very few portraits that Luini A F painted . fter the Casa elucca days he never seems to have painted mythological or purely domestic scenes.

His work was confined to sacred subjects , but it is evident n x that on two or three occasio s he did , to a certain e tent,

- vary his practice . At least three portraits by Luini are in x e istence . In each there is the same greyhound style of f so t eyes, the same large fleshy hands , with long

fingers , and some general characteristics as to dress, but

t . hey are clearly portraits, and individual in many respects S P et r o r . t. e s n g LA CO LU MBI N A (F rom a p ri va te plzoto

92 BERNARDINO LU INI

the of other pictures, although the necklet and the hand ’ Mr. u with a fan recall at once Benson s pict re. There is

M - the same adonna like calm , the same greyhound eyes , n the same even arrangement of the hair, and the ide tical hands . It is unknown whom either of these portraits

s repre ent.

TW O u ascriptions of portraits m st yet be mentioned .

It has been suggested that the figure of S t. S cholastica S an M A n in aurizio is that of lessa dra Bentivoglio, who s had just taken the veil in the Church. S uch u e of the face of a young nun would be contrary to all monastic and artistic tradition, and , besides , the face Luini gives to A s . S t. S chola tica is not that of a young girl at all nother writer states that Luini saw his old love from Casa

he Felucca when he was at Lugano . S is said to have e b come a nun , and that he painted her portrait in the

Lugano crucifixion scene, and then retired to a religious T house and died there. here is , however, no evidence t whatever to support ei her of these statements , which are merely conjecture .

In conclusion four drawings must not be overlooked . The studies of children in the A mbrosiana have already n he been me tioned . T drawing in black chalk at Venice

’ of the Expa h zon f rom Pa radise is magnificent in its strength and ease. It is Leonardesque in period as the faces clearly reveal , and the hardness of its draperies The proclaim its early date. conception, however, is fine, s and the grouping, although too even and traight, is very A characteristic, as are also the very large feet. delightful M m head of Biagi A rcimboldi is in the alcol collection ,

t A . and a lovely S . Catharine reading in the mbrosiana d The latter is also of the second perio work . SPECIAL PICTURES AND PORTRAITS 93

F we inally, what have to say of Luini to sum up his work ! He was a master of fresco work . It was the x suitable medium in which to e press his thoughts , the vision of his mind could easily and rapidly be placed upon the wall , and the very rapidity of the work and its s - ketch like character were all in his favour.

x his r He was a shrewd and de terous colourist, f escoes are luminous and brilliant but never gaudy, his easel

s his picture rich, deep, and harmonious . In fresco work

1s scale of colouring a low one, and his colours grey in their tone ; such tints as salmon , orange, pale brown , puce, and cold blue being his favourite ones . In his s ff ea el pictures a di erent idea prevailed , and his tints are t velve y red , delicate roses and greens , and intense purples

s and browns ; but the result i always harmonious . “ and x In idea he had an original e quisite feeling, as

S ymonds says , for loveliness of form , a poetic sentiment, t W and a love of the vivaci y and joy of life, combined ith

s s a deep en e of its profounder side, its pathos , its sorrow ff ” and its su ering . His knowledge of landscape was but slight buildings are s s well drawn , mountains are well sugge ted , but tree

n is are beyond him , and the sky, which curiously e ough t b afflw never really blue in his pictures , wi h its clouds , him altogether.

He was neither so subtle nor so profound as Leonardo . F He was not so archaic as are Borgognone and oppa,

S O Bramantino s nor architectural as , nor so lusciou and n F i voluptuous in style and colouri g as Gaudenzio errar . ’ S O S odoma His composition is not nearly original as is s, ’ n Bramantinos nor so well bala ced as is .

s He was per evering, hardworking, and simple in his 94 BERNARDINO LUINI

' eflorts e , and has left b hind him a vast quantity of work, very much of which is of the first order of merit. He as in x r w not dramatic his e pression , but rather ly ic, not n i ductive but deductive, not objective but subjective.

His visions were within his breast, they inspired his art, n and his pencil reflected his own i ner consciousness . not O f He was one the greatest masters , he was weak s T in compo ition , his frescoes are often too crowded . here ff n is a poverty in his early e orts , a mo otony and a same ness of feature, the domestic element is uppermost, the s heroic or epic almo t absent, the idyllic in the greatest demand . Later on , with the same general characteristic, comes the deep and intense religious devotion , and it is that which is the keynote of his life. S ymonds recog ” ize n d his wonderful power to create a mood . His pic tures , like a note of music, draw a corresponding chord t from the heart , and his chord is , at the will of the painter, bright with joy or tremulant with sorrow and grief. n x His frie ds were as Rio e pressed it, those who prayed and those who wept, and it is to them that he still appeals so forcibly. ’ The s man intense faith, his deep devotion , the truth of his religion, and his intimate knowledge of the mys

eries t alike of joy and of bitter sorrow, are revealed by his pictures . own His tenderness of nature, the sweetness of his f a fection, his chivalry, thoughtfulness, serious disposition , and calm serene faith, all these are elements of his life taught by his pictures . Let Ruskin ’s strong words l concludethis attempt to portray the artist

“ ” u n of Air Q ee the , g 1 57.

CATALO GU E O F THE WO RKS O F B E R N ARDI NO LUI N I

AND O F CERTAIN WO RKS ATTRIBU TED TO THE

ARTIS T ARRAN ED ACCO RD IN TO THE , G G GALLERIES IN WH ICH TH EY

ARE CO N TAIN ED .

I oo CATALO GU E O F W ORKS

E ALLE E A. CZ RNIN G RY, VI NN

Th n ~ A MADONNA AND CH ILD . e origi al of the much re

n P s . painted o e at St. eter burg

The In an C s is s n n on s a an n oo f t hri t ta di g a pede t l , ope b k

n at His . is c a in a c a and bei g feet He l d light pie e of dr pery,

is su o nna is His s . S he s pp rted by the Mado , who by ide hold

out to Him c u ns to a . a flower, whi h He t r t ke

AL E E A. NATION MUS U M , VI NN

- T O . A r ed man one n on S . JER ME g ey head with ha d a book

is n and on k. At is he holdi g, the other a roc the left a ’ x and u d in s hat and crucifi a sk ll be ecked with a card al , n At on m n at the back is a la dscape. e ti e it belo ged to l m in M n and was in 1 8 6 the Crivel i fa ily ila , bought, 4 , in m from the Kaufmann Gallery the sa e city. [No.

T i n his s attributed to Lui i .

THE D O F O I . A u n w m n AUGHTER HER D AS yo g, fair o a , n B s in The beari g the head of the apti t a silver dish . x n is the head of the e ecutio er to left.

In c ec n an D u am and n the oll tio of the Gr d ke Willi , the

asc L na . a u s to S a ribed to eo rdo Morelli ttrib ted thi ol rio, u c ns it is Lu n b t we o ider the work of i i. (S eepages 66

B RI I YSH I S LE S .

AT AL ALLER LO DO . THE N ION G Y, N N

I DI I I DOC O OR I R CHR ST SPUT NG W TH THE T RS, CHR ST A

I I P I . On 2 in GU NG W TH THE HAR SEES wood, ft. 4 . x

1 0 in. O . I 8. 2 ft . [N ] Formerly in the Aldob randini apartments in the Borghese m was m d n s un Palace at Ro e . It i porte i to thi co try by Da in 1 80 and was u d na Mr. y 7 , beq eathe to the Natio l — AU ST RIA- HU NG ARY BRITISH I SLES 1 0 1

C rin 1 8 1 . T Gallery by the Rev. W. Holwell ar 3 here s and has n n d b are several old copie of it, it bee e grave y

une o and W. R c ff . D. C g ad li e

WALLA E ALLER E TF RD S E LO DO . C G Y, H R O H OU , N N

NO . I I I . 2 in . x I ft. in. V RG N AND CH LD ft. 5 9 [

An early work.

I I I 2 in 1 . in. . V RG N AND CH LD . ft. 4 . x ft 9 [No

F m Pou rtales c c n it was u ro the olle tio , Where attrib ted to n n T is c s c u in Leo ardo da Vi ci . here a repli a of thi pi t re the B m t Casa orro eo a Milan.

in 2 . I in 1 . . . A CH I LD GENIUS HO LD ING GRAPES . ft 7 x ft

[No.

a n A fragment of fre sco from the Villa Felucca ne r Mo za.

SO T KE S T M U H N ING ON USEUM .

T sc s s in L n n ss s. F s at hree fre oe old o do by Me r o ter, 54, Pa a on un 8 1 8 8 a to o m a ll M ll, J e th, 9 , lleged have f r ed p rt of

c a n of of S t. Am os C u c an the de or tio the oratory br e h r h, Mil ; m m I a m n a s a o and ans re oved fro t ly a y ye r g , tr ferred to canvas on the demolition of the walls upon which they were a n p i ted.

S I . Tw s I . i 2 o 8 . n. 2 I I in A NTS piece ( ) 3ft. x ft 7 ; ( ) ft. . x 6 in 5 ft. .

A num e l - n t u s o a n s n b r of ha f le g h fig re , pr b bly wit e si g the Asc ns n c c m ss na s n e io , ea h fa e deeply i pre ed with devotio l e ti m n e t.

THE A C IO A un 8 6 in 1 6 in S ENS N . l ette. ft. . x 3 ft. .

h u C s His an a and W ole fig re of hri t, with right h d elev ted, ’ su un a w c u s a s. An s rro ded by halo, ith her b he d gel with um s and s in n are on s tr pet , other devotio , either ide .

T OXFORD . CHRIS CHURCH ,

Richter says that there is in this collection a black and gyp sum drawing attributed to Leonardo da Vinci that w Lu n Morelli stated definitely as by i i. 1 0 2 CAT ALO GUE O F W O RKS

DR. ABERCRO B E 2 WI O M I , 3, UPPER MP LE STREET.

’ F s m s s s ive frescoe fro the erie old at Foster s. S ee South K ns n n Mu m 1 0 s u 1 . e i gto e , p.

'

THE L S . . in in AST UPPER 5 ft 4 . x 7 ft. 4 .

The S aviour and the Twelve Apostles are grouped around c cu a a c a c o on c ar a ir l r t ble overed with white l th, whi h e the m s s asc a a s n etc. p h l l b, bread, gla e with wi e,

I A n . 8 in 1 2 THE VIRG N ENTHRONED . lu ette ft. 4 . x ft. in 4 .

n in m The u The Virgin is seated on a thro e a te ple. S avio r

and saint s are adoring.

I un THE HALL O F CAIAPHAS AND CHR ST MOCKED . A l ette

in w n s d b C n n u mn. t o pa el , divide y a ori thia col

I I The n : the L m su n b THE CE L NG. ce tre a b rrou ded y eight ’ k n c 6 i u s s on . n cher b head , gold bac grou d, a cir le ft Tw s s h w n an m . o two s d s dia eter ide , eac ith a gel cherub ,

in . T o n s h w n s s and an f . w 6 t. 3 high e d , wit i ged bea t

n . . a gel, 7 ft high

m n in 6 in I A . . X . . ROMAN S OLD ERS . frag e t, 3ft 5 4 ft

BE SO ES 1 6 S O S P L . R . H . N N , Q , , UTH TREET, ARK ANE

O F T : SS . S ISI I TH E H ISTO RY HREE MARTYRS NN US, Y RI S A in five sc n s n ee MART U , AND LEXANDER, e e upo thr

panel s.

1 n 1 2 in. 1 8 in. NO . , pa el , x

The three friends setting forth as pilgrims ; in the back ground they are seen crossing the river in a ferry -boat ; a c distant view of the gates of ity.

- 2 n 1 2 in. x 8 in. No. , pa el, % 3 3,

n m a m n s O n This picture is divided i to three co p rt e t . the

1 0 4 C ATALO GUE O F W O RKS

R L W A D E THE EARL B O O S . WN , HRI G

O T. BA VI RGI N AND CH I LD WITH S T. J SEPH AND S J OHN P K I TIST DO O . , AND A NEEL NG N R

- All s u s. F sc ans can as and life ize fig re re o tr ferred to v , said to be inscribed : AD u xxvx 0 ) 7 MAC FRANC DE QUADR I AE D E NEPOTIS S OS P T O D .

This picture we have not seen.

MPBEL AR B B SIR AR BALD CA L G SCU E N. . CHI , ,

IVI NAT TY.

w n s n This picture e have ot ee .

THE TESS O F CAR S FORT E O A COUN Y , LT N H LL,

PETERBO ROUGH .

A BOY I TOY . P n 1 . in. 1 . 1 in. F m W TH A a el, ft 3 x ft ro n Was n the Arundel Collectio . i herited by Lady Betty e m n and e in Sir W m mi n G r ai e, l ft her will to illia Ha lto . kf F n Pu c s d b . B . Pu r ha e y Mr ec ord, of o thill rchased

- . Far uhar and t e u s d b . B f . by Mr q , p rcha e y Mr eck ord C m n m n P C n and s in a e i to the Ha ilto alace ollectio , old h 1 882 . Pu s b L C s 1 88 . B n n rc a ed y ady ary fort, 9 urli gto

F ne Ar s C u 1 8 8. . 2 and us n i t l b, 9 [No 5 ill tratio ]

a - n nu u ss an - s u n H lf le gth de fig re, le th life ize, of a boy t r ed n u ac at s c a s i to the left, looki g f ll f e the pe t tor. He hold n both hand s two tablets of wood loosely held together by red s a s un c is a a n s tr p , der whi h ( pp re tly) a traw . c u A very lovely pi t re .

ES L SA AND L C CO E 1 A I M ISS OUI U Y H N, 4 , DELA DE

C B I O . CRES ENT, R GHT N

O F I . P n 2 . in. 1 . 1 0 in . At HEAD CHR ST a el , ft 7 x ft

r u b wn s Lu n . New 1 8 . t ib ted y the o er to i i Gallery, 94 o [No . n ]

a - n u of C r s c n s n H lf le gth fig re h i t fa i g, the fir t fi ger of the BRIT ISH ISLES 1 0 5

an ouc n s con n of n ss right h d t hi g the e d fi ger the left ; pi k dre , c oss s o o His S u with jewelled collar ; r ed t le ver ho lders. This pictu re belonged for generations to the S trozzi family

at F a a and is un u of Lu n . err r , do btedly the work i i We i c u in N a na r believe it s a stu dy for the pi t re the tio l G alle y.

S IR F A S COOK D O O RIC O . R NCI , UGHTY H USE, HM ND

T. MADONNA WITH S GEORGE .

na c u A fine origi l pi t re .

W R D . . E. S . E LE RAx, ES Q

ih S T. M P n 2 . 2 in. 1 . 8 . At ARY MAGDALENE . a el , ft x ft

bu b n Lu n . New l 1 8 . tri ted y the ow er to i i Ga lery, 94 I F rom flze N ortbwiclz ollection [No . C .

a - n t -s ure to a ac n n H lf le g h life ize fig the left, he d f i g ; holdi g cu n m n p of oi t e t .

R w S IR LL A FARRE 1 8 B OO S . WI I M R, , UPPER R K T EET,

T A . Pan 1 . 1 1 in. 2 in. n HREE NGELS el , ft x ft. 5 O the back of the panel is branded Ducale Pinacoteca Litta ” Ex s n A se in n . Vi co ti re Mila o hibited at the New Gallery,

NO . Ex B lin n F n 1 893. [ hibited at the ur gto i e

A s C ub 1 8 8. . rt l , 9 [No

fin u A e pict re . S ma u - n t u s ac n c an s ll f ll le g h fig re , f i g, of three hild gel s an n on c u s n n a s in a u s a a t di g lo d , looki g dow w rd ttit de of dor

P a na un c u . tion. rob bly origi lly the l ette of a larger pi t re

RENFELL ES . TAPL w I . W. . G o O H , Q , C URT, MA DENHEAD

O F I . P n on s k h in n s as H LY AM LY ai ted il , av g bee u ed a nn now m u n on n 2 2 in 2 Ex ba er, o ted a pa el, ft. . x ft. hibited Bu n n s 1 8 8. at rli gto Hou e, 7 [No.

The n s a D n C s an n on Virgi e ted , with the ivi e hild t di g her

la . S t. n is s an n in ac p Joh t di g by, the t of adoration. O n

s a re S t. s and S t. E either ide Jo eph liz abeth. 1 0 6 CATALO GUE O F W O RKS

LL E AM LT MR . BA L H N. S O D N O I I H I ON, ANGT N, U SE.

THE ANNU N crATION . P n h . 2 in 2 6 in a el, eac 3 ft . x ft. .

F n A s u 1 8 8 B n n . NO. urli gto i e rt Cl b, 9 [

In an is s n n u ac n s the left p el ee the Virgi , f ll f e, to the k ee , an on as a s on her right h d her bre t, her left r i ed the right n s and n on s and a readi g de k ope book, the left other book a In an is s n A c an i curtain. the right p el ee the r h gel G abriel n o an x n an o n c wn o pr file, right h d e te ded , left h d h ldi g a ro , bel w

- B n a s u s . lilies. oth e rly life ize fig re W APTA LF D DO C O . C IN HO OR , R HESTER H USE,

in 2 LA O L MBINA . P n 2 . . . A c C U a el, ft 4 x ft fter the pi ture m t Pe s u . x s in the Hermitage at S . ter b rg Other e a ple are ff R P S n S u s and ss . B. at tratto , at ta ord Ho e, at o ie riory , N B n n F n Ar s u 1 8 8 NO urli gto i e t Cl b, 9 . [ .

a u a in u s ss as n H lf fig re of girl a fig red loo e white dre , f te ed in n a c and u c a s u fro t with broo h , bl e lo k over the left ho lder, i he s s m asm n ss m in which s bare . S hold o e j i e blo o her right

an on la and s m c um n in . D a h d her p, o e ol bi e her left rk n foliage backgrou d .

R ALL LE I L EL A . CO LON CO NW GH , H GH EGH HALL,

KNUTSFO RD .

I O F ST. I . P n I . 1 1 in. THE MARR AGE CATHAR NE a el, ft x F n A s u 1 8 8 8in. Bu n n C . . 1 ft. rli gto i e rt l b, 9 [No

h n s an s ac n s c a and s T e Virgi t d f i g the pe t tor, hold the S a ou is s an n u n a a a in act Infant vi r, who t di g po p r pet the of ’ n u n t. a n s n The sa n is placing the ri g po S C thari e fi ger. i t n n on in n s n on sta di g the left profile, her left ha d re ti g the

An n s . n cu ns on wheel . ope book lie before her Gree rtai

s and a a c un . either ide, d rk ba kgro d

- A L LE LA D M. P. P S IR H . N Y OR Y N , , THE LATE, HYDE ARK

O W. H USE,

I S I D I 2 MADONNA AND CH LD AND A NTS . ated 5 6.

n u A very fine origi al pict re.

1 0 8 CATALO GUE O F W O RKS

L DW M E ’ O D S AV O R P . U IG N , Q , ENUE R AD , EGENT S ARK A C RE UMBENT VENUS . ’ T s c ure na in Lo D u s c c n hi pi t , origi lly rd dley olle tio , s s is Lu n Morelli ay , by i i .

THE EA L F RTH BR K O P . R O NO OO , STRATT N ARK, HANTS M O AD NNA . T s hi picture we have not seen.

R ST T S in 1 8 8 w. U ON COLLEC ION . ( old 9 , see belo )

S T. A . 1 I in. P n 2 . 1 in . NNE . a el, ft x ft

m u - n sa n ac n n to S all f ll le gth figure of the i t, f i g, looki g the

n a in an an a s . right, holdi g book her left h d, her right h d r i ed ’ S at C s s Ma 2 1 5t 1 8 8 to S . T. oo n old hri tie , y , 9 , G de , 57, P all Mall . in S T. S I I I . P n 2 . 1 in. 1 . 1 . S NN US a el , ft x ft

S ma ull- n u of s n s n n ac n a ll f le gth fig re the ai t, ta di g f i g he d ’ to in and n c n s ss o n m the right, red gree dea o dre , h ldi g pal in a and in right h nd book left . ’ S o C s s Ma 2 1 5t 1 8 8 to C. F . u 1 ld at hri tie , y , 9 , M rray, 7,

S a s u R mm sm . h fte b ry oad, Ha er ith

A N . P n 2 . 1 in. 1 ft. 1 in. LEXA DER a el, ft x

S mal u - n u sa n s an n ac n in l f ll le gth fig re of the i t, t di g f i g s a d a n ss in green dre s n red clo k, b an er with red cro right and a m in hand, p l left . ’ S at C s s 2 1 5t 1 8 8 to Colna hi 1 Pa old hri tie , May , 9 , g , 3, ll

Mall East .

S T. I O F A I . P n 2 ft. 1 in. 1 . 1 in. CATHAR NE LEXANDR A a el, x ft

S m u - n u of sa n ac n n the all f ll le gth fig re the i t, f i g, looki g to in n ss and c a m anc and o in left, gree dre red loak, p l br h b ok

an s n on . right h d , her left re ti g wheel ’ S C s s zl st 1 8 8 A n s. old at hri tie , May , 9 , to g ew All four these pictures were executed by order of the ‘ of T rriani M n s f m an - c an m o de e dri io a ily for altar pie e, d ca e T from the Collection of Count Passalacqua of Milan. hey w x d n Ex n in 1 8 ere e hibite at the Italia hibitio 93, but the

one St. A x n s n S . of le a der wa i accurately styled t. George — BRITISH ISLES DENMARK 1 0 9

AN UNKNOWN PURCHASER.

The n one s s s F fi al of the eries of fre coe sold at osters.

1 0 1 . S ee p.

THE A O IN . A n . 2 in . G NY THE GARDEN lu ette 7 ft. x

1 1 0 in. 1 ft.

Christ kneeling is abou t to re ceive the cup from an angel descending from heaven ; in the distance soldiers led by n J udas are approachi g.

F WELL T TH E DUKE O ING ON .

I I I . P n 2 . in. 1 . in Ar V RG N AND CH LD a el, ft 4 x ft 7 .

u b n Lu n . 1 8 trib ted y the ow er to i i New Gallery, 94.

[No .

a - n u n n H lf le gth fig re of the Virgi to the left, holdi g the In an C s an s on a a a d f t hild , who t d p r pet they hol together,

in n s a . their right ha d , flower

E R W LLETT ES A O O B I O H N Y I , Q , RN LD H USE, R GHT N .

L R O D I - n u - ss ARGE C AY N RAW NG of a half le gth fig re, cro in 1 6 n n 2 1 . . i Ex i w behi d. ft. x ft . h bited at the Ne

e 1 8 . NO . Gall ry, 93 [

’ W D R T. F I RD S S C . LO IN O , AGAN S ASTLE, CARD FF

THE IVI . P n . 2 . . 6 in. B n n NAT TY a el, 4 ft in x 3 ft urli gto

F n A s C u 1 8 8. . i e rt l b, 9 [No

Th n ne s on S t. s on . e Virgi k el the right, Jo eph the left B n on the s a on a lan sca ehi d , right, the t ble ; the left, d pe, s n s s m are s n with the vi io of the hepherd , two of who ee

- n . A fi n . approaching. Figure s u der life size very e pi ct ure

D ENMARK

COPENHAGEN .

T I . . A t u Lu n S . CATHAR NE [No t rib ted to i i. 1 1 0 CATALO GUE O F W O RKS

TH E L E PA S . OUVR , RI

THE O F I P n - 1 8 in s . . . 1 . H LY AM LY . a el , half life ize ft x ft

6 in NO . . [

The D n C is s an n and has His arm a un ivi e hild t di g, ro d

n c n. The a nna is n the e k of the Virgi M do holdi g a book,

and n is S t. os behi d her, to the right, J eph .

f - 1 in THE S I . P n s . . INFANT JESUS LEEP NG a el, li e ize. 3ft 2 in x ft. 5 . [No .

a n L u s X IV The a nna s in Obt i ed by o i . M do hold her ms n In an n n a S t. n i ac ar the S leepi g f t . O the left Joh s pl i g a m s f D n In ac dr pery over the li b o the ivi e Child . the b k un w n gro d are t o a gels.

S O C IVI O F T B I . AL ME RE E NG THE H EAD S . J O HN THE APT ST

2 . I in . NO . ft x ft. 9 [

L u XIV S a m is u n n a a m Purchased by o is . lo e t r i g w y fro ’ the charger over which the saint s hea d is held by the h and of a son uns n b ut the x ss on m u and per ee , e pre i of her o th n n eyes do not convey a y se se of horror or of sorrow .

’

C FO . F s . in. x 6 . 6 in. . VUL AN S RGE re co, 5 ft 9 ft [No F r m La luc a n o F e c , ea r Monza .

N a n III u can is n a win for O btained by poleo . V l forgi g g

u m nus a s in a m s. N a s an s C pid, who Ve be r her r e r by t d

a s n anc to c his c to the . M r , at the e tr e the ave, with ba k light

- IVI . F . in. . 6 in. f s THE NAT TY resco, 7 ft 4 x 5 ft , li e ize.

[No . os n n The M adonna and S t. J eph are k eeli g before the n an C s is on r un in a s a a n I f t hri t, Who the g o d t ble tte ded by

an s Two an s s n a o . In two gel . other gel are ee b ve the s distance are S hepherd . N n I I m C c on in an O btained by apoleo I . fro the olle ti Mil A of the D uke Antonio Litta Visconti rese .

1 I 2 CATALO GU E O F W ORKS

BARO EDMO D DE OT S LD 1 F O N N R H CHI , 4 , AUB URG

ST. O O E P I . H N R , AR S M M MARTHA AND ARY AGDALENE .

Two ma u s n a in us fe le fig re , Martha bei g g rbed a religio a and c on n one n c m an n u n h bit, be k i g with ha d to her o p io , po s arm She s s n a n a s Who e re t her other ha d , dr wi g her tow rd a i her. M ry s very richly dressed in silk and fine muslin an s c s m o on s a is with b d of o tly e br idery her robe . Her h ir

c n and has a and nam n s u n it. leverly arra ged, pe rl gold or e t po S he s s asm n and u ns a s c a hold a prig of j i e, t r tow rd the pe t tor, to n u s asu s b ut u u as loth reli q i h her ple re , tho ghtf l to their

u ma suc s A O n m n n s . T s lti te ce s. pot of i t e t sta d s by her ide hi picture was originally in the S ciarra Colonna Palace in Rom it was s n and n unc him e, where ee by Morelli, pro o ed by ’ Luini L to be s work rather than th at of eonardo . ’ “ ut it t Lu ini s s c n mann maniera rz i a He p o e o d er ( g g ), n un n u nc L na was s n a whe , der the i fl e e of eo rdo, he trivi g fter ” m as c mo n s c a in his a m n a s. ore pl ti delli g, e pe i lly tre t e t of he d — O 1 . 1 6 1 0 . M RELL , i 9, 7

R ALP E DE R T LD PAR BA O S S S . ON H N O H CHI , I

IVI I MADONNA AND D NE CH LD . The M adonna holds the Infant Who bends forward to

m ac S t. n n m is S t. E a e br e the little Joh , behi d who liz beth . This picture was originally in the S ciarra Colonna Palace in R m and was one m in c c n Ca na o e, at ti e the olle tio of rdi l m s Ro sc and sc . It was u Ba n a Fe h bo ght by ro J e de th hild, s s a s f from him descended to Baron Alphon e. Morelli pe k o

s c u as n conc . It has sa s o thi pi t re fi ely eived , he y , h wever, in a s b een repainted p rt .

DE REIZEL PA S . M ONS I EUR , RI

Mrs. m n n not I . D e b s a d AN INFANT CHR ST escrib d y Ja e o ,

seen by us.

a a n in ca a n an a un The Child is se ted lo e a ve, h vi g pple der

is m c c has e n n. A a h foot, fro whi h a pie e b e bitte de d n i Hi s and one an is n n to serpe t s by s ide, with h d He poi ti g s an s n a the cross of wood that t d e r. FRANCE—GERMAN Y I I 3

S O E. ER S H I AV VELAS U Ez P I . IGN R C NU C , ENUE Q , AR S

S m n s s m s Pelucca n M n everal frag e t of fre co fro Ca a , ear o za, completing the series of which the remaining piece s are in L u the B n and P R the o vre, rera, Mila , at alazzo eale,

Milan. DIANA ON HER KNEES WITH HER Bow AT HER FEET ;

ARO UND HER OTHER WO MEN WI TH Bows .

FI N I T I GURE O F A MA WALK NG FRO M LEFT o R GHT .

FI GURE O F A MAN WHO IS D IGGING A DITCH NEAR A TREE ;

‘ AROUND H IM ARE WOMEN REMOVING TH E EARTH .

FIGURE O F A MAN HOLD ING A RO PE AND WALKING FROM

LEFT To RI GHT . FIGURE O F A WH ITE UN ICORN KNEELING ON ITS FORE

LEGS .

F FIGURE O A WO MAN WITH HER ARMS EXTENDED .

IO F O . REPRESENTAT N O A W LF H UNT .

A L C P : C C BY WO V O ANDS A E ATTLE ATTA KED L ES , AND W MEN I T IV RUNN NG O HELP DR E AWAY THE WILD BEASTS .

AT O AL S E BERL N I N MU U M , IN .

I . MADONNA AND CH LD [No .

The a nna s D n C c a n in a V M do hold the ivi e hild , l d o ly ery

n a on n s su n Him one an . thi dr pery, her k ee , pporti g with h d i ff n to a a a In n h He s o eri g her l rge pple . her left ha d s e

has an n . ac is a ope book Her f e p rtially veiled .

LD P AKOT EK C . O IN H , MUNI H

T I . In n h S . CATHAR NE a robe of brow , wit a jewelled border

and r n s s m b n in an g ee leeve , with a pal ra ch her right h d, n n u ds fi n n poi ti g pwar with the fore ger of the left. O the m w w d m. B k un right, belo , the heel of artyr o ac gro d, a I 1 4 C AT ALO GU E O F W ORKS

K P AK T E . IN O H , MUNIC H

c u b K n M x m n s a . A n m la d c pe q ired y i g a i ilia I . fro the c c n nn F n m n olle tio of Giova i elice I ghira i i Volterra . P n -fi ure u . c 2 . 2 in ( Hall viii ) a el , half g , f ll fa e . ft . x

1 8 in NO . ft. . [

’ T s c u u u ass n Lu n in D r Mar raff s hi pi t re , do btf lly ig ed to i i . gg ca a u b ut n a u in s n ca a u t log e, defi itely ttrib ted the pre e t t log e, is sa he c a n An a S a and in id by Morelli to ert i ly by dre ol rio, u n a s s C n a this attrib tio he gree with Me srs. rowe a d C val ca s s c a n s and n s elle . Morelli e pe i lly ote the red violet to e of man and as c a ac s c S a and a s the tle robe h r teri ti of ol rio, l o an sca and an sa s is u un a the l d pe the h d, he y , q ite like th t ’ s nc Lu n . F u s ansla on ii. 0 . di ti tive of i i Morelli ( fo lke tr ti ), 9 a and cann cc c u s We gree with Morelli, ot a ept the pi t re a ’ ini s Lu work .

BAVENO .

Mrs. C a s n C a des R s s oss ss s a h rle He frey, h let o ier , p e e

F am O ur L a nna and S t. n attri Holy ily ( ord, the M do , Joh ), u Lu n b ut a not n a ns c it b ted to i i, we h ve bee ble to i pe t .

RELL OLLECT O BER A O . M O I C I N , G M

I I S T. O B I . MADO NNA AND CH LD W TH J HN APT ST [No .

The a nna n D n C is a s s c n M do , holdi g the ivi e hild , l o tret hi g

arm a un S t. n B a s is m ac n her ro d Joh pti t, who e br i g the The c n are r ac n out a one Child . two hildre e hi g tow rd In ac u n is a sma c a and another . the b kgro d ll ott ge two u s and in x m s anc a m un a n cas fig re , the e tre e di t e o t i , tle n crow ed .

HIS LLE T O BER AMO . LOC CO C I N , G

E IVI . TH NAT TY . [No

- A richly colou red well composed pict ure .

1 1 6 CATALO GUE O F W ORKS

TH E FF PALA E FL E C O E. U IZI , R NC

‘

B I O F S T. O B I EHEAD NG J HN THE APT ST. [No.

F T. O B I ON DI HEAD O S J HN THE APT ST A SH . [No .

Tribu na .

Ku a u s c u to Lu n u s gler ttrib ted thi pi t re i i ; previo ly, for

man a s it was L na da nc . O f s y ye r , labelled eo rdo Vi i thi “ ’ pictu re Gra nt Allen says : The prince ss s face is fi ne and c a a s c b ut o as s not a ua h r cteri ti , the w rk a whole doe deq tely

s n Lu n at his s . It is c and a u repre e t i i be t old l bo red . a i i muc s Morelli s ys t s h re tored . The princess is t urning aside toward an old woman at her s the x cu n s a a s n ide, while e e tio er hold the he d over ple did

- c a c cu . x ss n is a s one gold h li e like p Her e pre io very weet , b ut u out n an a s q ite of keepi g with y ide either of orrow,

s m a or . y p thy, fear

O F I . O n n . NO . Room XI I H LY AM LY pa el [ ] .

The M adonna is seated in the centre with the Divine Child

on n e . O n one s is S t. Anna and on her k e ide , the other an S a n a a re an s ari n a c n a nd other i t bove two gel be g row , in the background is a castella ted building and a staircase S C a and windows. ( ee h pter l l

TH E P TT PALACE FLO E CE. I I , R N

n n . . MAGDALENE. O pa el [No

I . On n . . 81 S a la di Prometo. S T. CATHAR NE pa el [No 3 ]

n n . PO RTRA IT O F A WO MAN . O pa el . [No

n s d h -c D There is al so a drawi g wa he wit water olour. e

artment En r n s . 1 0 . p of g avi g , No 94 ITALY I I 7

LE A GN NO.

A a a a - c in s n s ns nounc very l rge lt r pie e eve divi io , pro ed by ’ Lu in s It was m ss see Morelli to be i s fine t work . i po ible to what were the subject s of each division when we inspected on acc un a s nc and m ss n it, o t of the b e e of light ; per i io to a has n a s u us to our a n Lu photogr ph bee b ol tely ref ed ge t, igi D u a an in a n of s br y, of Mil . We hope a l ter editio thi book an us a n n sc O f - c to give ill tr tio a d de ription this altar pie e .

C RC O F ST. PETER L O . HU H , UIN

On w s m n e n on t e a all o e eleve fe t lo g, h right of the choir, i H W I O F I s sc T E O . S ee a fre o, RSH P THE MAG ( I Chapter . ) K B n ST. P I . ehi d the altar, ETER W TH THE EYS

B ERA ALLER LA R G Y, M I N . Two w n m F JESTERS, hich origi ally for ed part of the resco

. F s . NO . No . 5 re co [ From ta Mari a della a S . Pace, Ali/ n.

THE I I I I O N K V RG N W TH THE CH LD SEATED HER NEES,

I O ST. O B I WHO Is TURN NG T WARD J HN THE APT ST, i i I I L F s . 6 n. . n. BR NG NG A AMB . re co, 5ft x 3ft 9 [No.

' ' a M c l alla lziu a a F rom tbc ertosa o S n lze e C s M l n. C f ,

THE T O I O MADONNA AND S . J SEPH RETURN NG FR M THEIR

E O . F s . 1 0 in. I . in. . SP USALS re co, 4 ft x ft 7 [No M a d lla F rom ta . ri a e Pace .Mi S , la n. Joseph and M ary are hand in hand he j ust touches her n s an air of n n a n she s n fi ger with te der ve er tio ; look dow , s n m s as on um ere ely ode t, they go their way to their h ble ”—MR m S . O . ho e . JAMES N

O F I - I C I C O I L A Y UNG A R HA RED H LD R WNED W TH AUREL,

D I N P C - CO O TU NIc S AND RESSED A U E L URED , EATED ON I O IC Is C I O A WH TE H RSE, WH H ANTER NG AL NG A

F S . F s . in. . in GARDEN AT ULL PEED re co, 5 ft 5 x 4 ft 4 . r m L a F elu ca A onz I o. F o c l o [No. ] , I I 8 CATALOGUE O F WORKS

ALLER LA . BRERA G Y, M I N THREE GI RLS PLAYING AT THE O LD ITALIAN GAME O F “ ’ ” I L CI I O O O OR FO I . F sc GUAN AL N D R ( RFE TS) re o,

. 6 in . . 2 in . NO . I I . F rom La F elucca Monza . 4 ft x 3ft [ ] ,

C u s in a s are su u c ms n an olo r dr perie bd ed ri o , or ge, yellow,

and uc . The un m n s s a u p e white dergar e t are h ded with bl e .

S O F O WO S I TUDY A Y UNG MAN TAND NG AT A DOOR . in 2 F s . . . 6 in . . re co, 3 ft 7 x ft [No

'

F rom tlze Convent o t/1c Observants ca lled D ella ace la n. f , P , M

A FLYING ANGEL WITH FAIR HAIR AND ROSE-CO LOURED WI C O IN O D I NGS, L THED YELL W RAPERY SHADED W TH

I O F m n sc I . 1 in CR MS N . rag e t of fre o, ft 5 ft. 4 .

' 1 F rom ta Maria della a N . S . n O F ace M l . [ 4] , ’ Eastlake first noticed the shadow of the angel s h and on the a rchitrave of the door as an exception to the usua l flat a m n in all s sc s ness of tre t e t the e fre oe .

THE R - FI I A EDEEMER , A HALF LENGTH GURE W TH UBURN I IN P C —CO O RO m H A R, AND A U E L URED BE. So ewhat

in u es. F s I in 2 s . . . 2 in coar e feat r re co, 3 ft x ft . [No. '

I . F rom tlze A u u sti ne Clzurclt o S ta Ma rta [ Vi/a n 7 ] g f . , .

WO T R I F m n H EAD O F A YOUNG MAN o THE GHT. rag e t of n 2 in s 1 . i . 1 . . . I 8. fre co , ft 5 x ft [No ] r L a lucca za F om Pe , Mon .

C O As S O O F I I M . ST . JOSEPH H SEN THE P USE THE V RG N ARY

F sc 1 0 . 8 in. . in. NO . re o, ft x 5 ft 9 [ la F rom S ta . Mari a del Pace, Ali/a n.

T is us n This is a very pleasing picture . here religio feeli g

n it a n and c a m n c u . S t. s is i , good dr wi g, h r i g olo r Jo eph n n and a c su o n a him a s his o k eeli g, reje ted it r e r bre k rod ver A un an a c ed a are s n his knee . bove, der r h g llery, repre e ted

s and n n n . The c u is s m S t. Jo eph the Virgi k eeli g pi t re o e

a c b ut m s and a an n ss. wh t rowded, well co po ed rr ged everthele

- a n u . F sc 2 . 8 in. . S T. URSULA . H lf le gth fig re re o, ft x 3 ft

' a t M la n r m t/ze ld Mon s er . NO . F o O 2 in. [ y ,

I 2 0 CATALO GU E O F W ORKS

‘ M LA LLER . BRERA GA Y, I N

TH E P IO O F I I IN T RESENTAT N THE V RG N THE EMPLE . i in F . 1 n. . . . resco, 5 ft x 3ft 7 [No F rom ta M a r a d ll S . i e a Pace Ali/a n. ,

T s c u has n a s hi pi t re bee b dly re tored .

A BY A . F i sc . 8 n. HABAKKUK WAKENED AN NGEL re o, 3 ft x

1 1 in . NO . F rom tlze Old Monaster / Al i a n. 4 ft. [ y ,

A LI A IN A O IO . F s 1 . 6 in . TTLE NGEL D RAT N re co, ft x

' rom t Monaster 1 . . F bc Old M lan. ft [No 4 y ,

OF MAN IN P O I . F u 1 . H EAD A SEEN R F LE resco, circ lar, ft

NO . diameter . [

THE I I ON T O I S I . F 8 . 6 in. V RG N A HR NE W TH A NTS resco, ft

in . x 5 ft. 9 . [No

' r t M ar a di B r ra lan F om a . e S i , M . This remarkable picture bears the name of the painter and a u n it the d te po s ERNARD INVS LOVINV I B . P . MDXX .

T s is a n com s n. The n is on n hi dig ified po itio Virgi a thro e,

has C s on n s. O n one s is t An n and the hri t her k ee ide S . tho y

n a c s on S t B a a a a c a c . holdi g ro ier, the other . rb r with h li e h S t. An n as s a c as in his an and S t. tho y al o l ped book h d, m At o n is c Barbara bears a pal . the fo t of the thro e a hild n n u a The in and S a n a angel playi g upo a g it r. Virg i ts h ve u a a a n a os and c oss of s is n circ l r r di ti g h l , a r ray behi d the

head of the Child .

- D F . n t . F s n GO THE ATHER Half le g h figure re co, tria gular

m 1 . in. . 1 in. NO . for , ft 9 x 5 ft [

' ta M a ria di B r r F rom S . e a M lan , .

I A IN A O IO . F s 1 ft. 6 in. A L TTLE NGEL D RAT N re co, x

I ft . [No .

F AN IN P O I m n n . H EAD O A M SEEN R F LE . Co pa io to No

1 m . . 6 F s u . 4 . re co, circ lar, ft dia eter [No ITALY 1 2 1

F THE M O . F s . 1 0 in. X . THE BIRTH O AD NNA re co, 3 ft 3 ft

' a M a ria della a e l From S t . P c M a n 8 in. . L . [No 5 ] ,

n is in b ut s n u The mother of the Virgi bed , itti g p, her An a n an is n n in a hand s clasped in prayer. tte d t bri gi g w ter

it m a n a s . N a a ac and pouring fro ewer i to di h e r by, bl k n m a a In servant is coming i to the roo with tr y of food . the m n a n foreground are two wo e b thi g the Child . THE BODY O F SAINT CATHAR INE BO RNE A CROSS THE RED S EA To ITS S EPULCHRE ON M OUNT S I NA I BY THREE

F I A . F s . . 6 in. . LY NG NGELS re co, 4 ft x 7 ft [No F r m L a elu ca Monza o c . F ,

’ T s is a s s n n Lu ini s s and hi perh p the be t k ow of all work , O n s u c one of the most beau tiful . the ep l hre are the letters

C. S . X . Ca a n S nsa C s . The n a V . ( t ri a Virgo po hri ti) ce tr l an has a a s aII b u rn un in ac cas gel f ir h ir, the other , bo d e h e n s is a s n uc in n m u with golde fillet . Gold l o i trod ed the i b se s A s sc was na n and robe borders. bove thi fre o origi lly the o e f E n Fa now s in P o God the ter al ther, pre erved the alazzo R a e le .

M I O F ST. A I S T. O C I . F s . EET NG NNA W TH J A H M re co, 5 ft

1 0 in. NO . 6 ft. [

' r m S ta Ma ria ella a F o . d P ce la , M n.

- The a u s of S t. Anna are b ut u f fe t re life like, tterly devoid o

n m n S t. ac m s se ti e t, while the head of Jo hi , Who e White locks are a n a c c n n na uc is un p i ted with old o ve tio l to h , Wholly n interesti g .

AN A I C BO . F s . in NGEL W TH AN IN ENSE AT re co, 4 ft 3 . x

' r m tlze ld in. . F Mona 1 . o O ster Mila n ft 7 (No y , . .

F s . 6 in. 1 M C . . n S I i . A NT AR ELLA re co, 7 ft x ft 7 [No . 5 m tbc A u ustine b urclzo t F ro C S a . Ma rta g f , Al i/a n.

T s sc is one u num 8 62 and 6 hi fre o of fo r bered 55, 5 , 5. The u s are a n m a ma s a u s an fig re p i ted to i it te rble t t e , d stand

in niches of colou red marble .

GOD PAN . F s C I IC To . 1 1 in. A SA R F E THE re co, 5 ft x

From L a lu a 1 0 in. O . Pe cc Monz 4 ft. [N , a “ A male and female faun stand on each side of a pagan 1 22 CATA LO GUE O F W O RKS

BRE A ALLER LA R G Y, M I N . altar offering portions of a goat on a wood fire to the god ” s u is s n on a a c umn n T i who e fig re ee t ll ol behi d . his s a companion pict ure to the one of Vulcan at his forge in the Pa R a lazzo e le .

S I L see . F sc . 6 in . 1 . in. A NT AZARUS ( No re o, 7 ft x ft 7

0 . F rom a a r a d r ra /a t . M i i B e Al i n. [N S ,

S I M see NO . F s 6 . 6 in. A NT ARY MAGDALENE ( re co, ft x

3 ft. [No .

F rom t/ze A u ustine b u rc/t o ta A a rta a n C . l Ai d . g f S ,

THE C IO F in O O . F s . . EDU AT N THE MAD NNA re co, 3 ft 7 x

/ 2 . 2 in NO . 6 F rom ta ll[ a a della a e /an . S . ri P c Adi . ft [ ,

S I see . F in 1 s 6 . . 2 1 in . A NT MARTHA ( No 5 re co, ft 3 x ft. 6 [No . F ro u a r /a n m tbc A u stine b urclzo ta . M ta A i C S . g f , l

AN A I . F sc . in . 1 . in NGEL W TH A CENSER re o, 4 ft 3 x ft 7 .

NO . F rom tlte Old Monaster [Vi/a n. [ y ,

s i a m n Very ketchy n tre t e t .

THE O To I P I . F s MAD NNA PRESENTED THE H GH R EST re co,

i in. n. . 1 0 . 5 ft . 4 x 3 ft [NO F rom S ta a la a la n . M ria del P ce, .Mi .

E mu s c n as s s c u N . astlake with ch kill o tr t thi pi t re with o 43. ” The s mn n t s u sa s and m a n ole dig i y of thi fig re, he y , the ide diffidence s n a ma a c n as c of the other, pre e t re rk ble o tr t , whi h is all m n s n caus c n in ac cas is the ore i tere ti g, be e the a tio e h e perfectly natu ral and free from any approach to pictorial ” ff a n a e ct tio .

THE ISRAELITES PRE PARING FO R THE IR DEPARTURE FRO M

in. E . F s . . . GYPT re co, 7 ft x 5 ft 7 [No F rom L a elucca M onza P , .

Th s an c The picture is cu riously crowded . e di t t rowd of

persons is cleverly suggested the colo uring is subdued .

1 24 CATALO GU E O F W ORKS

ALLER LA . BRERA G Y, M I N

H AM n - O D I BY . O n . i . n. N AH ER DED a pa el , 4 ft x 4 ft 7

' m tbc acrist o . F ro S S t. B arnabas M la n [No y f , .

T s is an oil a n n one n in B hi p i ti g, of the o ly three the rera ’ a For a n a u it see Eas G llery . ote bo t tlake s Opinion in his

a u f B a Mrs. am s n s cat log e o the rer . J e o ays that thi s is the n n u a a m n of s su c in I a a o ly e d r ble tre t e t thi bje t t li n art.

THE I I I I I . The V RG N AND CH LD W TH SA NTS [No. attribution of this picture in the recent catalogue is in ” m nn B n n Lu n and Is U Ite an n the a er of er ardi o i i, it q ope ’ s n w is M s s n m que tio hether it the a ter ha diwork. So e is in l w and s b part of it all probabi ity his ork, the re t y m s pupils. It was brought fro the acristy of the Church M n an i n 6 S ta B in d s o n . of . Maria di rera ila , a pa el ft 8 n 5 in. x 4 ft. i .

It s n s O ur La on n D n C repre e t dy a thro e with the ivi e hild, m n P w at s are the A s s S t. a es a d S t. t o the ide po tle J hilip , u men and one u m n n n O n devo t devo t wo a , all k eeli g . the base of the throne is ANTONIVS BVSTIVS DIVIS J ACO BO ET PHILIPPO S ACRAVIT O V ANN MDX .

HE I I I DIVI S ON I E I T V RG N W TH THE NE , W TH AN SPAL ER

O F O T . is on a anel 2 . in. 2 ft. 1 in. R SE REES It p , ft 4 x

[No . This is a most beau tifu l picture with a lovely background

- and s s. It was n in C sa of trellis work ro e origi ally the erto ,

n Pa a and a a s n S n . B nc ear vi , fterw rd belo ged to ig or G ia hi,

from whom it was acquired in 1 82 5for the Brera.

E BOR OMEO M LA . MUS O R , I N

O . THE CHASTE SUSANNA . [N

- n -s u S usanna nu H alf le gth life ize fig re of , de to below the n u breasts save for a drapery resting on o e S ho lder. Her as A un ms ac hand is resting on her bre t. tree tr k for the b k un and its s is one s a a u gro d, by ide of the elder with l rge, f ll, ’ S us nn s is oun . white beard . a a hair b d with a fillet IT A LY 1 25

MADONNA . [No . The M adonna is pressing the D ivine Child closely to her

s and a n sa at C s . ide, g zi g dly the hri t

I . MAD ONNA AND SA NTS . [No

Th a nna s in an a c s a nd x s e M do hold her h d lo ed book, fi e her eyes on her D ivine S on with an expression of intense

sadn ess .

B I TH E O F T O B I . . SALO ME EAR NG H EAD S . J HN APT ST [No 4 7

S a m ars s in an s x cu n s lo e be the di h her h d , the e e tio er, who e arm n is s n is n a a and o ly pre e ted, holdi g the he d by the h ir, i n i n S a m is u n n n the act of droppi g t i to the dish . lo e t r i g as a b ut is u c m s and ac in ide her he d, q ite o po ed pl id her c un nan o te ce .

MBR L A OS A BRAR LA . I N I Y, M I N

The Sala della Santa Corona has a wonderful fresco on one its s l s s n in n n T n of ide wa l repre e t g the Crow i g with hor s.

“ ” “ T s l u a s a s c was m hi hal , M rr y t te , whi h for erly the place of meeting of the suppressed charitable corporation C n s c was s c of the Holy row , who e obje t to relieve the i k o a t m s was n the Am s ana and now po r their ho e , give to bro i , ” n n co tai s printed books. The sc s n s O ur L un s a on a h n fre o repre e t ord , bo d, e ted t ro e in c n an n u i n s o is su the e tre of ope b ild g, who e ro f pported

- n n n a s. is n c wn and nsu by thor e twi ed pill r He bei g ro ed , i lted, and s u c x cu n s s an n a and tr k by the e e tio er who t d e r, who

are n at Him . O n s are u s six m en jeeri g either ide gro p of , members of the confra ternity who a re represented bare

a and n n one n . A m he ded, k eeli g behi d the other bove the n O ur La i are two other gro up s o the right . dy s standing n s ns and a n on sc n in betwee two other per o , g zi g the e e dee p s and on is a n m s a u - a orrow, the left the p i ter hi elf, f ll be rded man s an n n a man in a m u and a man in or t di g betwee r o r, O n a are n n dinar c s um . a s y o t e the roof bove two pityi g gel , and on s are sus n c o ns ns and either ide pe ded large r w of thor , I 26 CATALO GU E O F W ORKS

R A L BRAR LA . AMB OS I N I Y, M I N

in the centre is a label with the words CAPVT REG IS GLORIA!)

' ‘ S PINIS CORONA I VR .

In the Picture Gallery are the following

’ A O F I Le n s n now H LY AM LY, after o ardo cartoo , at the R A m Lon n d . NO . oyal ca e y, do [

It has a n u the dditio of the fig re of S t. J oseph with his s taff.

O C I IN THE A I F B I I Y UTHFUL HR ST TT TUDE O ENED CT ON .

[N O .

O u r L is c a in a c s - fi ttin and ord l d white lo e g robe, an over

a t n c . His is n nd u robe with a border the e k hair lo g a c rly, l His u and fa ls on sho lders.

T. O B I P I I L S J HN APT ST LAY NG W TH A AMB . [No .

T s is an xc n s c u b u t muc hi e eedi gly weet pi t re, very h ’ ama . The c s a is an n a a ns am and d ged hild he d le i g g i t the l b , i n on one foot of the lamb s resti g the para pet in front.

There is also the original drawing in this gallery for the Of T and his and n w c is in picture obit father the a gel, hi h

P d P z us u m NO . 8 . The n is in the ol i ez oli M e , 4 drawi g nd n ink n d B n I ia , heighte e with white ( rau ,

in I O F O . DRAW NG MAD NNA, red chalk

I O F I in n n ink B u n I THREE STUD ES CH LDREN, I dia ( ra , 7

LA REALE LA . PA ZZO , M I N

R COES n u m La F u a n n F ES origi ally bro ght fro el cc , ear Mo za

see und B s s m s s Nos. 1 0 ( er rera for other of the a e erie , , I I 1 8 2 : : 39» 5 ! 57:

6 in . THE GATHERING O F THE MANNA . ft. 7 . x 5 ft

i manna as sn and The ground s white with with ow, the

Hebrews are gathering it up into pots of various sizes. n There are mountains in the backgrou d .

I 2 8 CATALO GUE O F W O RKS

PALA REALE M L ZZO , I AN .

“

AN A IN A O IO 6 6 in. 2 in NGEL D RAT N . ft. x ft. 4 .

The an is n n and s a n a o gel k eeli g, hold lo g t per with b th n s ha d .

THE H EBREW WO MEN O FFERING THEI R JEWELS FOR THE

CO C IO F . I n B I i . NSTRU T N O THE TA ERNACLE . 4 ft x

. I O in 3 ft .

A sca c m s n two m n and a man are in ttered o po itio , wo e the un m and a man in m s anc and foregro d, two ore the iddle di t e, a t the back is a house and a woman looking out of the window.

M OSES BRINGING WATER FRO M THE ROCKS . 4 ft. x 5 ft.

8 in .

The a a is in ct Of s n c and gre t le der the a triki g the ro k,

a is s n u C s is Aa n u an . w ter gu hi g o t. lo e by ro with plifted h d

Hebre ws bearing pots for the water stand clo se to Moses.

THE THANKSGIVI NG O F THE H EBREWS AFTER THE PASSAGE F in O ED 8 . . 1 0 . THE R S EA . ft x 4 ft

In m s is am a m in an s n the id t Miri , with ti brel her h d, i g

in and s is a man a n sc m us c. g, by her ide with lo g roll of i O u s s n n In ac un is sea and ther fig re ta d ear. the b kgro d the m un o tains.

- HE F I . I . 6 in T DEATH O THE F RST BORN 7 ft. x 5 ft .

Other small fragments representing children playing u nder n s and s Of n not b Lu in the te dril leave a vi e , probably y i

himself.

S OR VIA LE PR C PE BERT 8 IGN GUZZI, IN I U M O ,

M ILAN .

The companion fragment from Casa Pelucca to the one in the Pala zzo Reale representing an angel kneeling in

d n and n h. a oratio , beari g a torc ITALY 1 29

R F S AN A R OR CHU CH O M U IZIO, THE MONASTERO

A ORE LA . M GGI , M I N

THE S C is n n d in s b L n REEN e tirely pai te fre co y ui i .

In the two lower compartment s on each side of the high altar are female saints with angel s bearing torches between above in lunette s are kneeling portraits of the founders with a n sa n s and u sc n s their p tro i t , higher p two e e relative to the ” au c . B n martyrdom of S t. M ri e etwee the latter is the As um n s ption of the Virgi . Th n r A n n L e sai t s on the left a e S S . pollo ia a d ucia those

on S S . U su a and us na Pa ua A on the right r l J ti of d . bove,

is I a S a B n S S . the left, ppolit forz , wife of e tivoglio, with S c as ca A n s and Ca a n and c s n n on hol ti , g e th ri e, orre po di gly

is A ssan B n n S S . the right le dro e tivoglio, the do or, with

B n c n Ba s and n D n . A s is e edi t, Joh pti t, Joh the ivi e bove thi

ma m S t. au c and on K n S s the rtyrdo of M ri e, the left i g igi

m n s n s C u c S t. au c o d pre e t the h r h to M ri e .

is n n Lu n The third Chapel e tirely pai ted by i i .

The sc n s n is a C s n un un e e repre e ted th t of hri t bei g bo d, ” s n ss and a n n m c umn. tre gthle f i ti g, fro the ol c n a i Lau nc a n O n one side of the e tr l figu re s S t. re e dr wi g a n attention to the sad spectacle on the other is S t. Cath ri e s an n a n n u n is a n t di g by k eeli g fig re of the do or, who dori g the m O n s al s ar s n sc n s sacred ystery. the ide w l e repre e ted e e

m ma m S t. Ca a n and on au s fro the rtyrdo of th ri e, the v lt an s a n m m s Pass n n a gel be ri g the e ble of the io , ot bly the

n c u mn and sc u s. crow , ol , o rge ’ Passing throu gh a door in the screen the nuns Choir is m “ n and are s m . Th e tered , here ore work by the aster e ” “ ” “ ” B a a The c n C s The C uc x n etr y l , Mo ki g of hri t, r ifi io , “ ” “ The D s n O ur L in a n epo itio , ord the G rde with the ” “ ” S n A s s and The R su c n n n sc s leepi g po tle , e rre tio , i e fre oe

- in all are s u s S S . A n a , while below life ized fig re of pollo i ,

Luc a Ca n A n s S as an and R c . i , thari e, g e , eb ti , o he 1 30 CATALO GU E O F W ORKS

O THE R B UILD I N GS I N MI LAN

TA AR A D EIJLA RA E. S . M I G ZI

n C on n is s O the right of the hoir, above the orga , a fre co of a n n Madonna with saints a d a do or. The presses in the Sacristy (Lo Scafi ale) are said to be n L n f m his s ns s u s in pai ted by ui i, or ro de ig , with arabe q e imitation of inlaid wood (wide book by Gruner and te m ks in h ar C apter IV).

STA . R E M ARIA DELL CA M IN .

R and S b s n in A MADONNA in fresco with S S . och e a tia the

s nd C the u L ni . eco hapel to left, attrib ted to ui

SAN PL A S I M ICI NO .

The triumphal arch in the apse adorned with putti attri b L n uted to ui i.

AN A BR S M OGIO .

F rs on : ECC O w . O n s F s . i t chapel the left E H M , ith a gel re co n C on F Seco d hapel the right : LEGEND O S T. GEORGE . F resco. ha C pel to the right of the Choir : MADO NNA AND SAINTS .

A - ltar piece. T s all a u t Lu n he e are ttrib ted o i i .

R AL P LA SAN GIO GIO A ZZO .

Th on E O ird chapel the right, above the altar : NT MBMENT n I I a d CROWN NG W TH THORNS . t s s S CO I and ECC O O A the ide : URG NG E H M . m I I I In the do e : CRUC F X ON .

1 32 CATALO GUE O F W ORKS

POLDI PEZZOLI MUS EUM .

s u n a re s n a a c is a un His n ho lder o ly ee ; he vy ord ro d eck, His a is c n ns and a s c ss. he d row ed with thor , He be r the ro In the other panel is the head of O ur Lady ; her a rms a re In ac un a a s crossed . the b kgro d ppe r the head of one of the

M a ries.

MONZA.

On the left Of the high altar in the cath edral is a very beau u tif l figure of S t. Gerard .

M ORI M ONDO .

There is said to be a fresco by Luini over the door of a C s c an C n n in s ac s n n n i ter i o ve t thi pl e, repre e ti g the Virgi with

B na and S t. B n c . Lu n has not s n S t. er rd e edi t i i repre e ted B rna in an his c u s b ut a not s n s S t. e rd y of pi t re we h ve ee thi

‘

sc and cann an n n u n it. fre o, ot, therefore, give opi io po

E M APLE AL S S . NATION MU U , N

MADONNA AND CH ILD . [No . “ ” T s c u sa s is c a ac s c b ut u n hi pi t re, Morelli y , h r teri ti ” The a nna i h D n C ac . s s a . T e a ttr tive M do e ted ivi e hild, n nu s an s on n and n is su e tirely de, t d her k ee, the Virgi p Him one an s s in the porting with h d, While the other re t m The a nna has a ans a n drapery of her boso . M do tr p re t veil In ac un is a a over her forehead . the b kgro d t ll lily.

B I . I I . S T. J OHN THE APT ST. [No ]

EL PONTE IN THE VALT LINA.

A very beautifu l fresco over the church door; representi ng

and S t. in. S t. Mary Mart

R ME LE O . TH E COLONNA GAL RY, E I VIRGIN AND CHILD W ITH S T. L ZABETH .

s is Lu n We are very doubtful whether thi by i i. ITALY x33

SA T A O DELLA ER E S ARO O . N U RI V GIN , NN

HE I T MARR AGE O F JO SEPH AND MARY.

The sc n is in a m c c a ma c e e roo ri hly de or ted with rble, whi h ns c n and a s and n anc and ador floor, eili g, w ll , the e tr e door

n a S t. s i s n ac n dividi g rchway. Jo eph s repre e ted pl i g the ri n u n n Two dis g po the fi ger of the M adonna. of the n su s on r n F u appoi ted itor the right a e breaki g their rod s. o r s and a Ra are n m A c com other bbi behi d the . rowd of an ns su un O ur La and n P s p io rro d dy, behi d the High rie t are m Ra two ore bbis.

I D I I I DOC CHR ST SPUT NG W TH THE TORS . O ur Lord is standing on a kind of throne replying to O ur La a a a n x ss n on ac is dy, who, with very ppe li g e pre io her f e, s a n Him one an n s a n and pe ki g to . With h d He poi t to he ve , ns and s c s out a His m the other He ope tret he tow rd other. hi r s O n are n d At s feet a e va riou books . the right fiftee oc s a u n and s cu a n C am n s m tor rg i g ge ti l ti g ; the hief o g t the ,

c a ac s u n his a - ss is n with Hebrew h r ter po he d dre , referri g to

a um u n his n . O n s O ur La are vol e po k ee the left , be ide dy,

S t. s his staff and six s ns in Jo eph with other per o , while the c n s is Lu n ms o n c as or er, eated, i i hi elf, h ldi g a l ped book, look

’ in un m c u . is White b earded man g ro d fro the pi t re He a , a n nan x ss n with be ig t e pre io .

I N T TH E PRESENTATION THE EMPLE . The High Priest has the Infant Child in his a rms ; an

a n an ca n m s an s s . Ann i tte d t rryi g the itre t d by the ide S t. a s S a n a nn B n are m pe ki g to the M do a. ehi d two ore women and

a man a am and on is S t. s with l b, the right Jo eph with three m n O u r La is s an n c as wo e . dy t di g with l ped hands in the u In ac n centre of the pict re . the b kgrou d is depicted the F n o E and a is s s light i t gypt, bove Mo e with the tables of s n to e .

I THE ADO RATIO N O F THE MAG .

The i n is s a in c n a n D n C Virg e ted the e tre be ri g the ivi e hild, i c n A Who s stret hi g forth to the M agi . wise man kneels on s and a man c ou is anc n either ide, the third, of ol r, adv i g with his c n it m n s a s an B n gift, re eivi g fro the ha d of erv t . ehi d 1 34 CATALO GU E O F W ORKS

SA T AR O DELLA ER E SARO O. N U I V GIN , NN

ac n is his a n an one m a s a c n . S t. e h ki g tte d t, of who be r row s his s af s an L The nu Jo eph with t f t d s near to O ur ady. reti e and s r an s c nc u a aff and cam are s n e v t , whi h i l de gir e el, ee - a ac n in s a nc n n un a c a . ppro hi g the di t e, wi di g ro d ro ky p th T are ca n n and a is here ttle behi d the Virgi , bove her the n u s a In a ns is a c an s wo derf l t r . the he ve hoir of five gel ,

singi ng from a scroll that they bea r in their h ands.

’ HE I n P s s T NAT VITY . In the Cloisters leadi g to the rie t

us . A lu n ho e ette.

h - O n T e Divine Child lies in its cradle of basket work.

s are a nna and S t. s an s either ide the M do Jo eph , with h d

c as c ss and n n in a a n. B n are l ped or ro ed , k eeli g dor tio ehi d Ca and on in s anc is a a anc the ttle, the right, the di t e, the ppe r e an s s of the gel to the shepherd s with their heep .

T A O O I S T. I . T s S . P LL N A (right) AND CATHAR NE (left) he e in s u ou m the are the ap e b ilt t fro Choir . Ca a n a s a c a s and a a m in S t. th ri e be r l ped book p l her

n s an s s on S t. A n a ha d . Her left h d re t her wheel . pollo i s a a m and a a nc s in c is one hold p l p ir of pi er , whi h of her m a m teeth the sy bol of her m rtyrdo .

RO C S T. S I . B u m S T. H AND EBAST AN elow the dr of the

dome . R c is s a and s his s af and ann in one S t. o h e ted, hold t f b er

an and in a s n . B his s is his and h d, the other to e y ide dog, n him an an ans him and a s a a m behi d gel , who le over be r p l him toward s . i s n his arm S t. S as an is s a and s a eb ti e ted , f te ed by to the his is c a s and s are in a tree ; body pier ed with rrow , other B n him is an n n s at his . quiver feet ehi d a gel , who poi t with

one an a n and ff s him a a m. h d to he ve , with the other o er p l

E A ADEM E CE. TH C Y, V NI

P I A b n EXPULSIO N FRO M ARAD SE . lack chalk drawi g. An angel with raised sword is driving our first parent s ou t B A am and Eve are nu sa ar of the garden. oth d de, ve for g The n is c a in land s of fig leave s round their wai st s. a gel l d r e long flowing d ap rv.

1 36 CATALOGU E O F W ORKS

T ALLER I M PERIAL H ERM I AGE G Y .

n nd n u n i O n in her ha d a looking dow po t. either side of is a c an one a n and her hild gel , be ri g the wheel the other the m pal . T s c u na on D uc n hi pi t re origi lly bel ged to the de Medi a, n n s F anc and was at one m at Mal the to the ki g of r e , ti e mais n in ss ss n Em ss s n and o the po e io of the pre Jo ephi e, It was u a attributed to Leonardo da Vinci . p rch sed in I 81 5 Im a m a - s n by the peri l Her it ge, together with thirty eve other

c u s a a sum ancs. pi t re , for tot l of fr A s u a S a n a n in s is in t dy for the he d of the i t, p i ted oil , the Am ana brosi . An s n a n of s sam sc n n s t other repre e t tio thi e e e belo g o Mr. Lu n and is in L n n b u t are n t c dwig Mo d, o do , the two o opies one an b ut ff in s a a s and a of other, di er ever l det il , both ppear ’ he n to be by Luini s hand . T fi er of the two is the one in L n n and a was the i na and o do , prob bly orig l work, the other,

m ss a ca . ore or le , repli

T B I . S . S E AST AN [No. 7

A man a u - five a s a e is s n of bo t thirty ye r of g repre e ted , life s and nu sa a and c ou a ize wholly de, ve for white ol red dr pery

ac ss s. is s an n at a m n ro the hip He t di g the foot of le o tree, c his a ms ar a n hi h to whi h r e f ste ed . With s rig t h and he n s a s c a c his as s poi t to two rrow whi h h ve pier ed bre t, whil t his a s a his a n s a ca su with left, r i ed bove he d, he poi t to rd s n m anc a and nsc i pe ded fro the br h of tree, i r bed

Quam lib ens Ob tu i amorem D ul ces jaculos m m n Patiar e e to.

Other arrows are at his feet .

It is su s a a s un u s S t. S as ppo ed th t the rti t, der the g i e of eb n n n Of an has in s c u re re tia (patro of the tow Mil ), thi pi t re p n ax m an S a son Lu c u se ted M i ili forz , of dovi o Moro, d ke of an I 1 2 - I I in P s in 1 0 Mil , 5 5 5, who died ari 53 . At the time of the first Empire it was pu rchased in Tu rin D u s a a and s him an I a an nc by M . boi , de ler, old by to t li pri e RUSSIA I 37 for ncs as a L na d n The fra work by eo rdo a Vi ci. nc un and c n n s his a n pri e died yo g, the o te t of g llery we t to the “ ” amm and S as an n Bistoli R m h er, the eb ti we t to M . of o e , who raised money upon it. At his death it was sold again in Pa is and ou Im a m a in 1 860 r , b ght for the peri l Her it ge for n fra cs. ’ n nd ns u Waa n P s u Mo sieur Brun a Mo ie r ge at S t. eter b rg n unc c u Lu in a u ff n pro o ed the pi t re to be by i, ltho gh very di ere t from his u sual work . “ S ee an a rticle on this pictu re by Charles Blanc in La ” a des B aux A s . ix. 1 86 1 G zette e rt , vol , . ’ This picture is so different from Lu ini s usual work that a s acc it as m his nc we gr vely he itate to ept fro pe il .

L MBINA . CO U . [No

un man s a ss in a A yo g wo , e ted, dre ed white robe with

nam n s and a u man s u . yellow or e t , with bl e tle over her ho lder h is n asm n in la and i an and S e holdi g white j i e her p r ght h d, is n u s a Of c um n at c with her left holdi g p a pr y ol bi e, whi h s n In she is gazing with a pleasant and smiling expres io . the on i a is s m iv - a t a - flax background the r ght , bove, o e y le fed o d

’ ’ ' ' ' L na rza c mbala rza on s m as lem u m adza ntu m ( z y ), the left o e p

m ra nt and s m ss. For nam s s ig , below o e edelwei the e of the e

an s r n an A n. pl t we a e i debted to Mr. Gr t lle This is probably the original of the well -known painting “ ” ” “ ” ca La Columb ina F an . In 1 6 lled , or lora, or V ity 49 it wa s in c c n a c and a a s the olle tio of M rie de Medi i, fterw rd ’ r s It cam n n os belonged to the D ue d O lean . e the i to the p s ss n of B u ss s an s W alkier and was ass e io the r el b ker , p ed over K n N an s so it to a m I I. to Willi , i g of the etherl d , who ld the n 0 florin An nc n Imperial Hermitage i 1 85 for s. a ie t c sam c u ff n in s m its a s is opy of the e pi t re, di ere t o e of det il , at S a n and n s L N . It is sa tr tto , belo g to ord orthbrook id to An i have come from the collection of Ch arles I . other p c u a S a i is at S aff us and t re , prob bly the work of ol r o, t ord Ho e, P The one a t D c s us another at Rossie riory. or he ter Ho e we ’ u Lu ini s own an and it is a a a attrib te to h d , prob bly l ter ca m a c u ff n m it in one repli of the Her it ge pi t re, di eri g fro or two minor details. I 3S CATALO GUE O F W ORKS

R O AL P CT RE ALLER PRADO ADR D . Y I U G Y ( ), M I

THE O F I P n s in. 2 in H LY AM LY. a el fre co, 3 ft. 4 x ft. 9 .

'

O . F r tfi a l / [N om e E scun l Colection of Pill !oI V.

The D n C and n n S t n a re s a on a ivi e hild the I fa t . Joh e ted a a m ac n one an B n m s an s p r pet, e br i g other. ehi d the t d the a nna x n n an s o m s u c n M do , e te di g her h d ver the , lightly to hi g

S t. n a nd n n m n am s Joh , e foldi g the both withi the ple fold of m an B . s is a a in and in her tle y her ide t ll lily flower, the

ac un is S t. s a an n u on a s u s ff. b kgro d Jo eph , he vily le i g p to t ta ’ “ ” n s c ss s at his . sa s it is fi ne. S t. Joh ro lie feet Morelli y

This is a replica in almost every respect of the two children

2 m s . I in O . 0 . is n P n N 9 It a frag e t of fre co a el,

I 2 in. NO ft. [ .

The a u s are not u a ac D n fe t re q ite like, the f e of the ivi e Child being le ss sweet and compo sed and merrier than in the ’ a c u and an s n on S t. n s s u is l rger pi t re , the h d re ti g Joh ho lder not in sam s n nor n s s m a ex the e po itio , are the fi ger i il rly n te ded .

ft in H E D O F O I . P n 2 . 2 . . T AUGHTER H ER D AS a el, ft x 7

Collection o Carlos [ I ] . [NO . f

” sa s s c u is nu n b ut a n . Morelli y thi pi t re ge i e, rep i ted m a in man s c s a c u in L u S i il r y re pe t to pi t re the o vre, by

S olario .

S W] TZE RLAND .

A DE L A OL L A O . STA. M ARI G I NGI I , UG N

s n THE P IO O F C I On the wall of the cree , ASS N HR ST, a picture

n s n in s. containing several hu dred figure , arra ged two row

x n u n a c ss In the centre is Chri st e te ded po very high ro , c n a s c u s c are c the top of whi h pe etr te the lo d , whi h rowded O n s are s c uc d with angels . either ide the two thieve r ifie , The n com s n al so upon cro sses of unusual height . e tire po itio

1 40 CATALOGU E O F W ORKS

m C n. O ur L on cu the both the hildre ord, the right, a rly a nu u e is in act s n m s u n h ired de fig r , the of eati g hi elf po

ac of a am c is n s him. S t. n the b k l b, whi h pro e be ide Joh

Ba s on is n n u n one n . is c a pti t, the left , k eeli g po k ee He l d in a s n ss in w a and a s his ki dre tied ith girdle, be r over s u his u n c ss c C as s one ho lder ro gh woode ro , whi h he l p with an h s c n out an n s h d , w ile tret hi g the other h d he poi t with n his a ma The un is s the forefi ger to pl y te . l ette igned I xx BERNARD NO LUI NO ANNO MDx .

Acc n a m in F s E n. ADDENDUM . ide t lly o itted the ir t ditio

AR ATI- S O T I 6 RU E B MADAM E CON VI C N I , , ARBY DE

O P I . J NG, AR S

I MADONNA AND CH LD .

nna has her an on a n s and The M ado h d growi g iri , a s D n C who is c n n small Cherub support the ivi e hild, li gi g to

T is a an sca ac un . 6 x 2 His mother. here l d pe b kgro d 3 4

inches. IND EX .

’ ’ Adoration h l a i Luini s B u ria l o S t. Cathari ne Luini s of t e A g , f ,

- ic ure 1 6 1 2 0 8~ ic u e 2 2 . P t . . 7. 3 . 44 . 49. 5 . 5 p t r , 3 5 ’ Adorati on o the S h her Lu ini s Ca m ai The Lea ue O f . f ep ds , br , g , 55

ic u e 8 Card na Pie di 81 82 . p t r , 5 . o , tro , ,

Cathari ne S t. 6 . , , 5 ’ - Alessandro kne li n Cenacolo at Lu an Luini s 1 . e g , 55. , g o , , 7 74 ’ - A ar iec at t. isinnius LuinI 5 Chaste S u sa nna The Luini s lt p e S S , , , ,

- 8 ic u e 6 . 7 89. p t r , 7 ’ ’ A nnu nciation The Luini s ic u Christ amon the D octors Luini s , , p t re, g ,

- 2 ic ure 0 6 8. 3 . p t , 4 , 44 , 4 4

A ollonia S t p , . 56 . ’ - Ardizzino un Mavi no sees Luini s ic u 8 0 . Co 81 82 . , t of , , , p t re, 3 4 ’ A ssu m tion the Vi r m Christ i n B enediction Luini s ic p of g , 56 . , p u e 0 t r , 4 . ’ Barezzi e an C u in Luini s 0 . , S t f o, 20 . olo r g, , 3 ’ ’ B a thi n the N m hs Lui i Colu mbina L a Lui ni s ic u 1 . g of y p , n s , , p t re, 9 ’ esc 1 8 C m som Luini es s fr o, . o o , e of s b t fre coes

at, 6 . Ben i i G i anni C nf a e ni O f the H C n t vogl o, ov , 54, 55. o r t r ty oly row , ’ L ini s ea in Bes i F ancesco . u ain th ozz , r , 79 gr t p t g for e, ’ B etr al The 5; a Lui ni s ic u e . y , , p t r , 57 35; 3 ’ d n - B irth A o i s Luini s fresc 1 8. C i icism Luini 2 . Qf , o, r t of , 9 95 Bor o n ne his influence on Luini C e and avalcasell g g o , , row C e on Braman

- hi 1 1 s 1 1 . in 1 . 3 5 ; work, 3, 4 t o, 4 Bramantino his influence on Lu ini Crownin with Th ’ , , g orns , Luini s 1 - 1 2 2 his 1 C o e ic u e 1 3 5, ; work, 4 ; r w p t r , 7. ’ and Cavalcaselle on 1 . Cruc xi on The Lu ini s i u , 4 ifi , , p ct re, B ri n i n Water rom the B ach 1 g g f , 7, S7 ’ Luini s f esc 1 8. r o,

’ ’ B uildi n the Tabernacle Luini s D eath o the Fi rst- b g of , f orn, Luini s

esco 1 8. esc 1 8 fr , fr o, . 1 42 INDEX

’ om E t Lu ini s Lu d ic S f a 8 f unds an D epa / tu re fr gyp , ov o orz , ; o academ esc 1 8. s me his ic ures fr o, y, 9 ; o of p t , ’ sition The Lu ini s ain in 1 0 ai Mona Lisa 1 0 D epo , , p t g, ; portr t of , , ’ 1 1 D ean Farrer on 1 1 Rus in s 57 ; , ; k m a t . c is n Lu ini and 1 1 D orothea, S . 56 o p r o of , his ca oon atthe R a Academ rt oy l y, ’ - cce H mo Luini s ic u e 1 . 1 0 1 2 and Luini c m a ed 1 2 E o , p t r , 7, 34 o p r , , ’

ct S t. ose h Luini s ic 6 his influenc on Luini 2 6 Ele ion Qf j p , p 3; e , ,

u e 2 8. t r , 39 ’ u l ion r m Pa radise Luini s L ma on Luini Exp s f o , o zzo, , 4.

d a in 2 . Lu ci a S t. 6 . r w g, 9 , , 5 Lu an s me Luini s sc es g o, o of s be t fre o ls - a mi Tobit with the An e a t 6 1 8. F ly of g , , , 7 7 ’ Lu ini s d a in 0 . Luini asa i Omi s him i hi Li es r w g, 4 , V r t n s v , ’ ’ Feast the Hebrews Luini s esco 1 Rio on I asa i s efe ences Qf , fr , ; , ; V r r r

1 8. 2 o n at Lu in da e to, , 3 b r o, 3; t Fe a i Gauden i his at i u i S efan rr r , z o, 4 ; work of b rth, 3 p p l of t o

S a onn . c 1 0 hi a his r o, 44 S otto, 4, ; s f ther, 4 ; F a his influ ence on Luini e s L ma on opp , , broth r , 4 o zzo , 4

- 1 1 2 2 his 1 . Mori ia on e as ian Res a 3 5, ; work, 3 g , 5; S b t t on his ai at S a nn , 5; portr t ro o, 5; ’ a theri n the Al anna Luini s a u i Le na d G g of , prob ble p p l of o r o, 5;

esco 1 8. n i on an imi a fr , La z , 5; t tor of na d 6 1 0 his es esc es Leo r o, , b t fr o ’ Head o Chri st Luini s ic u e at S a nn Le nan C m f , p t r , ro o, g o, o o, 2 P n M n a 6 ne ec 6 3 , 34 o te, o z , gl t of, ’ l F a mil The Luini s ic u e Ru s in on 1 1 Ku e on H oy y , , p t r , k , 7, gl r , 7, M i on 8 u i Of Bor 6 1 . e 2 3, 60 , 8; or ll , ; p p l o none 8 and Le na com g g , ; o rdo

hn the B a tist S t. . a ed 1 2 6 a is s in j o p , 55 p r , , 3; rt t who

- hn the D i vi ne S t. . fluenced 1 1 his i ace j o , , 55 , 4, 5; b rth pl ,

i . io i u stina a du a S t. 6. 1 6 h s ic u es at S t G j q , , 5 ; p t r rg o, 1 his escoes 1 8 28 2 o e 7 ; fr , , , 9 ; l v i s Ku e on Luini 8. s 1 h s re coes at La gl r, , 7, tory of, 9 ; f u ca 20 his c ou in 0 Fel c , ; ol r g, 3 ; ’ h u e 2 a Fe ucca Lu ini s esc es at 20 . his ic u es in t e L ; L l , fr o , p t r o vr , 3

h u of t. Lan i on Lu ini . his ic u es in t e c c S z , , 5 p t r h r h ’ ain in end S t. Geor e Luini s ain Amb ose his ea Leg of g , p t r , 34 ; gr t p t g in for the Confratem it Of the H o g, 34 y ly ’ ano s m Lu ini s es C n 6 his r at 11 Legn , o e of b t row , 35, 3 ; wo k i a onn es at 6 . S an ua i de a e ne S fresco , t r o ll V rg , r o, in i at cou his f escoes at C m 8 Leonardo da V c , rt of 44 ; r o o, 5 ;

1 44 INDEX

n r h estruction asa i missi n L ini in his Yha hsgi ving afte t e D V r , o o of u ’ ’ P raoh st u ini resc Li es 1 r fe enc s Lu ini of ha s Ho , L s f o, v , e r e to ,

2 . 1 8. , 3 r in a nd Child and S t Anna Vi g . , ’ i ni i su la S t. 6 . Lu s c u e 2 . Ur , 5 p t r , 3 u lcan or i n A rms or hill s V f g g f Ac e , ’ ’ nit and M st Luim s ic u Luini s f esc 1 8 2 . Va y ode y , p t re, r o, , 3

89. 90 .

— C H I SW IC K PRES S z C HA RLES W H ITTI NG HAM A N D co.

T K O R H N C RY N E O N O N . OO s C U T , C A E LA , L D

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