PLATE I. 
 
 TiiK Virgin of the Rocks. Leonardo da Vhici. 
 
 Natinnnl Galleiy. 
 
BucUngton jfine Hrts Club. 
 
 ILLUSTRATED CATALOGUE 
 
 OF 
 
 PICTURES 
 
 BY MASTERS OF THE 
 
 MILANESE 
 
 AND ALLIED SCHOOLS OF LOMBARDY. 
 
 EXHIBITED MAY, JUNE AND JULY, 1898. 
 
 LONDON: 
 
 PRINTED FOR THE BURLINGTON FINE ARTS CLUB. 
 1899. 
 
 ND 
 
EXHIBITION COMMITTEE. 
 
 R. H. Benson, Esq. 
 
 The late Alfred Cock, Esq., Q C. 
 
 Herbert F. Cook, Esq. 
 
 S. Arthur Strong, Esq. 
 
 The late O. C. Waterfield, Esq. 
 
 THE J, TA'!' nrTT,' /lUSEUM 
 LIBRARY 
 
TABLE OF CONTENTS. 
 
 PAGE 
 
 I. Frontispiece, Plates I. and 11. — "The Virgin of the 
 
 Rocks" and " La Vierge aux Rochers." 
 
 2. List of Plates y. 
 
 3. Prefatory Note -------- vii. 
 
 4. Introduction. Part L — General Sketch - - - ix. 
 
 Part IL — Critical Account in detail of the 
 various Artists of the School, 
 with special reference to their 
 Works in English public and 
 
 private collections - - xxi. 
 
 5. Plates in. to XXVH. 
 
 6. Catalogue of Pictures exhibited ----- i 
 
 7. „ Photographs - - - - - - 23 
 
 8. Index— 
 
 ( i.) List of Contributors ----- 39 
 (ii.) Names of Artists represented or referred to, and 
 
 List of English Collections mentioned - - 40 
 
LIST OF PLATES. 
 
 
 Subject. 
 
 Painter. 
 
 Owner. 
 
 I. 
 
 "The Virgin of the Rocks" 
 
 Leonardo da Vinci - 
 
 National Gallery. 
 
 II. 
 
 "La VlERGE AUX ROCHERS" - 
 
 Leonardo da Vinci - 
 
 Jllusce du Louvre. 
 
 III. 
 
 The Virgin and Child 
 
 foi-pa 
 
 Sir Martin Comoay, 
 
 IV. St. Augustine and Donor 
 
 Borgognone . - - . 
 
 The Lord Aldcnham. 
 
 V. 
 
 Portrait of a Young Man - 
 
 Ambrogio de Predis - 
 
 National Gallery. 
 
 VI. 
 
 Portrait of Bianca Maria Sforza Ambrogio de Predis - 
 
 Dr. Lippntann. 
 
 VII. 
 
 Portrait of a Lady (full length) - 
 
 Attributed to Ambrogio de Prodis 
 
 George Donaldson, Esq. 
 
 VIII. 
 
 The Annunciation 
 
 Solario - - . . . 
 
 Arthur Kay, Esq. 
 
 IX. 
 
 Pi ETA 
 
 Solario - - - . - 
 
 The Lord lunnaird. 
 
 X. 
 
 Two Portraits of a Young Man - 
 
 Boltraffio ----- 
 
 The Earl of Elgin and 
 
 
 
 
 The Duke of Devonshire. 
 
 XI. 
 
 
 
 General Sir Arthur Ellis. 
 
 XII. 
 
 Portrait of a Man 
 
 Boltraffio 
 
 Ludwig Mond, Esq. 
 
 xni. 
 
 Portrait of a Lady 
 
 Bernardino de' Conti - 
 
 Mrs. Alfred Morrison. 
 
 XIV. 
 
 "La Vierge au Bas Relief" 
 
 Cesare da Sesto 
 
 The Earl of Carysfort. 
 
 XV. 
 
 The Virgin enthroned between 
 
 Cesare da Sesto 
 
 Sir Francis Cook, Bart. 
 
 
 St. John and St. George 
 
 
 
 XVI. St. John the Baptist - 
 
 Cesare da Sesto . - . 
 
 The Earl if Craicford. 
 
 XVII. 
 
 The Virgin and Child (two similar 
 
 Attributed to Leonardo da Vinci 
 
 The Lord Battersea and 
 
 
 Pictures) 
 
 
 The Duke of Bnccleuch. 
 
 XV III. 
 
 Holy Family 
 
 Sodoma - - - . . 
 
 Captain LLolford. 
 
 XIX. 
 
 St. George and the Dragon 
 
 Sodom a 
 
 Sir Francis Cook, Bart. 
 
 XX. 
 
 A Mary Magdalen 
 
 Gianpetrino - - . , 
 
 Wickham Flower, Esq. 
 
 XXI. The Virgin and Child - 
 
 Gianpctrino - - - . 
 
 Sir F?-ands Cook, Bart. 
 
 XXII. 
 
 
 
 The Lord Windsor. 
 
 XXIII. The Martyrs of the Val di Non 
 
 
 R. H. Benson, Esq. 
 
 XXIV. 
 
 A Mary Magdalen 
 
 
 The Marquis of Lansdo^tnie 
 
 XXV. 
 
 A Boy with a Toy 
 
 
 The Countess of Carysfort. 
 
 XXVI. 
 
 Portrait of a Lady 
 
 Luini 
 
 R. H. Benson, Esq. 
 
 XXVII. 
 
 The Nativity 
 
 Gaudenzio Ferrari 
 
 Captain Holford, 
 
PREFATORY NOTE. 
 
 jHE present Exhibition of Milanese art, like former 
 Exhibitions at the Burlington Fine Arts Club, has been 
 got together and arranged upon critical principles. It 
 is intended to illustrate the history of a particular school of 
 Italian painting, and afford an opportunity of appreciating the scale 
 of its excellence. 
 
 It is sometimes asserted that the supply of fine Italian pictures 
 in private possession in Great Britain is giving out ; if the present 
 Exhibition serves no other purpose it will at least demonstrate the 
 fact that the material is by no means exhausted, for, out of the 
 77 pictures here shown, it is believed that about 40 have never 
 before been exhibited. Of the rest, some have been seen in recent 
 years, but they cannot ever before have been studied in such 
 congenial society, and a more intelligent appreciation of them is 
 thereby assured. Unfortunately, the Committee have not always 
 been successful in their appeal for the loan of important examples, 
 and must deplore the gaps caused by the absence of such pictures 
 as the " Solario " from Rossie Priory in Scotland, Lord Ashburton's 
 " Leonardo," the " Bramantinos" from Hertford House, and other 
 standard works. In some of these cases the owners have kindly 
 allowed reproductions to be made, and these will be found inserted 
 in the collection of photographs on the table. 
 
 In order to make the Exhibition as complete as possible, 
 pictures of the school in public galleries abroad and in private 
 collections wherever possible, are shown by photographs ; and the 
 Committee have employed Signor Anderson (of Rome) to take 
 
viii. PREFATORY NOTE, 
 
 many new negatives in Milan, Lodi, Treviglio and Bergamo. Tlie 
 Committee wisli to take tliis opportunity of acknowledging the 
 assistance given by numerous contributors to the Exhibition, and 
 above all that of Mr. Herbert Cook, who has devoted himself for 
 a long time to a special examination of the treasures of Milanese 
 art in English and foreign collections. Without him this Exhibition 
 and Catalogue would have been impossible. 
 
 To Dr. Gustavo Frizzoni (of Milan) especial thanks are due 
 for help in obtaining access to various private galleries in Milan 
 and elsewhere. 
 
 The unique outburst of creative genius in North Italy, which 
 absorbed a multitude of native impulses and found its final 
 expression in the Florence-born Master, is such as to baffle analysis 
 and defy the formula of philosophic or textual criticism. In that 
 field critics are " always beating about the bush and never starting 
 the hare." No laws (so called) of artistic genealogy, no list of 
 plagiarisms or tricks of style can pierce the secret of a masterpiece 
 by Luini, Gaudenzio, or Leonardo. True criticism must be gifted 
 and trained to recognise the touch of a master like the handwriting 
 of a friend, and his palette like the timbre of a voice. In dis- 
 criminating between true and false, between good and bad, between 
 beauty and ugliness we may have our preferences, but we must be 
 catholic not partisan, disinterested not egoistic, interpreters not 
 dogmatists. Only thus can we hope to vitalise the past and rekindle 
 the temperament and the ideals of the Cinque Cento. 
 
 A/ay, iSqS. 
 
INTRODUCTION. 
 
 PART I. 
 
 GENERAL SKETCH. 
 
 EOGRAPH ICALLY, modern Lombarcly comprises the Definition of 
 
 "Lombard 
 
 country between the Alps and the Po, separated from School." 
 Piedmont by the Ticino, and from Venetia by the Mincio. 
 Historically, Lombardy included a much wider tract, indeed, the 
 whole of the northern part of Italy west of Venetia is sometimes 
 even now referred to as Lombardy ; e.^., the National Gallery has a 
 room set apart for the " Schools of Lombardy." This somewhat 
 elastic expression covers not only the schools of the Milanese 
 district, such as Lodi, Pavia, TrevigHo, &c., but embraces the 
 schools oi Vercelli and Piedmont to the west, and those of Parma 
 and Cremona to the east. 
 
 In defining the scope of the present Exhibition, it has been 
 considered advisable to be guided not so much by geographical or 
 historical considerations as by the affinities, natural and elective, 
 of the art of this wide region. Thus, although Brescia is within 
 the modern province of Lombardy, the Brescian school, as 
 exemplified in Moretto and Roman ino, finds no place in the 
 
X. GENERAL SKETCH. 
 
 Exhibition, for the Brescian painters were more closely allied with 
 Venetian than with Milanese art. Again, the so-called school of 
 Parma, with Correggio at its head, is, artistically speaking, an offshoot 
 of the neighbouring Ferraro-Bolognese schools, and is equally 
 unrepresented. Pseudo-Lombards, like the Cremonese, are also 
 excluded, for here again (as may be admirably seen in the National 
 Gallery) their art is founded on Venetian models.* The Berga- 
 masques, too, although so close to Milan, were from early times 
 under the sway of the Doges, so that the genius of the native 
 artists ( Lotto, Cariani, Previtali, Moroni, &c.) naturally accommodated 
 itself to the patronage and taste of the capital on the Lagoons. 
 
 On the east side, therefore, after stripping off Bergamo, Brescia, 
 Cremona and Parma, we find ourselves within a line running from 
 north to south, following closely the course of the river Adda from 
 Lake Como to the Po. This is the true eastern boundary of the 
 Lombard school. 
 
 On the western side the schools of Vercelli and of Piedmont 
 fall within the scope of the Exhibition, because of the intimacy 
 between Milan and the Piedmontese. Gaudenzio Ferrari is the 
 great representative painter of this region, and is essentially 
 Lombard. Sodoma. born and bred amidst the same traditions.t 
 finds a place too in the present Exhibition, though the sphere of 
 his work led him more and more to conform to Tuscan and 
 Roman taste. 
 
 * Boccaccio Boccacciiio and Bartolonimeo Veneto, both Cremonese by birth, are 
 Belliiiesque by training. The latter fe!l under Leonardo's influence later on in life, 
 and many of his works in Milan and elsewhere pass under Leonardo's name, yet he is 
 rightly hung in the National Gallery among the Venetians. Eoccaccino, however, 
 finds himself classed with the Lombards. 
 
 t If we may accept Vasari's authority for his birthplace, Vercelli in Piedmont, 
 and not Vergelle, near Siena. Sodoma himself signed " Senensis " (Gaye, Carteggio 
 iuedito d'Artistij probably in virtue of thu tiii/eiiship l)eslow(jd on him by the Sienese. 
 
GENERAL SKETCH. 
 
 XI. 
 
 To the south, the Po would form the natural boundary dividing 
 Lombardy from Liguria, but it is unnecessary to insist on any 
 dividing line in this direction, for Liguria never produced an 
 independent school of its own, such works as we find in Savona and 
 Genoa being derived from Lombard sources; while the later school 
 of Genoa (Luca Cambiaso, Bernardo Strozzi, &c.) merely illustrates 
 the period of decline and fall during the latter part of the i6th and 
 I 7th centuries. 
 
 The district of Italy, then, with which the present Exhibition Scopeofthe 
 , , , , ,. , Exhibition. 
 
 IS concerned, may be said to he between the Alps on the north 
 
 and the Po on the south, between the Adda on the east and the 
 
 further boundary of Piedmont on the west. 
 
 Knowledge of the art-history of this region is singularly Survey of 
 
 defective. No other section of Italian art has been so strangely 
 
 neglected by writers and students ; in no other school would the 
 
 life of a Borgognone or a Luini have pas,5ed so easily into 
 
 oblivion. Vasari was the earliest delinquent, and his careless 
 
 account of the school found ready repetition with the later writers. 
 
 A historian who " dismisses Luini with a few condescending 
 
 phrases, miscalling him del Lupino,"* and whose account of Sodoma 
 
 is perverted by an intolerance for " il Mattaccio " — the Archfool — 
 
 as he calls him, can hardly be relied upon to give a fair account 
 
 of lesser artists. From the bombastic Lomazzo (1585) to the 
 
 discursive Lanzi (1795) the various writers are most unreliable, 
 
 adding to the confusion by contradictory statements, and by idle 
 
 comments of an uncritical kind. Only in recent times has any 
 
 serious attempt been made to grapple with and sift the material 
 
 to hand. In this task Crowe and Cavalcaselle led the way 
 
 in 1871 : Morelli followed in 1877!, ^"d, in spite of what 
 
 * National Gallery Catalogue. 
 
 I See Articles in "Die Zeitschrift fur Bildende Kunst," by " Ivan Lermolieff." 
 
GENERAL SKETCH. 
 
 Leonardo da 
 Vinci. 
 
 Historical 
 Development, 
 (i.) Giottesque 
 period, down to 
 1400. 
 
 appear to be serious defects in some of their conclusions, they 
 certainly cleared up many doubtful points. To Morelli we 
 owe the first systematic account of the Milanese school, 
 so far as it depends upon L. da Vinci,* and to Dr. Gustavo 
 Frizzoni, his successor, much is due for his continued 
 labours in the same field. Signor Beltrami has undertaken 
 the publication of monographs on various masters, and other 
 important works, some of which have already appeared. f 
 Herr von Seidlitz, among German writers, has made special 
 investigations of value, J while a whole literature has sprung 
 up dealing with the mighty Leonardo da Vinci. It is as 
 well, however, to remember that Leonardo was a Florentine 
 by birth, habits and training, and should always be classed with the 
 Florentine school. § That he happened to pass twenty-five years of 
 his life in Milan, and thereby profoundly modified the natural develop- 
 ment of the local school, in no way affects the character of his 
 art, which was Florentine in its aims and principles, and totally 
 unlike the older Lombard style. The diversity of aim which 
 characterised the two styles was the very reason why the post- 
 Vincian School of Milan had so litde inherent character of its own. 
 
 The history of Lombard art is the history of a series of art 
 invasions. Of the earliest, or " Giottesque,'' period nothing is 
 known, except that Giotto himself was at work in Milan in 1335, 
 and that a certain Giovanni da Milano, a pupil of Taddeo Gaddi, 
 flourished about 1 370. It 
 
 obvious that the native 
 
 * Die Galerie zu Berlin, 1893, pp. 104-152. 
 
 I More particularly those on Borgognone (1895), the Certosa of Pavia (1896), 
 the Castle of Milan (1894), and L'Arte religiosa negli arredi delle chiese in 
 Lombardia {1896). 
 
 I Especially on Braniante and Zenale, 
 
 The National Gallery authoritie.s rightly recognise this. 
 
GENERAL SKETCH. 
 
 xiii. 
 
 this period must have been founded on Florentine models, and 
 its character further determined by the example of Masolino's 
 great frescoes at Castiglione d'Olona, near Milan, 
 
 In the early part of the 15th century the dominant influence 
 was that of Pisanello (1380-1450), the mighty Veronese painter and 
 medallist, whose influence extended throughout the north of Italy 
 from Venice to Pavia, This " Pisanellesque " era (of which Zenale 
 seems the outcome) passed gradually into a severer phase by 
 appropriating marked traits of Paduan origin. This is the era of 
 Foppa (1450-90), In 1477 Bramante arrives from Urbino, and 
 finally comes Leonardo from Florence (14S1-99 and 1507-16), 
 steeped in the traditions of his native city. It is scarcely to be 
 expected that a homogeneous art could have sprung from such 
 diverse elements, and the task of disentangling the composite 
 quality of the final expression of the Lombard ideal is thus 
 unusually difficult. 
 
 Turning for a moment to consider the second, or " Pisanellesque," (ii,) Pisanellesqi 
 period, we may well believe that Pavia was the centre of the ^'400-50. 
 art movement at this time. Pisanello was employed to decorate 
 the castie with frescoes, and though nothing remains of his 
 own work there, sufficient traces of his influence are seen in 
 half-ruined frescoes and fragments still in siht executed by other 
 hands. The names of many of these early artists are preserved, 
 but their work still awaits identification. Thus IVIicheliiio, the 
 Zavattari, the portrait painter Bugatto, Costantino da Vaprio, and many 
 others, mostly natives of Pavia, flourished under the rule of Filippo 
 iVIaria Visconti (1405-47).* It was not, however, in painting that 
 
 • Signor Carotti, in the "Archivio Storico dell' Arte," Nov,-Dec, 1S95, giv 
 a long list of these painters. M. Eugene Miintz, in the Archivio, iSgo, p. 40 
 names some of the Flemish artists employed even at this early date on decorati' 
 work of all kinds. 
 
XIV. 
 
 GENERAL SKETCH. 
 
 the artistic impulses of the time found most ready expression. The 
 Visconti family (1287-1447) encouraged the sculptor and the 
 architect more than the painter. Tlie Cathedral of Milan and the 
 Certosa of Pavia, the two splendid monuments of the Visconti and 
 and Sforza dynasties, begun respectively in 1386 and 1396, occupied 
 the attention of successive generations of architects and sculptors, 
 and largely absorbed the artistic activities of the time. This partly 
 accounts for the comparatively late rise of a specifically Lombard 
 school of painters. 
 
 reign of Francesco Sforza marks an epoch in the history of native 
 art, not so much by reason of the work of Bonifacio Bembo and 
 Cristoforo Moretti as by the advent of the great Vincenzo Foppa. 
 He came from Brescia about 1460, and he it was who was mainly 
 instrumental in introducing into Milan the classical style of the 
 Paduan school. There is good reason to believe that Buttinone of 
 Treviglio was also the means by which the severer Paduan principles 
 of art were infused into the older Lombard style. But Foppa is 
 rightly considered to be the father of the Lombard school ; for his 
 powerful influence, if not his direct teaching-, went to the making of 
 Borgognone, Bramantino and Zenale.* 
 
 school at this point into two main branches. The first branch 
 is made up of those who followed Foppa's traditions without 
 modifying their style to any appreciable degree. The other branch 
 consists of those men of the younger generation who formed them- 
 selves entirely on Leonardo. But the distinction is a somewhat 
 artificial one, for of the older school none but Foppa himself really 
 escaped feeling the revolutionary spirit of Leonardo. Zenale 
 certainly did not, any more than Borgognone. It seems better 
 
 " Cf, Crowe and Cavalcaselle, " History of Painting in North Italy," II. 33, 
 
 (in.) Era of 
 Foppa, 1450-90. 
 
 The Visconti dynasty came to an end in 1447, and the succeeding 
 
 Sub-division into 
 two branches. 
 
 It is customary, following Morelli, to divide the Lombard 
 
GENERAL SKETCH. 
 
 XV. 
 
 to draw the line between those artists who, born ^ind breci amidst 
 the older Lombard traditions, came to be influenced for a time by 
 Leonardo, and those who lost their own individuality in the post- 
 Vincian school of Milan. In the former class will be placed Zenale, 
 Borgognone, Luini, Bramantino, Sodoma, Solario, and Gaudenzio 
 Ferrari ; in the latter, Ambrogio de Predis, lioltraffio, Cesare da Sesto, 
 Marco d'Oggiono, Salaino and Gianpetrino. Foppa stands, as we have 
 just said, rather outside this division : and one other great figurehead 
 in art, Bramante, must also stand alone. He yielded neither to Foppa 
 nor to Leonardo, for his Umbrian nurture in the school of Piero dei 
 Franceschi, and his own inherent strength enabled him to hold 
 his own. 
 
 With the death of Luini (after 1533) and Gaudenzio (about 
 1547)' the .school falls into decline, the only names worthy of 
 mention being those of Girolamo Giovenone and Lanini, the 
 followers of Gaudenzio. 
 
 The date of the arrival of Leonardo in Milan has been I^eonardo in 
 variously put at 1483 or 1485. The most recent investigations p'fs7period 
 favour a somewhat earlier date, 1481.* From this year until 1499, '481-99. 
 when the French invaded Italy and sacked Milan. Leonardo was 
 continuously employed at the Court of the Sforzas. Lodovico, 
 surnamed 11 Moro, had commissioned the great Florentine to 
 execute a colossal equestrian statue in honour of his father Francesco 
 Sforza, and for sixteen years, we are told, Leonardo was engaged on 
 the task. Other works, however, occupied his time — the " Cenacolo " 
 in the Sacristy of S. Maria delle Grazie, frescoes in the Royal Palace, 
 the " Vierge aux Rochers," and the " Saint Anne," besides the 
 other multifarious pursuits of a scientific or literary kind which 
 engaged the attention of this almost universal genius. 
 
 * See Miiller-Walde in Jahrbuch, 1897. 
 
XVI. 
 
 GENEKAL SKETCH. 
 
 To a mind restless as his. a studio or workshop of apprentices 
 for the production of worl^ to order would probably have been 
 distasteful. We do not know that Leonardo ever undertook the 
 management of any such art academy ; it is even possible that 
 his assistants were rather objects of study and interest to him 
 either for some physical beauty or some grace of mind they 
 possessed. His constant associates were men like Paciolo the 
 mathematician, or della Torre the professor of anatomy, or Saiaino 
 the boy with the flowing curls. Youths of gentle birth like Boltraffio 
 and Melzi resorted to him and found their natural artistic bent 
 encouraged by his friendly approval and even kindly help. But 
 professional artists like Luini, Gianpetrino and Cesare da Sesto 
 became " Leonardesque " rather by studying the works than by 
 cultivating the acquaintance of the master, and the extraordinary 
 vogue enjoyed by the Cenacolo," the Leda," the " St. Anne," and 
 other creations of the master is seen by the numerous versions and 
 adaptations made by his followers.* 
 
 Leonardo's presence in Milan entirely altered the current of 
 Milanese art, and although the world is the richer to-day for what 
 he did at the Court of the Sforzas, his immediate influence had a 
 disastrous effect. A crop of imitators arose who understood but 
 little the secret of their master's greatness, and their productions are 
 characterised by shallowness and insipidity. Yet we must be grateful 
 to them for having preserved the reflection of this dazzling personality, 
 
 * About Iwenty-five different versions of the " S. Anne " are known, based either on 
 Leonardo's cartoon, or on the unfinished picturu in tlie Louvre. Some maintain 
 that the cartoon now in the Royal Academy is by the hand of Cesare da Sesto. 
 The present Exhibition affords an opportunity of comparing a photograph of this 
 cartoon (in the writing room) with Cesare da Sesto's Masterpiece La Vierge au Bas 
 Rehef, (No. 17 in the Gallery). Bossi, writing nearly a century ago, cites about 
 fifty examples of the " Last Supper." Of the "Leda," one version is now to be 
 seen in the Gallery of the Grosvenor Club, another was in the Doetsch Collection, 
 while a third exists at Wilton. The best known is in the Eorghese (lallery. 
 
GENERAL SKETCH. 
 
 xvii. 
 
 for scarcely ten pictures exist wliicli are admitted to I^e autlientic 
 productions of Leonardo himself.* 
 
 Leonardo returned to Florence in the year 1500; his second Second period, 
 visit to Milan dates from 1507-16. In these years he was more ' °' ' ' 
 engrossed in scientific pursuits than in art production. The French 
 Governor of the IMilanese in vain solicited his lielp for the decoration 
 of his chateau in Normandy; Leonardo was too busy with his 
 crucibles and his books, with his engines of war and his schemes of 
 irrigation, and Solario was sent in his stead. Much of the school 
 work was being done at this time, the Piazzas of Lodi, the craftsmen 
 of Pavia, the Gianpietrinos and Marco d' Oggionos, and many more 
 were busy at their task of manufacturing the Leonardesque article 
 for home consumption. Nay, the Flemings from over the Alps 
 were flocking into Lombardy, attracted by the great fame of 
 Leonardo, and were diligently copying all they could find, to pass, too 
 often, alas ! in after-times, for original productions of the great 
 master himself. 
 
 The scene changes ; Leonardo passes first to Rome for a short Last years, 
 space and finally to France, where, three years later (1519), he dies 
 at the chateau of Amboise. We need not follow his career in these 
 last declining years— years of great artistic activity hampered by the 
 infirmities of old age. His faithful friend and " create" Melzi 
 returns to Milan bringing his master's drawings and pictures with 
 him, and the copying process begins anew. 
 
 Lombard art, in its earlier phases, is characterised by great Characteristics of 
 simplicity of feeling, and by an absence of any dramatic or emotional 
 elements. Foppa, Zenale, Borgognone were never occupied, like 
 
 * In this connection it is worth noting that in the present Exhibition twelve 
 pictures are traditionally attributed to him, and at least eight others have at some 
 time or other passed under his name. 
 
xvin. 
 
 GENERAL SKETCH. 
 
 the Florentines, with problems of movement, although the)' evince 
 
 a considerable feeling for form. In this respect they compare 
 
 favourably with the Umbrians, with whom they have in common a 
 
 spirituality of aim. Allegory and mythology are things almost 
 
 unknown, and even the frescoes for the palaces were, in the main, 
 
 devotional in subject. The freer instincts of art did not assert 
 
 themselves until Brainante and Leonardo arrived in Milan, and 
 
 even then Luini and Gaudenzio Ferrari retained to the last their 
 
 native predilection for sacred subjects. 
 
 Colour. The Lombards, unlike the Venetians, affected sombre tints as 
 
 a rule, and flesh tones of an ashen hue. The later artists however— 
 
 Luini, Solario and Gaiidenzio — break away from these traditions, the 
 
 first named excelling as a delicate colourist, especially in his 
 
 frescoes, whilst Gaudenzio is apt to go to the extreme, and produces 
 
 not infrequently disagreeably fiery effects. Solario is the greatest 
 
 colourist of the school, a fact easily explained by his early 
 
 associations with Venice. 
 
 Profile A characteristic feature of the school, from Zenale and Foppa 
 
 portraiture. 
 
 down to the later followers of Leonardo, is a common taste for 
 painting profile portraits. In the first instance this may have been 
 due to the example of Pisanello, on whose medals the effigies are 
 naturally represented in this way, but in later times it remained the 
 fashion, chiefly because it was far easier to treat a portrait in profile 
 than in full face ; Boltraffio and Ambrogio de Predis occasionally 
 undertook the more difficult task with a certain measure of success. 
 Solario, the brilliant exception, acquired his style of full-face 
 portraiture from Venice, but even in him we look in vain for the 
 full-length figure, — the bust is almost invariEibly the rule for 
 easel pictures.* 
 
 * In fresco painting, however, figures are sometimes represented full length, and 
 an example, in tempera, is found in the present Exhibition (No. 7). 
 
GENERAL SKETCH. 
 
 On these subjects the Lombard artists could expend all their High finish. 
 
 love of high Finish. The feeling for elaboration and patient 
 
 rendering of detail was inborn in them, and they made up by 
 
 high finish what they lacked in breadth and imagination. It was this 
 
 northern characteristic which doubtless attracted the Flemish mind, 
 
 and induced the craftsmen from the north to make Milan their 
 
 headquarters when they came pouring into Italy. Hence it often 
 
 happens that it is very difficult to distinguish between the 
 
 Flemish imitation and the Lombard original, though there seems 
 
 too great a tendency at the present day to ascribe to a northern 
 
 origin much that is really Italian work. 
 
 One other result naturally followed from this love of detail. Mini.iture and 
 Ti. r 1 ■ . .1 Intarsia worlc. 
 
 I he art ol the mtarsiatore and the mmiatunst flourished; the 
 
 choir-stalls at the Certosa, and the Sforza "Book of Hours"* are 
 
 typical examples. The most distinguished miniature painter was 
 
 Cristoforo de' Predis, but for the most part we are ignorant of 
 
 the names of the earlier artists, although their work is abundant.^ 
 
 One other feature may be noticed. This is the frequency of Versions. 
 
 repetitions or versions of the same subject, a habit in which the 
 
 followers of Leonardo indulged more freely than those of any 
 
 other great master. The reason is not far to seek. The poverty 
 
 of imagination and the little independence of the post-Vincian 
 
 school of Milan naturally led the painters to go to Leonardo, the 
 
 fountain head of inspiration, and to work out ideas derived from 
 
 this source. Thus we get numerous contemporary versions of 
 
 subjects like the " St. Anne," the " Cenacolo," the " Leda," the 
 
 " Madonna of the Rocks," &c., &c., all differing in detail, and in some 
 
 cases departing widely from the original, even in design. To a 
 
 practised eye these divergencies are sure indications of authorship, 
 
 * In the British Museum. 
 
 t In the Library at Dorchester House are several miniatures by a Milanese 
 artist who signs himself B. F. 
 
XX. 
 
 GENERAL SKETCH. 
 
 and "detective" criticism hiis no more fruitful field in which to 
 display its ingenuity than among the second-rate Milanese pictures. 
 Morellian analysis is perhaps more successful in deciphering this 
 particular school than in other sections of Italian art. 
 
INTRODUCTION. 
 
 PART II. 
 
 Critical Account in detail of t/ic various Artists of the 
 School, ivith special reference to their loorks in. English 
 public and private collections. 
 
 ZENALE. 
 
 iERNARDINO MARTINI DA TREVIGLIO. com- 
 monly called Zenale, was born in 1436 and was actively 
 employed up to the time of his death, at the age of 90, 
 in 1526, He was constantly associated in early years with his 
 fellow townsman Bernardino Buttinone, and although Vasari only 
 mentions one artist, Bernardino da Trevio, the two were really 
 distinct. The history of Zenale's Hfe is only known to us 
 imperfectly. The older authorities describe him as a pupil of 
 Foppa, and engineer and architect of Milan Cathedral ; as admirable 
 in design and held in high esteem by Leonardo, although, 
 Vasari adds, his manner was somewhat crude and dry in his 
 paintings. He was employed about 1480 to paint frescoes in 
 S. Pietro in Gessate, in Milan, in conjunction with Buttinone, 
 and in 1 485 the two artiste were commissioned to paint the 
 
XXll. 
 
 ZENALE. 
 
 altar-piece for S. Martino at TrevigHo. Zenale worked in Pavia. 
 Brescia, Varese and elsewhere, but Milan was the centre of his 
 activil.y, and he was employed there as fresco painter in S. Maria 
 delle Grazie, just at the time that Leonardo was at work on the 
 Cenacolo. The two became great friends, and under Leonardo's 
 spell Zenale rapidly became a celebrated and accomplished artist; 
 Lomazzo and other writers speak in terms of the highest praise 
 of his skill, both as architect and painter, and the official position 
 he held in Milan as architect of the Duomo testifies to his ability. 
 In later years he devoted himself almost entirely to architectural 
 work ; but he also designed the intarsia work for San Domenico 
 in Bergamo, and wrote a treatise on perspective. On his death, 
 in 1526, he was buried in S. Maria delle Grazie. 
 
 The details of his life have been cited somewhat fully, because 
 there is a tendency in some modern writers, in spite of the 
 learned labours of Crowe and Cavalcaselle, to under-estimate the 
 importance to be attached to Zenale's artistic career.* It seems 
 a mistake to suppose he was merely a pupil of Foppa, and a person of 
 little individuality. His earliest signed frescoes, be it noted, only date 
 from about 1480; he was 44 years of age at the time, and it is perfectly 
 certain he was painting long before then. These frescoes, ruined 
 as the\' are, plainly reveal an acquaintance with Pisanellesque ideals, 
 and have litde or no connection with Foppa.f In the authenticated 
 altar-piece at Treviglio of 14S5 we find, as Crowe and Cavalcaselle 
 righdy remark, architectural detail, perspective and distribution of 
 space insisted on, and although it is somewhat difficult to say which part 
 is Buttinone's work and which Zenale's, the whole production points 
 to an artisdc descent outside the purely Foppesque or Paduan school. 
 
 * Morelli ("Die Galerie zu Berlin," p. 128} adopts an altogether unwarrantable 
 attitude in this matter. 
 
 t Now photographed for the iir&t time. Signor Anderson has also reproduced the 
 Treviglio picture in detail. 
 
ZENALE. 
 
 xxiii. 
 
 Before, however, determining; Zenale's artistic descent, it is 
 necessary to identify more of his worl;. To this end we must learn 
 to differentiate him from Buttinone. A careful analysis of the 
 signed pictures by the latter (in the Brera and at Isola Bella) 
 enables us to recognise the same hand in the following parts of 
 the Treviglio altar-piece: — All the saints in the side panels except 
 Saints Zeno and Mauritius, the angels in the " Madonna" panel, and 
 the " Beggar crouching to S. Martin " ; also the predella. The rest 
 must be Zenale's work. Taking these portions, and the earlier 
 frescoes in S, Pietro in Gessate as a guide, the following works may 
 be ascribed to Zenale : — 
 
 (1) The wings of a triptych in the Frizzoni-Salis collection 
 
 at Bergamo.* 
 
 (2) A triptych in S. Ambrogio at Milan, much repainted. 
 
 (3) Another triptych belonging to Signor Codogna at Milan. 
 
 (4) The "Circumcision" in the Louvre, dated 1491, and 
 
 assigned to Bramantino.* 
 
 (5) Fragments with Saints in the Poldi Museum, Milan. 
 
 (6) Frescoes in the court of S. Ambrogio, Milan, much 
 
 damaged, 149S. 
 
 (7) An " Annunciation " in the Borromeo collection, and 
 
 (8) "The Flagellation," signed, and dated 1502. Same 
 
 collection, much damaged. 
 
 Finally, a fresco recently uncovered in the castle at Locarno, 
 representing the Madonna and Child and Saints and kneeling 
 Donors, might be by Zenale in a later Leonardesque phase, and also 
 the earlier fresco in the Brera of the Madonna and Child and a 
 kneeling Votaress in the habit of a nun (" Maniera del Bramantino "). 
 A good many other productions of Zenalesque stamp are to be 
 
 * Also photographed expressly for the present Exhibition. 
 
xxiv. 
 
 ZENALE. 
 
 found in and about Milan, and may one day be proved to be his 
 work. 
 
 The connection between the early work of Borgognone and 
 Zenale is best seen in the large picture by the former in the 
 Ambrosiana. In this Borgognone appears as the follower of Zenale. 
 (See p. xxxii.). Further, the beautiful Madonna and Child in 
 the gallery at Bergamo, hitherto always ascribed to Zenale (whose 
 forged signature it bears), is now confidently given to Borgognone, 
 an attribution which seems to the writer by no means certain, 
 though it is difficult to bring this Madonna into line with the 
 other authenticated pictures of Zenale. The great altar-piece in 
 the Brera, with portraits of Ludovico il Moro, his wife and 
 children, now ascribed on Morelli's suggestion to Bernardino 
 de' Conti, is assuredly by some other hand, and that hand, if it cannot be 
 definitely recognised as Zenale's (whose name the picture long bore), 
 is at least that of some associate of the master. The types and 
 style are really less unlike Zenale than de' Conti i the portraits — so 
 much better than the rest — seem based on Leonardesque designs. 
 Whether the author be Zenale or not, it is an interesting, if 
 somewhat coarse work, marking the transition from the older 
 Lombard style to the Leonardesque.* Zenale's true position in the 
 development of the Lombard school cannot be definitely .settled 
 until his works have been more fully identified. But this much may 
 be said, that he was an independent force parallel with Foppa rather 
 than emanating from him, that his antecedents must be sought in 
 the art of Pisanello, and, possibly, in Gentile da Fabriano,f and that 
 he exercised a direct influence on Borgognone. It may be that his 
 suaver style, so unlike that of his contemporaries under Foppa, was 
 
 • Dr. Frizzoni ( Archivio Storico, 1897) also dissents from Morelli's view. 
 
 t If a picture in the Gallery at Liverpool could be identified as Zenale's work, 
 tlie connection between him and Gentile would be clearly made out. It represents 
 St. Ambrose and attendant Saints, and is attributed to Gentile da Fabriano. The 
 y^oik is certainly early Milanese. 
 
ZENALE. 
 
 XXV. 
 
 not considered sufficiently classical, and this led to his taking 
 Buttinone into partnership, in order to gain the requisite amount of 
 Paduan severity.* 
 
 BUTTINONE. 
 
 Bernardino Jacobi da Treviglio, called Buttinone, the con- 
 temporary and associate of Zenale, seems to have been born 
 before 1436, and to have worked down to 1507. His works 
 are very scarce, the small triptych in the Brera, signed, and 
 dated 1484, a Saint in the Parma Gallery, and the small picture 
 of a Madonna and Saints, signed, in the Borromeo Collection 
 at Isola Bella,f being the only certain examples by his own 
 hand. As, however, already pointed out,| he is largely responsible 
 for the Treviglio Altar-piece and the S. Pietro in Gessate frescoes. 
 Judging him by these productions, he must have been associated 
 with Paduan artists, and probably derived his early training from 
 the Squarcionesques. It is not likely that he studied direcriy 
 under Foppa, though it is reasonable to suppose the latter influenced 
 him in later years. In joint works of Buttinone and Zenale the 
 purely Paduan elements betray the former, his work being marked 
 by an austerity and dryness from which the suaver Zenale is 
 free. The flesh tones are darker, the colouring more sombre. 
 
 * The above account of Zenale is based on independent research. Herr von 
 Seidlitz, in an article published in 1885, had already identified six of the above- 
 mentioned eight works as being by Zenale, and adds several more. The account 
 he gives of the artist shows him to have been a person of considerable mark. — 
 "Gesammelte Studien fiir Anton Springer, 1885." Cf. also Crowe and Caval- 
 caselle, I.e., " History of painting in North Italy, 187 1," Vol. II,, page 33. 
 
 t The authenticity is questioned by Morelli. Others dissent from that writer's 
 verdict that it is the work of Gregorio Schiavone. A large altar-piece belonging 
 to Duke Scotti in Milan, which bears the forged signature of Mantegna, seems to be 
 by the same hand, and another kindred work exists in the Vienna Academy, dated 
 1505. (No. 1,125 "Lombard School,") 
 
 j Supra, sub Zenale. 
 
xxvi. 
 
 BUTTINONE. 
 
 His exact place in the history of Lombard art must remain 
 for the present undetermined for lack of necessary data. 
 
 FOPPA. 
 
 Vincenzo Foppa, the real founder of the Milanese school, was 
 born at Brescia in the first half of the 15th century*; he was 
 already an artist of repute in 1456, when we find him in Milan 
 employed to decorate the Medici Palace with frescoes. t rom 
 this date till 1492 we have frequent notice of him in the 
 historians ; first in Genoa in 1461, then in Pavia, Milan, again 
 in Genoa, Savona, and finally in Brescia, where he died in 
 1492. The sphere of his intluence was thus a wide one, and, as 
 we should expect, many examples of the school ol Foppa are 
 found in all parts of Lombardy. Like all founders of a school 
 of painting, Foppa represents that early period of development 
 where force of character is more insisted on than beauty of 
 expression. In this respect he Is like Mantegna in the Paduan 
 school, Cosimo Tura in the Ferrarese, Liberale at Verona. 
 
 We fortunately possess examples of his work of the earliest and 
 
 latest periods, ranging from the " Crucifixion " at Bergamo of 1456, to 
 
 the Savona altar-piece of 1490, and a not inconsiderable number of 
 
 productions of the intervening years. The former example is a 
 
 document of value as throwing some light on the question of Foppa's 
 
 artistic descent. The older writers make him a pupil of Squarcione at 
 
 Padua, a statement which we could well accept without comment were 
 
 it not for the somewhat marked connection with Pisanello, which this 
 
 Crucifixion clearly shows. The two influences, however, are not 
 
 inconsistent. Foppa may well have studied under Squarcione at 
 
 Padua, and there acquired the classical education which underlies most 
 
 * See, however, Crowe and Cavalcaselle, I.e., II., 2, who gives his birthplace as 
 Foppa, in the Province of Pavia. Vasari concludes that Vincenzo was a Brescian 
 by birth ; other early writers differ. 
 
FOPPA. 
 
 xxvii. 
 
 early North Italian art; but Pisanello's inlluence had long held sway 
 in the districts where Foppa came to reside, and it was scarcely 
 possible for him not to adopt some Pisanellesque features. The 
 landscape recalls that in Bono's little St. Jerome, and Bono signs 
 himself Pisani discipiilus. Now Bono was employed in the 
 Eremitani Chapel at Padua with the other Squarcionesques, so it 
 is very probable that Foppa and Bono studied together under 
 Squarcione, and that each also felt the force of the mighty 
 Pisanello. It is curious to remark that Foppa signs his work Civis 
 Brixiensis, just as Bono signs Civis Ferrariensis. Other works of 
 Foppa exist in the gallery at Bergamo (a S. Jerome, signed, an early 
 work), the splendid frescoes in the Portinari Chapel in S. Eustorgio 
 at Milan (representing the four Fathers of the Church, and the 
 small Medallions above with Saints — the rest being by another 
 hand), the fresco of 1485 in the Brera, the great S. Sebastian also 
 there, and some Madonna pictures in private possession. Finally 
 we have the Savona altar-piece of 1490, and the impressive 
 National Gallery Adoration of the Magi. Foppa worked much 
 in fresco, but most of these productions have perished. Nothing 
 of his work is known in England * outside the National Gallery 
 except the Madonna of Sir Martin Conway here exhibited (No. 3. 
 Plate III ), a typical example of his less ambitious work. 
 
 A Madonna and Angels belonging to Sir Francis Cook at 
 Richmond bears the stamp of Foppa's style without being of 
 sufficient force or character to warrant a definite attribution to him. 
 A fine profile portrait of an elderly man, belonging to Mrs. Alfred 
 Morrison, lent to the New Gallery Early Italian Exhibition in 1894 
 under the name of Foppa, is a work of considerable merit, though 
 it would be rash to accept the attribution as final. (No, 5.) It 
 
 * Morelli would identify two drawings in the British Museum as Foppa's work. 
 One represents a Crucifixion, the other three standing figures. 
 
XXVIU. 
 
 FOPPA. 
 
 appears to be Milanese, and akin to those portraits at Monza 
 and Cremona, which are known to be by Bonifacio Bembo.* 
 
 The National Gallery Adoration of the Magi is a late work, 
 agreeing in style with the Savona altar-piece of 1490, particularly 
 with the predella parts in the latter. The general effect is dark 
 and heavy, relieved by an abundant use of reds; the flesh tones, as 
 usual, are of ashen hue. The Madonna is of Foppa's characteristic 
 type, of solid build, but the other figures, particularly the three 
 kings, are less robustly constructed, while the St. Joseph recalls 
 Bramantino's type. It is interesting to find that there is little or no 
 direct trace of Leonardesque influence, a fact which shows that 
 Foppa was too advanced in years to perceptibly modify his style on 
 the advent of the mighty Florentine in 1481. Squarcionesque 
 traits are still found in the figure of the man on the horse (who is 
 almost identical in attitude and type with a like figure in Parentino's 
 " Procession to Calvary" in the Borromeo Collection at Milanf) and 
 the peculiar hummock-shaped hills in the background recall those in 
 Bono's little S. Jerome and the Bergamo Crucifixion. This is a 
 trait derived from Pisanello. The picture is a typical example of 
 Foppa's work, although it always passed under Bramantino's name 
 when in the Fesch and Bromley collections. 
 
 School of Foppa. 
 
 A number of artists were at work in Milan, Pavia, and in the 
 district round about, all of whom derived their art directly or 
 indirectly from the great Vincenzo Foppa. In many cases their 
 
 • Mr. Berenson, however, includes this portrait in his list of Bonsignori's works. 
 (See "Venetian Painters," p. 94.) Dr. Frizzoni agrees with this attribution (Gazette 
 des Beaux Ar/s 3rd Per., 1. xx., p. 296). But Professor Venturi attributes it to Filippo 
 Mazzola. 
 
 t The National Gallery Catalogue cites this work as " an important work 
 by Foppa." 
 
SCHOOL OF FOPPA. 
 
 xxix. 
 
 names have not been identified, and tlie general attribution " School 
 of Foppa " must suffice ; but a few names are worthy of recognition, 
 known either from documents or from signatures on pictures, 
 and these artists are cited here not so much for the intrinsic 
 merit of their various productions, but as proof of the widespread 
 influence exercised by the great citizen of Brescia in the many 
 local centres of Lombardy, For his assistants and pupils were 
 trained not only in Pavia and Milan, but local craftsmen of Ales- 
 sandria, Monza, Treviglio and the Fiedmontese, are found to be 
 dependent on him. 
 
 MONTORFANO. 
 
 Giovanni Donato Montorfano is best known as the author 
 of the vast Crucifixion on the end wall opposite Leonardo's " Last 
 Supper," in Santa IVIaria delle Grazie at Milan, a fresco in which 
 Leonardo himself painted the portraits of the Duke and Duchess 
 of Milan, which, from the fleeting nature of the materials employed, 
 long since became a total ruin. This great composition bears the 
 signature of Montorfano and the date 1495, and shows us an 
 experienced artist evidently nurtured in the Paduan school, and 
 retaining many of the older Squarcionesque habits at a date when 
 such a style was already, as Vasari truly remarks, rather antiquated. 
 Montorfano worked in Pavia and elsewhere, and a few of his 
 frescoes still remain in Milan, notably those in S. Pietro Gessate, 
 representing scenes from the life of S. Anthony.* These are 
 treated with much spirit and have considerable charm of colour. 
 One other delightful production of his may be mentioned, the 
 
 * These frescoes are considered by some good authorities to be Zenale's work. 
 
XXX. 
 
 MONTORFANO. 
 
 S. George and the Dragon, in the Gallery at Brescia, which has 
 all the enchantment of the fairy tale expressed with a naiveti 
 worthy of Crivelli. 
 
 FOPPA (The Younger). 
 
 The existence of a younger Foppa is recognised by Crowe and 
 Cavalcaselle, Morelli, and the Brescian guides, and Jacobsen gives 
 his name to a group of allied works in Brescia, showing descent 
 from Foppa the elder.* As, however, the character of these 
 poor productions is thoroughly Brescian, it is not advisable to 
 class them among the Milanese school. 
 
 BORGOGNONE.t 
 
 Ambrosius de Fossano, filius domini Stefani, such is the name 
 we find in two contemporary documents ; Ambrosio de Fossano^ 
 dicto Brecognono, Bregognono or Bergagnono, such is the way 
 Borgognone signs himself on his pictures. Born at Milan in the 
 third quarter of the 15th centuryj his name first appears in the 
 " Matricola dell' Universita dei pittori di Milano del 1481." From 
 1488 to 1494 he was employed at the Certosa, near Pavia (where 
 much of his work still exists), in 1495 he was back in Milan painting 
 
 * See Jahrbucli. Berlin, 1896. 
 
 t The facts here given of this artist's life are derived in the main from Luca 
 Beltrami's excellent monograph on the master, (.'^mbrogio Fossano detto il Borgognone, 
 Milan, 1895.) 
 
 X The exact date is not known. The National Gallery catalogue says " probably 
 about 1455," the Berhn catalogue says 1440-1450. 
 
BORGOGNONE. 
 
 xxxi. 
 
 frescoes in S. Satiro, from 1498 to 1500 he was at Lodi working in 
 tlie Incoronata, and in 1512 was again at Pavia. Such are the 
 only dates linown to us from documents ; a few dated pictures enable 
 us to say he was employed at Bergamo in 1 508, and the altar-piece 
 now in the Brera, and dated 1522, shows us the painter at the close 
 of his career, as he is said to have died at IMilan of the plague 
 in 1523. 
 
 Vasari and all the other writers who followed in his track have 
 left us entirelj- in the dark about this most typical of Lombard 
 masters. "There is no satisfactory account of this artist," says the 
 National Gallery catalogue, "by an early writer, Lomazzo merely 
 mentioning him as a Milanese painter worthy of being celebrated." 
 This is the more surprising as Milan and Pavia abounded in 
 productions of his brush, and his influence is to be traced in the 
 works of many of his contemporaries. As early as 148S he must 
 have been an artist of some renown to be employed so prominently 
 in the decoration of the great Certosa of Pavia, and indeed his 
 skill is apparent in the wonderful choir stalls which he designed, 
 and which were executed 1488-90 by Bartolomeo Polli of Mantua. 
 The many works executed by Borgognone between this date and 
 1494 reveal to us an artist in his full maturity; the Certosa is a 
 perfect museum of his works, the finest perhaps being the S. Siro ; 
 while the Madonna, once there, but now in the Borromeo collection 
 at Milan, and the pathetic "Christ bearing his Cross" (which 
 must date before 1497)* in the Academia of Pavia may also be 
 cited, the latter a small work recently discovered, which," says 
 the National Gallery catalogue, " in simple pathos and deep religious 
 meaning is perhaps without its equal in art." 
 
 * This date can be arrived at by observing the state of the unfinished fai^ade of 
 the Certosa introduced into the background of the picture. The decoration of the 
 four great windows is complete, but not that of the central doorway, and as the latter 
 was executed 1497-1501, by the sculptor Briosco, the picture must be anterior in date. 
 
xxxti. 
 
 BORGOGNONE. 
 
 Borgognone's career may be divided into three periods: — 
 (i.) The Pre-Certosan, dating at least from 1481, and probably 
 much earUer. 
 
 (ii.) The period 1488-94, when he was employed in the 
 Certosa. 
 
 (iii.) The Post-Certosan, 1495-1522, when the influence of 
 Leonardo is perceptible. This is strongest in the 
 years 1498-1500 {e.g., at Lodi). Later on Borgog- 
 none reverts somewhat to his earlier Lombard manner, 
 but never again attains the purity and charm of the 
 earlier style.* 
 
 The central example of the Pre-Certosan period is the large 
 altar-piece in the Ambrosiana at Milan. The leading charac- 
 teristics of this period are the abundant use of gilded ornament, 
 and the abnormally pale flesh tints, from which the period is 
 often called the grey period, la maniera grigia. While revealing 
 in the type of the angels a close kinship with Foppa's work, 
 the predominant influence is not his but rather Zenales.f This 
 is seen in the architectural details — the square portico elaborately 
 decorated (Foppa affects the arch or a simple landscape background, 
 sometimes with ruins), the tall figures of gende bearing (Foppa has 
 severer forms), the solid construction of the heads and the peculiar 
 crimped hair, the kneeling donor, the type of the Madonna, features 
 
 * Morelli strangely asserts thai Borgogtione was never influenced by Leonardo. 
 It is true that he was affected less perhaps than any other of his fellow artists, but the 
 works in the Incoronata at Lodi, and the Coronation of the Virgin fresco in 
 S. Simpliciano, plainly reveal an acquaintance with Leonardo's art. No doubt the 
 comparative immunity of the artist was largely due to his having passed so many years 
 at Pavia, thus escaping actual contact with Leonardo in Milan, but from 1495 on this 
 would not have been the case. 
 
 f See under Zenale, p. xxiv. The writer here differs absolutely from the 
 conclusions arrived at by Morelli and others, Crowe and Cavalcaselle were the 
 first to express (in 1S71) the view here adopted of Borgognone's artistic descent. 
 " History of Painting in North Italy," vol. 11., p. 42. 
 
KOKGOGNOXE. 
 
 XXXHl. 
 
 all pointing to a direct influence other than Foppa's, and all 
 suggestive of Zenale. What is peculiar to Borgognone is the faulty 
 proportion of the angels' heads and bodies, a defect which he never 
 overcame in his representation of angels, and also the incorrect 
 foreshortening of those flying on each side, together with their 
 clumsy, stupid expression. The latter defect is the more remarkable, 
 as one of Borgognone's greatest charms lies in his power of 
 representing calm and devotional feeling. The picture dates 
 probably 1480-S8, when Zenale would be about forty-five years of 
 age, and Borgognone 15-20 years younger. 
 
 An excellent example of Borgognone's early manner is seen in 
 the picture lent by Lord Aldenham to the present exhibition. 
 (No. I. Plate IV.). All the traits above-mentioned recur in this 
 work, pointing to the influence of Zenale. The pendant in the 
 Louvre shows that, originally, the entire work must have formed an 
 important triptych, of which the central part is missing. 
 
 The Certosan period (1488-1494), shows how Borgognone was 
 gradually perfecting himself within the limits of the Zenalesque 
 tradition. The gradual decrease of gilded ornament, and a warmer 
 rendering of flesh tones marks the transition from the earlier period. 
 Noticeable, also, is the gradual discontinuation of architectural back- 
 grounds. The culminating point of the Certosan period is reached 
 in such a masterpiece as the S. Siro (of 1491), a work which reveals 
 a rare combination of strength and gracefulness. 
 
 Borgognone's efforts, however, were by no means limited to 
 painting altar-pieces. Designs for glass windows, for the intarsia of 
 the choir stalls, and for the details of the facade attest his skill as 
 a decorative artist, while some of his most exquisite productions are 
 to be found among the frescoes on the walls and roof of the 
 Certosa. This was indeed the richest and most brilliant period 
 of his career. 
 
 In 1495 he was painting in S. Satiro at Milan, and in 1496 
 
XXXIV. 
 
 BORGOGNONE. 
 
 executed the great Baptism for the Church of Melegnano (near 
 Milan). About this date too he produced that exquisite little 
 work of "Christ bearing the Cross, followed by a band of 
 Carthusian Brothers" (now in the Academy at Pavia) before 
 alluded to, and in 1498-1500 was employed in decorating the 
 Incoronata at Lodi. 
 
 This period is marked by a gradual change of style. The 
 older Lombard manner is modified by an acquaintance with 
 Leonardo's methods. Greater expression is obtained, but at a loss 
 of those virile qualities which give the earlier work its quasi- 
 monumental character. There is a tendency to affectation and 
 prettiness which shows how disastrous was the effect of Leonardo's 
 example, even on an artist whose form of expression was so individual 
 and consistent as Borgognone's. After some years we find him again 
 at Pavia, executing some of those smaller Madonna pictures for the 
 cells of the monks, and at the same time continuing his fresco 
 decoration. The old associations may have had much to do with 
 the partial recovery of his former style, for the magnificent fresco 
 of the Coronation of the Virgin, on the roof of the apse at 
 S. Simpliciano in Milan, must certainly rank amongst his greatest 
 creations. The date of this is not known with certainty, but 
 it would seem to fall rather late in his career, though not 
 (as Signor Beltrami thinks) at the very end of it. The altar- 
 piece of 1522, now in the Brera, and presumably one of the last 
 productions of the artist, reveals such a marked decline of 
 artistic power, that it seems impossible to place the great fresco 
 so late. It seems probable that the date 1517 (as first suggested 
 by the same writer) * is more correct. 
 
 Borgognone's life was passed mostly at Pavia and Milan. At 
 the utmost the scene of his labours extended to Lodi and Bergamo. 
 
 * Archivio. 1893. p, 30. 
 
BORGOONONK. 
 
 XXXV. 
 
 He is therefore the typical painter of the Milanese district at a time 
 when artists were coming to and fro not only from the Piedmontese, 
 but from Umbria and Florence. It was natural that many of these 
 wanderers should fall under the inHuence of this central figure of 
 Milanese art, and, in fact, we find reminiscences of Borgognone's 
 types and style in much of the contemporary work. MorelH rightly 
 recognised the connection between him and the young Luini, — (a 
 connection, by the way, which Crowe and Cavalcaselle had already 
 recognised before him, vol. ii.. p. 43), — whose first master he may 
 have been, while painters like Bevilacqua, Brea (of Nice), Borgognone 
 the younger, Chiesa (of Pavia), Gandolfmo (of Asti), Macrino (of 
 Alba), and others of less renown certainly owed much to him. On 
 the other hand Morelli makes him too much dependent on Foppa, 
 whose influence is not nearly so strongly revealed as Zenale's, whose 
 pupil Borgognone may well have been in his early years, and whose 
 influence remains predominant till 1495. By that time, as we know, 
 Zenale had completely adopted the Leonardesque style, and it would 
 be natural for Borgognone, arriving from his many years' labour in 
 the Certosa, to feel in his turn the influence of the newer art. If, 
 with Morelli, we are to cut off Borgognone from all contact with 
 Zenale and Leonardo, the theory of his artistic descent from Foppa is 
 plausible enough ; but Borgognone has little of the Brescian element 
 in him, he comes from the older Lombard stock, that is, he connects 
 through Zenale with the earlier artists of the Pisanellesque era. 
 
 As an artist Borgognone takes high rank. Although in the 
 development of the Milanese school his place is among the painters 
 of "expression" rather than those of "character," he yet retains a 
 sufficient grip of the higher qualities of form and modelling to 
 entitle him to rank as an artist at least as high as Perugino and 
 Francia, painters who hold, in the development of the Umbrian 
 and Ferraro-Bolognese schools, a similar position to that occupied by 
 Borgognone in the Milanese. 
 
xxxvi. 
 
 BORGOGNONE. 
 
 The simplicity and single-minded devotion to things spiritual, 
 which was the leading trait in his character, accounts for the entire 
 absence from his art of any secular subject. He painted more than 
 thirty Madonna pictures, and four times the Coronation of the 
 Virgin. S. Ambrose is the saint most frequently pourtrayed in his 
 works — a natural choice, when we remember that he was Bishop and 
 Patron Saint of Milan. The portraits of the kneeling donors intro- 
 duced into his votive pictures are invested with a profound devotional 
 spirit, and are more idealised than those of Zenale. As a rule they 
 lack the realism of those heads which in the National Gallery are 
 assigned to his hand.* About 150 of his works are still extant. 
 
 Examples in English Private Collections. 
 
 Beyond the fine picture lent by Lord Aldenham only one other 
 example of Borgognone's art is known to exist in private collections. 
 This belongs to Sir Charles Turner and represents the Virgin and 
 Chiid with attendant Saints. It appears to date from the last years 
 of the artist's life, 
 
 Waagen mentions an altar-piece of a Virgin and Child with 
 four Angels and the two S. Johns in the Bromley collection. 
 This piece has not been traced. He also speaks of a Pieta in 
 possession of Mr. Fuller Russell at Greenhithe. This is also missing. 
 A small Madonna and Child, perhaps by Bernardino Borgognone, 
 was recently sold at Christie's from the Condover Hall collection. 
 
 The National Gallery Borgognones. 
 
 The examples which the National Gallery has to show of his 
 work are fairly representative. The finest— the " Marriage of the 
 two S. Catherines " — is characterised by great charm of tender 
 
 * See Infra, p. xxxviii. 
 
THE NATIONAL GALLERY RORGOGNONES. 
 
 xxxvii. 
 
 feeling and is dignified in its composition. It lacks however much 
 of the structural quality of the finest of its contemporary Certosa 
 pieces, and it illustrates that moment in Borgognone's career when 
 he was breaking with the older tradition. As yet there is no sign 
 of the Leonardesque, but the gradual increase in warmth of colouring, 
 the less blanched Mesh-tones and the decrease of ornament show 
 how he was passing out of the Zenalesque tradition. At the same 
 time links with the past are to be seen in the double row of festoons, 
 the crimped hair of S. Catherine the Queen, and the arcade or 
 portico which canopies the group. It is interesting to note that the 
 picture came from the church of Rebecchino near Pavia, which was 
 under the control of the Certosan Monks. 
 
 The small Madonna and Child lately acquired at the Kastlake 
 sale belongs to an earlier time, a fact shown not only by the more 
 rigid style, but by the introduction of the Certosa in the back- 
 ground with the as yet unfinished facade. This is probably 
 one of the first productions of the Certosan period (1488-1494), 
 and is a capital example of the painter's less ambitious work. 
 
 Far weaker, on the contrary, is the central pane! of the 
 so-called triptych, with its ill-drawn draperies and its poor washy 
 colour. It is curious to find a reminiscence of Macrino d'Alha in 
 the angel on the right of the throne. 
 
 The two side panels with scenes from the Passion belong, 
 obviously, to another period, and have nothing to do with the 
 central compartment. Why the three are framed together to form 
 a triptych is a mystery. They are inconsistent in style, in colour, 
 and in size; the subjects of the two outer parts would, one 
 would have thought, have been sufficient to show they cannot 
 ever have formed the wings of a triptych. We can date the 
 outer parts with some degree of accuracy, for they agree in 
 style with the "Christ bearing the Cross," now in the Academy 
 at Pavia, a picture which— for reasons already given — must date 
 
xxxviii. 
 
 THE NATIONAL GALLERY BORGOGNONES. 
 
 shortly before 1497.* Here we find distinct Leonardesque traits — 
 the darker scale of colour, the greater attention paid to the 
 chiaroscuro, the general sweetness verging on the sentimental — 
 the inevitable result of a straining after expression — the loss of the 
 sense of structure. Compare the angel in the left compartment 
 with those in the centre, and the difference is at once apparent. 
 The scale of colouring is disagreeably dissimilar, the side panels 
 being painted in quite another key to the central part, which, 
 although far feebler, resembles the earlier work of the two examples 
 already mentioned. 
 
 Finally, we have the two groups of portraits, which the 
 catalogue, following Crowe and Cavalcaselle,t says are two 
 fragments of a standard formerly preserved in the Certosa, while a 
 third fragment representing God the Father is in the possession 
 of the Cav. Bertini, at Milan. This may be the case, but it is 
 doubtful whether these portraits should be attributed to Borgognone ; 
 neither in style nor in spirit do they agree with his work. The 
 realism of these heads is far removed from his idealised portraits, 
 the colouring is gayer and more variegated, and there is a fluid " 
 look in the way they are painted which points to Brescian influence. 
 Certain of the female heads recall Bramantino's types, and ZenaleJ 
 and Civerchio are both suggested. Borgognone is well enough 
 represented in the National collection to be able to allow some 
 other artist the credit of having produced these charming groups. 
 
 BERNARDINO BORGOGNONE. 
 
 Of this brother of Ambrogio Fossano we know little or nothing, 
 except that he was employed as assistant in the decoration of the 
 
 • In the inner corner of the right-hand panel of the National Gallery picture 
 one re.ads the date 1501, clumsily written. This is so obvious an after addition that 
 the catalogue omits to mention it. 
 
 t I.e., p. 47. 
 
 \ cf. the picture attributed to Zenale in the present Exhibition. 
 
 I 
 
BERNARDINO UORGOGNONE. 
 
 XXXIX. 
 
 Certosa (his hand is to be seen in some of the ceiling and other 
 parts). One signed picture of his — a S. Roch — exists in a 
 private collection in Geneva (dated 1523),* and MorelH attributed 
 to him some other productions of inferior style. The example 
 belonging to Count Moroni, at Bergamo, is of brilliant colouring, 
 but hard and dry. Perhaps the Christ and the Twelve Apostles in 
 S. Maria della Passione at Milan is by him. 
 
 BEVILACQUA. 
 
 Ambrogio Bevilacqua, a feeble follower of Foppa, has left 
 two signed and dated works, the one in the Parish Church of 
 Landriano, near Milan, of 1483, the other the Madonna and Saints 
 of 1502, now in the Brera Gallery. Although a craftsman of the 
 second rank, his style as revealed in these examples is sufficiently 
 determinate to enable us to identify about a dozen of his productions, 
 one of which is exhibited by Sir Martin Conway in the present 
 exhibition (No. 8). His figures possess a certain refined charm which 
 he gets from Borgognone, but his colouring is apt to be crude, 
 and his chief merit seems to be the sense of decoration which 
 he shows in his effective hedge roses, and in the gold reliefs of 
 his dresses. 
 
 Morelli identified the following works as his : — 
 
 A small Madonna and Saints in the Bergamo Gallery. 
 A Madonna in the Casa Piccinelli at Bergamo. 
 A Nativity now in the Gallery at Pavia (presumably the 
 same picture as the one mentioned by Morelli as 
 belonging to the custodian of the Malespina Gallery). 
 
 • Just (1S9S) acquired for the Brera Gallcr)-. 
 
xl. 
 
 BEVILACQUA. 
 
 A Nativity at Dresden (since 1896 recognised in the 
 catalogue as Bevilacqua's work— formerly given to 
 Borgognone). 
 
 A triptych in S. Vito at Soma, near Milan. 
 
 Another triptych in the Church at Casareto, near Milan. 
 
 A small Madonna in the Palace Bagatti-Valsecchi at 
 Milan. 
 
 To this list may be added another example in the same 
 collection as the last, a Madonna and Child, recalling the 
 Dresden picture in the grey-violet colouring, and the Bergamo 
 Madonna in the use of gold reliefs on the dress. The hair is 
 also similarly treated. The smaller Madonna mentioned by 
 Morelli is so close to Foppa in style as to be at first sight easily 
 mistaken for that master's work.* 
 
 The Madonna picture lent by Sir Martin Conway to the 
 present exhibition shows Bevilacqua at his best. No other example 
 of his work is known in England, and, indeed, this picture, and the 
 one in Dresden, are the only ones known outside Italy. 
 
 FERRAMOLA. 
 
 Floriano Ferramola is chiefly remarkable in the history of art as 
 the master of the great Moretto of Brescia. He died in Brescia in 
 1528, but the date of his birth is not known. He is said to have 
 been a pupil of Foppaf but in the absence of any authenticated works 
 of an earlier date than 1513, we are left in the dark on this point. 
 The Madonna and Saints of that year signed opvs floriai 
 
 • Perhaps a Madonna and Saints of 1509 in the Incoronata at Lodi may be by 
 Bevilacqua. 
 
 t Foppa died in 1492. Ferramola cannot, therefore, have been born later than 
 I470-7S' 
 
FEKRAMOLA. 
 
 xli. 
 
 FEKAMOLAE CI. Bx. M.D xiii, now in the Berlin Gallery, points 
 forward to Moretto rather than backward to the past, and the only 
 reminiscence of Foppa to be discerned in the frescoes of 1514 in 
 S, Maria at Lovere — -the only other signed works by Ferraniola — is 
 to be found in the employment of medallions in the spandrils of the 
 arches in the nave, with figures of the Twelve Apostles seen in steep 
 perspective. In the same church the organ-shutters of 1518, with 
 the Annunciation on the inside, are authenticated productions of 
 Ferramoia, but at this date his art is so purely Brescian in character 
 as to carry him outside the range of the Milanese school. 
 
 The attribution to Ferramoia by Morelli of the Madonna and 
 Child in the Poldi Museum is open to grave doubt. The work is 
 clearly of Foppa's school, although scarcely by the master himself, 
 as attributed. Nor is there any real ground for assigning to him a 
 Madonna and. Child belonging to Sir Francis Cook, or the parallel 
 work in the Dijon Museum, both of which emanate from Foppa's 
 atelier, but can show no plausible connection with Ferramola's 
 signed works. 
 
 Crowe and Cavalcaselle state (ii. 365) that a genuine fresco 
 representing a passage of arms on the old piazza of Brescia was 
 sold some years ago from the Casa Borgondio in Brescia to an 
 Englishman, and probably adorns some British collection under the 
 name of Pinturicchio or Costa. The whereabouts of this portion of 
 the cycle of subjects treated by Ferramoia in fresco (a few 
 fragments are still in situ) is not known. 
 
 CIVERCHIO. 
 
 Vincenzo Civerchio was born at Crema about 1470, and tiied 
 about 1550. He was working in Brescia from 1493 to at least 
 1504, and is considered a pupil of Foppa. His signed works from 
 
xlii. 
 
 CIVERCHIO. 
 
 1504 (in S. Alessandro in Brescia) till 1539 (at Lovere) show him 
 to be a thorough Brescian artist, and so, like Ferramola, his fellow 
 pupil under Foppa, somewhat outside the limits of the Milanese 
 school proper. Even in his earliest dated work (of 1495), a 
 triptych in the Gallery at Brescia, there is little to remind us of 
 Foppa, and there is great difficult)^ in regard to chronology, if, 
 following Lomazzo, the frescoes in the Portinari Chapel in 
 S. Eustorgio at Milan be attributed to him. Foppa seems to have 
 executed the upper parts with the four Fathers and the smaller 
 medallions, but the main part with stories from the life of Peter 
 Martyr and other subjects seems by a later hand, and writers dispute 
 the claims of Bramantino, Civerchio and even Bonifazio Bembo. 
 There are reminiscences in places of Moretto, a clue which 
 might lead to the supposition that Ferramola, Moretto's master, 
 was the real author, but the extreme uncertainty in which the 
 earlier years both of F-erramola and Civerchio are wrapped 
 makes a definite conclusion very hazardous. Civerchio's signature 
 is found on several of his pictures (Brera, Bergamo, 
 Lovere, &c.), and like Foppa he is proud of his Brescian 
 citizenship, for he signs himself several times civis bkixiae 
 
 DONATUS. 
 
 The only work — so far as is known — attributed to him in 
 English collections, is a small Nativity belonging to Mr. Erie Drax, 
 and shown at the New Gallery Early Italian Exhibition in 1894, 
 but there seems no good reason for giving this feeble production 
 to him, as it does not agree in style with the authentic 
 works.* Far more likely to be by Civerchio is a Madonna 
 belonging to the Hon. Mrs. Baillie-Hamilton, at Langton, near 
 Duns, N.B., and kindly lent to the present exhibition (No. 68). 
 
 • Crowe and Cavalcaselle (ii. 70) add: — " A Virgin and Cliild adored by four .Saints 
 was ascribed to this master in the late Northwick collection." 
 
BRAMANTE. 
 
 xliii. 
 
 BRAMANTE. 
 
 The accounts gi\'en by Vasari, Lomazzo and other writers of 
 Donate Bramante are of the most confused kind. These authorities 
 have telescoped him with his pupil Bartolommeo Suardi, called 
 Bramantino, so that it is extremely difficult to disentangle the two, 
 and modern research has not yet succeeded in giving a perfectly 
 clear account of Bramante as painter. Bramante as architect is far 
 better known, and Morelli would have us regard him as employing 
 painting only as a decorative and accessory art. The most recent 
 writer on the subject* assigns him however a more definite place 
 among the painters of his time. In the present state of uncertainty 
 where precisely to draw the line between Bramante-and Bramantino 
 it seems better to suspend judgment ; there can however be no doubt 
 that Bramante was employed to decorate the private houses and 
 public buildings during his stay in Milan, and it seems probable 
 that certain works in fresco still existing are from his hand. 
 
 Bramante of Urbino, like Leonardo of Florence, flourished 
 under the rule of Lodovico il Moro in Milan, and left on the latter's 
 overthrow in 1499. The earliest date we hear of him in Lombardy 
 is 1477, when he was employed to paint frescoes on the Palazzo 
 del Podesta at Bergamo. Vasari makes him study under Fra 
 Carnevale of Urbino, from whom he learned perspective. Lomazzo 
 praises him for his skill in this particular, and further states that he 
 and Foppa studied the proportions of the human figure together. He 
 seems to have introduced into Lombard painting greater perfection 
 of modelling, and richer movement of contour, but he can hardly be 
 said to have founded a school in Milan, his only direct pupil being 
 
 • See Jahrbuch, 1887, pp. 183-205, by W. Von Seidlitz. 
 
xliv. 
 
 BRAMANTE. 
 
 Suardi, whose work shows considerable knowledge of perspective 
 and plastic modelling derived, there can be but little doubt, from 
 Bramante. 
 
 He was employed as architect in 14S8 on the new cupola for 
 Milan Cathedral ; he was at work at S. Ambrogio and S. Maria 
 delle Grazie in 1492, and at S. Ambrogio again in 1498 ; and 
 between 1490 and 1499 he was much occupied with S. Satiro. 
 With the beginning of the i5th century the scene of his labours 
 is shifted, to Rome, where he died in 15 14. 
 
 Of his work as a painter but little survives. The following are 
 attributed by Herr von Seidlitz to him : — 
 
 The Casa Castiglione frescoes in Milan. 
 The Christ at the Column at Chiaravalle, near Milan. 
 S. Sebastian in the church of that name in Milan. 
 The Casa Prinetti frescoes, also in Milan. 
 And the following drawings : — 
 The Hercules at Berlin. 
 An Old Man's Head at Lille. (Braun 5.) 
 Lastly, the engraving of the interior of a church, with the 
 inscription : Bkamaktvs Fecit in Mi^o. Only two copies of this 
 print are known, one of which is in the British Museum, 
 
 To this sufficiently scanty list of works one other picture 
 may be added with some degree of certainty. This is a life-size 
 Ecce Homo belonging to the Conte Cesare del Mayno in Milan, 
 a powerful rendering where the realism of the subject is insisted 
 upon to an almost repulsive degree. There is an architectural 
 background and a landscape, and the whole reveals the evident 
 pleasure taken in the rendering of anatomy and perspective such 
 as would usually be found in the work of a great naturalist. 
 
BKAMANTINO. 
 
 xlv. 
 
 BRAMANTINO. 
 
 Bartolommeo Suaidi, called Bramaiitino, has left us far more 
 material by which to judge him, and if the earlier period of 
 his career is almost a blank we have ample opportunity for 
 studying his later style, when under Bramante's influence and 
 down to the close of his career in 1529. Born in the Milanese 
 district, he is said to have first studied under Foppa, and to 
 have become Bramante's pupil and assistant when the latter 
 came to Lombardy in 1477. To this connection he owes his 
 sobriquet of Bramantino, and the confusion resulting from the 
 similarity of names has misled all the writers from Vasari 
 downwards, and has had the curious result of calling into 
 existence a third painter — old Bramantino — a purely mythical 
 personage, whom more modern writers agree in dismissing as 
 a pure invention. 
 
 The works of the historical Bramantino show us a man 
 little less addicted to problems of perspective and to the study 
 of architectural features than Bramante the painter himself, but 
 they also reveal a far more gracious mind in which scientific 
 precision is tempered by artistic charm. Whether the latter ingre- 
 dient is derived from Zenale or not is impossible to say, for the 
 material is wanting by which to arrive at a decision. In his later 
 works his scheme of drapery is apt to be over-full and often 
 meaningless, and the proportions of his figures are not always well 
 maintained. The portraits introduced into his pictures are forcible 
 and sculpturesque in character — the regularity of outline of the 
 profile is very noticeable. Tlie peculiar turbaned heads of his 
 Madonnas, the outstretched arms of his putti, and the round puffy 
 forms are also characteristic of his style. All the works of this stamp 
 
xlvi. 
 
 BRAMANTINO. 
 
 date after the time of his association with Bramante and during 
 the years spent in Rome from 1500 onwards, and the same 
 characteristics recur in a more mannered form at the end of his Hfe 
 in 1529. The Flight into Egypt in the Madonna del Sasso at 
 Locarno is a typical example belonging probably to the year 1522. 
 
 When we come to deal with ihe earlier period of the master's 
 career we are at once in the region of conjecture. If, as it seems 
 very hard to believe, the Nativity in the Ambrosiana at Milan is 
 by him, we find sculpturesque features unusually marked and certain 
 resemblances to Buttinone's work which do not exist elsewhere. 
 While admitting with Morelli that it is not impossible this may be 
 an early production of the master, it seems beyond possibility to 
 accept the Circumcision of the Louvre, dated 149 1, there assigned 
 to him and accepted as such by Crowe and Cavalcaselle. As 
 mentioned under the head of Zenale it is clearly by that master in 
 his Leonardesque phase.* 
 
 We shall be more justified in accepting as genuine works of 
 Bramantino, the remarkable set of portrait busts lent by Mr. Willett. 
 These originally formed a frieze; thirty-six parts still exist, 
 and they reveal to us an artist who is using the human form 
 for purely decorative purposes, obtaining uniformity of setting 
 by the introduction of an archway behind each of the figures. 
 Characteristic of Foppa's school is the steep perspective, and 
 traces of the Paduan manner are seen in the festoons. It is 
 unnecessary to suppose that these are actual portraits ; they are 
 more Hkely fanciful heads of warriors, with here and there a doge, 
 a king, a poet, or a woman. Another somewhat similar series we 
 find still existing in the Casa Prinetti in Milan ; these have always 
 been considered, and rightly so, to be Bramante's work, and the 
 difference in character between the two sets well illustrates the 
 
 • See p. xxiii. 
 
BUAM ANTING. 
 
 xlvii. 
 
 suaver tendencies of Bramantino's art.* Another example of similar 
 
 decorative work is to be found in the Casa Castiy;lione frescoes, 
 
 also like the last, to be ascribed to Bramante rather than to 
 
 Braniantino. Crowe and Cavalcaselle, however, consider theni to 
 
 be by the latter, and remark : — " Medallions, in arch spandrils 
 
 inside the building, comprise busts of Caesars and likenesses of the 
 
 Visconti and Sforza .... There is much in the manner of 
 
 this decoration to remind us of Bramante, more to recall the 
 
 individuality of Suardi ; and it is not a little striking to fmd 
 
 a man who began with so little promise not only producing 
 
 designs both graceful in thought and spirited in execution, but 
 
 iigures equally well proportioned and fore-shortened." It is difficult 
 
 to assign a precise date for their execution, but in all probability 
 
 1490-1500 is approximately correct. This is further confirmed by 
 
 finding certain of the heads so clearly suggestive of Leonardo's 
 
 grotesques as to leave little doubt they are derived from that source. f 
 
 One other phase of Bramantino's art must also be noticed. He 
 
 seems to have worked much in fresco, and to have taken Luini as a 
 
 model.J The Brera contains a good many fragments assignable to 
 
 him rather than to Luini, the fine S. Martin and the Beggar being a 
 
 typical example. He displays in all such work greater imagination 
 
 than Luini, and more vigorous action ; his forms are fuller, his 
 
 colouring more varied. To him in this phase, rather than to Luini, 
 
 may be assigned the very interesting fresco at Hertford House, 
 
 representing the Young Maximilian Sforza reading Cicero, which 
 
 must date before 1500. The Putto with Grapes, also at Hertford 
 
 House, and its fellow in the Louvre, seem also to be from his hand. 
 
 * Yet another long series of Milanese School portraits in profile, forming the decora- 
 tion of a cornice, is in the possession of Mr. W. D, James, at West Dean Park, Chichester. 
 T The following enigmatical monograms are found on some of the head-dresses:— 
 
 M:, EZD, li^, KK 
 
 X This may also be seen in the tapestries in the Casa Trivulzio at Milan, which 
 were certainly designed by Bramantino. 
 
xlviii. 
 
 BRAMANTINO. 
 
 No Other works by Bramantino arc known to be in England. Lady 
 Layard possesses in Venice an exquisite little panel in oil, repre- 
 senting The Adoration of the Magi, which will, it is hoped, one 
 day enrich the National collection.* 
 
 An inferior example of the artist's later style is in possession 
 of a dealer in Vienna. It represents the Dead Christ bewailed by 
 the Disciples and Holy Women, on panel ; it is engraved under 
 Signorelli's name in Landon's book on the Giustiniani collection. 
 (See photograph.) 
 
 AMBROGIO DE PREDIS. 
 
 The re-discover)' of this totally forgotten painter is a good 
 instance of the value of modern re-constructive art-criticism. To 
 Morelli, is due the credit of having first called attention to this artist's 
 existence (in 1880), and a few years later he published an account 
 of de Predis with a list of his works, an account which remains, with 
 slight modifications, the standard authority of to-day. A few addi- 
 tional details of his life have been disclosed In recently found 
 documents, one of which is of great importance as proving him to 
 have been at work in Milan with Leonardo, employed as his assistant 
 to paint the wings of the altar-piece in the chapel of the Conception 
 in the church of San Francesco, now known as the "Virgin of the 
 Rocks," or the " Vierge aux Rochers." 
 
 The few events in his life known to us begin with the 
 year 1482, when we find him established as Court-painter to 
 Ludovico il Moro. Presumably, therefore, he was born 1450-60. 
 He and his brother Bernardino were sons of a certain Lorenzo 
 Preda of Milan. f In 1493 he accompanied Bianca Maria Sforza on 
 
 * The large altar-piece in the National Gallery, now correctly given to Foppa, 
 used to pass under Bramantino's name when in the Fesch and Bromley collections. 
 Cajjtain Hoiford has a portrait of a man (exhibited under Bramantino's name at the 
 New Gallery, 1S94), which is probably the work of Bartolommeo Veneto. 
 
 t See Em. Motta in Archiv. Stor. Luinbardo XX. fasc. iv. 1893. 
 
A>[ER0niO DE PREDIS. 
 
 xlix. 
 
 the occasion of her marriage to the Emperor MaximiHan, but was 
 back again in Milan, 1494. Once again we find him at Innsbruck 
 in 1502, where he seems to have settled. In 1506 he designed 
 some tapestries for the Emperor, after which year nothing more is 
 known of him. 
 
 Two portraits by liim are signed and dated — (1) The 
 portrait hitherto belonging to Mr. Fuller RIaitland, 
 dated 1494, and signed with the painter's monogram 
 (No. 49, Plate v.). Now in the National Gallery. 
 
 (2) The portrait of the Emperor Maximilian, now in the 
 Vienna Gallery, signed Ambrosius de pdis Melanensis, 
 1502. 
 
 We know from the document mentioned above that the two full 
 length angels playing instruments (lately belonging to Duke Melzi 
 at Milan) are also by him, and internal evidence confirms this. 
 
 Starting from these fixed points, the following list of works has 
 been drawn up : — 
 
 (a) Bergamo. MorelH collection. Portrait of a page, full face. 
 
 (b) Milan. Poldi collection. Portrait of Fr. Brivio. 
 
 (c) Milan. Frizzoni collection. Portrait of an elderly man. 
 
 (d) Oldenburg Gallery. Portrait of a woman. 
 
 (e) Milan. Trivulzio collection. Miniatures with portraits. 
 
 (f) Venice. Academy. Miniatures with portraits. 
 
 (g) Berlin. Dr. Li]>pmann. Portrait of Bianca Maria 
 
 Sforza.* 
 
 (h) Paris. Dreyfus collection. Portrait of a girl, full face. 
 
 (i) Hamburg. Weber collection. Portrait of a young man. 
 (k) Milan. Frizzoni collection. S. Sebastian. 
 
 (l) Florence. Uffizi. Profile of a man. 
 
 * The fine variant of this portrait, belonging to the Marchesa Arconati, in Paris 
 seems to be by another hand. Exhibited at L'Exposition des Portraits de Femmes et 
 d'enfants, Paris, 1897. Copies after de Predis exist at Christ Church Oxford, Vienna, 
 the Uffii:i, S:c. 
 
1. 
 
 A^niROCIO DF. PRKDIS, 
 
 In adJition, Morclli mentions two portraits, in private possession, 
 at Milan, and Dr. Bode adds two at Hanover. 
 
 To tliis list may perhaps be added a portrait of a lady, be- 
 longing to Baron Alphonse de Rothschild, at Fcrrieres, near Paris. 
 Some, too, attribute to him both the much discussed male and female 
 portraits in the Ambrosiana ; but to others there appears to be a 
 j;-ulf fixed between these fine portraits, especially that of the man, 
 and the more lifeless and mechanical work of Ambrogio. Again, 
 we have a large number of drawings of his, all under Leonardo's 
 name, and all betraying certain characteristics.* Finally, some of 
 the miniatures In the Sforza Book of Hours are certainly (as first 
 suggested by Mr. Warner) the work of this artist. 
 
 Ambrogio seems to have been an artist of some Individuality, 
 even after coming under Leonardo's influence, and he never sank 
 to the level of a De Conti, a Marco d'Oggiono, or any of the 
 other craftsmen of Leonardo's following. He was by nature too 
 much of a miniaturistf to concern himself with the bigger problems 
 of painting, and was very limited In his range — even his portraits 
 are uniformly treated. He was not a great draughtsman, and 
 shows lamentable want of anatomical knowledge in invariably giving 
 
 * Dr. Bode in the Jahrbucli, 1SS9, p. 77, mentions the following characteristics 
 of de I'redis' work. His portraits are generally in profile to left, light in tone on a 
 dark ground ; flesh tones are of an ivory tint, the drawing of the contours is clean 
 and shaqi ; the execution resembles that of a miniaturist, and each hair is delicately 
 touched in. Morelli (i. 183, Note) goes into closer detail, and notices the peculiar 
 modelling of the upper eyelid with the streak of light at the corner of the eye (as seen 
 in Dr. Lippraann's portrait, No. 51 of the present Exhibition, F/ate VI.), the contour 
 of the upper lip is stiff, the under lip full and heavy, and the bridge of the nose 
 is marked by a sharp line of light. In the earlier works the carnations are light, 
 and there is a peculiar smalto ; later the modelling improves, and the flesh tones 
 become browner. Two other characteristics may be mentioned, (i) The peculiar 
 glassy iris and hard modelling of the eye. (2) The strong lighting cisting heavy 
 shadows, especially below the under lip, throwing the chin into prominence. 
 
 t It is highly probable he was influenced in early liTe by the miniaturist 
 Cristoforo de Prtdis, presumably a relative. (See Foslca.) 
 
TiiK ^^ADON^'A of the rocks.' 
 
 li. 
 
 his sitters shapeless backs. His profile portraits are like silhouettes, 
 and look as though cut out and pasted on to the background. 
 He seems, judging by his drawings, to have sought to improve 
 himself by a careful and conscientious study of Leonardo's work, and 
 when he had the advantage of the master's guiding hand he could 
 produce works (like the Melzi Angels) one of which, though 
 lacking the qualities of profound art, has a certain charm and even 
 dignity of its own. 
 
 "THE MADONNA OF THE ROCKS" in the 
 National Gallery. 
 
 Controversy has long raged over the validity of the claims of 
 our National Gallery picture {P/afe I.) to be a genuine work 
 of Leonardo. To some, notably to one so gifted and observant 
 as Sir Frederick Burton, the evidence of the picture in all 
 its essential parts is conclusive that it is a veritable work by 
 the hand of Leonardo.* To others our picture has seemed a 
 copy of the well-known " Vierge aux Rochers" in the Louvre 
 {Plate H.), and to be "an entirely wretched performance."t 
 A temperate judgment is passed upon it by the present Director.^ 
 He shows the chain of evidence connecting the picture which 
 Leonardo painted for the brotherhood of San Francesco with 
 our picture, and that no records have yet been found of the 
 French picture before the time of Louis XIV. On the other 
 hand, he admits that the dispute about the price which Leonardo 
 had with the brotherhood 7}2ay have resulted in the sale of the 
 original to the French King, and the substitution of another in 
 
 * See an Article in the Alnehenth Century, July, 1894, 
 \ See Art Journal, June, 1894. 
 X See Art Journal, August, 1S94. 
 
lii. 
 
 TIIF. MAtiONNA OF THE ROCKS. 
 
 the Chapel of the Conception at Milan. Such being the case, 
 the question which is the original and which the replica or copy 
 depends upon their respective excellence, and competent examination 
 of the details of drawing, composition and technique. 
 
 The differences," says the present Director, between our 
 picture and the example in the Louvre "are not such as would 
 result from the inaccuracies of a copyist — the differences are 
 essential, such, I mean, as an artist would make in working from 
 different studies." These differences may be seen In the photo- 
 graphic reproductions, facing each other, viz.:— 
 
 (1) In our picture the action of the angel is completely 
 
 different ; the right hand is not seen and the beautiful 
 arrangement of drapery over the sleeve is omitted. 
 
 (2) The scheme of drapery of the Virgin's dress and the 
 
 position of her left hand is different. 
 
 (3) The attitude of the heads of the Infant Christ and the 
 
 little S. John differs. 
 These essential differences, taken by themselves, are not 
 necessarily conclusive that one picture Is the original and the other 
 a replica or copy, nor yet that both are originals. Nor, again, 
 has the discovery of fresh evidence in 1S94 (quoted at length In 
 the Nineteenth Century for July of that year) settled the point, 
 for the document in question can be interpreted In more than 
 one way. There is no doubt that the Two Angels, lately at 
 Duke Melzi'sj were painted originally as side panels to Leonardo's 
 central composition, and are by the hand of his assistant Ambrogio 
 de Predis. Upon this some maintain that Ambrogio was also the 
 author of our version of the " Madonna of the Rocks," basing their 
 attribution upon certain peculiarities In the rendering of form* 
 which, they think, characterize all de Predis' genuine works, and can 
 be detected herein. 
 
 * Supra, p. 1. Note. 
 
" THi; MADONNA OF THE ROCKS.' 
 
 liii. 
 
 In the Milanese school, or more strictly in the Post- 
 Vincian school of Milan, it was common practice for the 
 pupil or assistant of Leonardo to produce versions of a cartoon 
 or painting of the master: — the version, being a personal 
 rendering of a given theme with just so much original treatment 
 within the limits of the subject as to take the work outside the 
 category of mere copies. Take the great Cenacolo and the 
 numerous versions produced by Leonardo's immediate pupils. 
 Putting aside a number of characterless copies, some of ancient 
 date, there are a good many versions which, wliile preserving the 
 grouping of the figures, yet differ radically in the character of the 
 setting, in the colour scheme, and sometimes in curious details. 
 For example, under the latter head may be cited those versions 
 which have an extra hand showing on the table. In some 
 versions again there are four openings at the end of the hall 
 instead of three, the hall itself is sometimes quite different, the 
 treatment of the drapery and landscape invariably is. Or again, no 
 better instance of this practice could be found than Luini's version 
 (in the Ambrosiana) of Leonardo's S. Anne, for here the pupil has 
 added a S. Joseph to the group, thus making it a Holy Family, 
 and entirely altering thereby the balance of the composition. Leo- 
 nardo drew a cartoon for a Leda and the Swan ; the original 
 is lost, but numerous paintings from it exist where the greatest 
 divergence in landscape, expression, and even in the number 
 of the children emerging from the eggs, shows what free use 
 was made of the original. Gianpetrino has actually turned the 
 composition into Juno and a Peacock in a picture lately (1897) 
 in a dealer's in ]\Iilan. 
 
 It is to be observed, however, that Morelli, to whom the credit 
 is due of having first resuscitated the memory of dc Predis, did not 
 recognise the angels, the wings of our altarpiece, as works of 
 his. Morelli speaks of " the distinguished anonymous imitator of 
 
llv. 
 
 THE MADONNA OF THE ROCKS. 
 
 Leonardo who executed the copy of the Vierge aux Rochers — 
 now in tlie London National Gallery, and the two angels, belonging 
 to it, in the possession of Duke Melzi at Milan."* 
 
 Absence of any Italian copies or repetitions of the Louvre 
 picture^ points to its immediate removal from Ital}', and, whether 
 it be the sole original, or the earlier or later of two originals, it 
 probably passed in Leonardo's life-time into the possession of the 
 French King Louis XII., just as the ■' Mona Lisa" did. Of the 
 latter celebrated work also scarcely any Italian copies are to be 
 found, a fact which is not a little remarkable when we consider the 
 vogue enjoyed by Leonardo's creations, and their frequent repetition 
 by his followers, but a fact to be explained on the hypothesis of 
 its early disappearance into the seclusion of the King's cabinet. 
 On the other hand, there are numerous Milanese versions of the 
 *' Madonna of the Rocks," founded on the National Gallery picture, J 
 a fact which points to the permanent presence of the latter in 
 Milan, where it certainly was in 15S4, when Lomazzo saw and 
 described it in S. Francesco. From that date the external evidence 
 is indisputable. 
 
 Such considerations are, however, of secondary import for the 
 determination of a question of authenticity. The final test is to 
 be found in internal evidence, and such evidence as is derived, 
 not from a discussion of the question " Which is the more beautiful 
 work," but "Which is the more cliaracferisficV Esthetic 
 judgments are too liable to subjective impressions to be really 
 
 • Morelli, i., 1S3. 
 
 f Two old copies of the Louvre picture are known. One is a small and 
 inferior work in private possession in Milan, in which the painter has evidently- 
 been inspired by the "Mona Lisa" when drawing the angel's head. This fact 
 curiously confirms the belief that both works were together in the French King's 
 cabinet. The other is an almost exact replica of the Louvre picture, which M. Ch^ramy 
 in Paris has recently acquired. 
 
 \ Two such are in the present Exhibition. 
 
" THE MADOXXA OF THE ROCKS." Iv. 
 
 decisive, and an argument, based on tlial foundation alone, has 
 weight only in proportion to the experience, and natural gifts of 
 its author. 
 
 While some have been led to the conclusion that our National 
 Gallery picture is a free version by Ambrogio de Predis or some 
 distinguished imitator, after Leonardo's original, others maintain 
 that all analysis is subordinate to the aesthetic question whether it 
 is a consummate representation of the master's ideal in form and 
 colour ; in short, whether it is a masterpiece or not. They hold 
 that the essential variations in the Louvre example (especially 
 the change of motive in the Angel looking outwards, and pointing, 
 to enlist the spectator's attention, beside the greater elaboration 
 of the draperies and flowers) are improvements, and denote that 
 the Louvre example is subsequent to the English picture. The 
 addition of the hand is more likely to have been an afterthought 
 than its omission. The artist may well have felt the gap in the 
 composition of the National Gallery picture, and have therefore 
 added in the second version the hand which we find in the Louvre 
 example. 
 
 Some, too, who have had the advantage of examining our 
 picture without the glass, allege that it exhibits the first inspiration 
 of the Master, his touch, his experiments and his corrections as he 
 worked towards his ideas of perfection. According to this view 
 the obvious blots are later work, decipherable, like different hand- 
 writings, by a painter's eye, and partly due to a 17th century 
 restorer, while the numerous pentimenti are conclusive (they think) 
 against the theory of its being a later version from a pre-existent 
 original. 
 
 The work is clearly unfinished to this day. Why was it left 
 so ? It was Leonardo's way — as exemplified by the S. Jerome of 
 the Vatican and the Adoration of the ]\Iagi in the Uffizi. Did he 
 then abandon it to begin it afresh ? It may be that the change 
 
Ivi. 
 
 THE MADONNA OF THE ROCKS. 
 
 of motive in tlie Angel was too radical to be embodied on the 
 original panel. Certain it is that the Angel's hand could not have 
 been successfully painted upon the surface of the draperies of the 
 Madonna. The transparency and play of the flesh tones could not 
 have been secured with the strong colour underneath. 
 
 Since the close of the Exhibition the two wings of the 
 altar-piece recently acquired from Duke Melzi have been placed 
 alongside of the central panel in the National Gallery. Dr. Frizzoni, 
 writing in the Gazette des Beaux Arts (Per. 3, t. xx., pp. 389-90), 
 says, " A document recently published in the Archivio Storico 
 presents Ambrogio to us as a painter of church subjects ; but this 
 document proves also that his powers in that domain were very 
 limited. The same conclusion is enforced by the two figures of 
 angels recently acquired by the National Gallery. ... In truth, 
 if belief in the authenticity of the Virgin of the Rocks had been 
 a little shaken by the document regarding Leonardo and Ambrogio 
 as collaborators in the paintings for the church of San Francesco, 
 the evidence of the angels in question is such as to raise afresh 
 the credit of the central picture at least to this extent, that 
 Le9nardo's part in it must have been greater than some were 
 led to admit, in comparison with the Louvre version, which in 
 every way must be considered the early work and entirely from 
 the hand of the master." 
 
 However this may be, those who believe that the description 
 in the contemporary document, " nostra dona facta a olio da dicto 
 florentino" (Leonardo), refers to our "Madonna of the Rocks," 
 hold that the execution of the more important parts is far above 
 any of his pupils, who, if they be judged by their indubitable work, 
 never arrived at such a height of delineation. 
 
CRISTOFORO DF, PREDIS. 
 
 Ivii. 
 
 CRISTOFORO DE PREDIS. 
 
 The assumption that this miniaturist was father to Ambrogio, 
 the painter, is now proved to be incorrect,* but it is highly probable 
 that the latter received his early instruction from Cristoforo. Only 
 five works of his are known, one being the nuniature at Hertford 
 House signed xpofori de predis ut. die . . . ., 147 . . 
 representing Galeazzo Maria Sforza kneeling, with elaborate 
 accessories. As the unlortunate prince was niurdered in 1476, the 
 date of the miniature will be 1470-75. The other miniatures by 
 Cristoforo are (i) the Turin Missal of 1474 (2) the Missal at 
 Varese, dated 1476 (3) the Book of Prayers in the Ambrosiana. 
 If the signature on these last miniatures is correctly interpreted, 
 it proves that Cristoforo was a native of Modena. {4) another 
 miniature in the Berlin Museum. 
 
 BOLTRAFFIO. 
 
 Giovanni Antonio Boltraffio was born in Milan in 1467, of noble 
 parentage. Leonardo seems to have been attracted by his refined 
 and gentle bearing, and to have superintended his early artistic 
 efforts. It is scarcely likely that Boltraffio studied with Foppa, 
 or any other of the Milanese masters, before coming under 
 Leonardo's spell, for he certainly never appears to have been 
 grounded in composition and perspective, or indeed to have aimed 
 at producing anything but the simplest Madonna pictures or 
 portraits. His finest production in the former direction is in the 
 
 * See Em. Motta in Archiv. Stor. Lomb. xx., fasc. iv,, 1893. 
 
Iviii. 
 
 BOLTKAFFIO. 
 
 National Gallery, and we may well believe that Leonardo himself 
 had a hand in the design if not in the execution of this charming 
 work. His most ambitious creation, where he lamentably fails, 
 is the Louvre altar-piece, the redeeming features of which are 
 the fine portraits of the Casio family, his friends and patrons. 
 When he confined himself to portraiture he was often strikingly 
 successful, and the older Milanese families still possess a number 
 of ancestral portraits by him, some of which are of great charm. 
 He seems to have become the pet artist of the society of his 
 day, often painting the portraits of his friends in the guise of a 
 S. Sebastian, or as Sta. Barbara. He accompanied Leonardo 
 to Rome in 1514, where he executed the fresco at S. Onofrlo, 
 and died in Milan in 15 16. 
 
 Although not a great artist, and entirely lacking in imagination 
 and dramatic power, he exhibits singular refinement, and was 
 saved by his high-bred instincts from becoming a mere assistant 
 in Leonardo's school. His cultured intellect enabled him to 
 appreciate, and in a measure reHect, the fastidious spirit of his 
 master. His works charm by their high finish, and by the 
 absence of all vulgarity or display. His portraits do not reveal 
 much penetration and he never caught the subdeties of character 
 or the intellectual qualities of his sitters. His sacred subjects 
 are not numerous, — a few Madonna pictures, — and two or three 
 renderings of the Salvator Mundi. The exquisite heads of female 
 saints in the Gallery of the Choir of S. Maurizio at Milan 
 were executed either by him or from his cartoons, and rank 
 among the most charming productions of the whole Milanese 
 school. Some fine drawings in the Ambrosiana, of like character, 
 are also considered by him. His best portraits are to be found 
 at Milan, in the Casa Mayno, and in the Isimbardi, Frizzoni, 
 Sola, and Borromeo (Via Manzoni) collections. A fine head of 
 a man has just been acquired by the Musce at Zurich. Some, 
 
BOLTRAFFIO. 
 
 Hx. 
 
 including Dr. Frizzoni and Mr. Rerenson, hold that the "Belle 
 Ferroniere" of the Louvre was executed by him. Others point 
 to the superiority in conception and expression over the known 
 work of Boltraffiio, and the modelling as being incomparably more 
 subtle. La Belle Ferroniere lacks the opaque reddish, ochreish, 
 impasto which characterises many undoubted Boltraffio's, nor yet 
 does it display the pallid leathery tones of the Poldi Pezzoli 
 Madonna. 
 
 In English collections he is rarely met with. A good portrait 
 of one of the Casio family is at Chatsworth, and another portrait of 
 the same man, in fine condition, is also exhibited in the present 
 Exhibition. Mr. Mond also lends a good example. His name 
 is given to a few other productions, not characteristic of his style, 
 the most important among which is the very curious Madonna 
 and Saints so extravagantly praised by Waagen (iv., 409). This 
 work, now in London, is clearly a Flemish pasticcio, as was first 
 pointed out by M. Claude Phillips,* and based not only on 
 Boltraffio's work, but containing reminiscences of Cesare da Sesto 
 and other Milanese masters. In the South Kensington Museum 
 a man's portrait is not by him but more probably by Filippo 
 Mazzola, and Mrs, Alfred Morrison's portrait of a lady, exhibited 
 at the New Gallery Early Italian Exhibition in 1894, under 
 Boltraffio's name, is admittedly one of the finest of Bernardino 
 de Conti's works {Plaie XIII.). The multiplicity of these instances 
 shows the tendency to attribute all Milanese portraits whatsoever — 
 particularly those in profile — to this refined artist. f 
 
 * See Portfolio. The Picture Gallery of Charles I., p. 86. 
 
 j- He is confounded with Bartolomeo Veiieto (as is now widely recognised) in 
 the portrait of a man in the Ambrosiana. Sir Francis Cook's Head of a man, hitherto 
 ascribed to Boltraffio, may perhaps be by Ambrogio de Predis. No. 50. Some, 
 however, believe it to be Venetian. 
 
ANDREA SOLARIO. 
 
 ANDREA SOLARIO. 
 
 The accounts we have of Andrea da Milano, called Solario, 
 are very meagre ; neither the date of his birth nor that of his death 
 is known ; the earliest notice there is of him shows that he was in 
 Venice in 1490 in the company of his elder brother Cristoforo, the 
 sculptor. Before that time however he had probably been at 
 work in Milan, and some early Madonna pictures seem to show 
 Bramantino's influence. In 1493 he was in Milan again, and his fine 
 picture of 1495, now in the Brera, painted for Murano, shows that 
 he had felt the force of Leonardo's inlluence. So, too, the small 
 panels in the Poldi, of 1495,* one of which is strikingly akin to 
 Macrino d'Alba in style. Then follow in order the dated works 
 of 1503 (Louvre), the Portrait of a Senator of 1505 (National 
 Gallery), and lasdy The Flight into Egypt of 1515 (Poldi), and 
 the great altar-piece for the Certosa of Pavia, left unfinished at his 
 death. 
 
 The only other historical notice of him is of considerable 
 interest, as we find he was employed from 1 507-1 509 by Cardinal 
 d'Amboise to decorate his chapel at Gaillon in Normandy. The 
 Cardinal had tried to get Leonardo himself to do the work, but the 
 latter was too much occupied with scientific investigations to leave 
 Milan, and Solario was sent in his stead as the most capable artist 
 in the Milanese territory. 
 
 Although by birth and training a Lombard artist, Solario was so 
 much in Venice that his native style was largely modified. There is 
 
 • It seems the date should be read thus, and not 1499 as alivays given. This 
 correction is due to Mr. Weale. 
 
ANDREA SOLARIO. Ixi. 
 
 no historical evidence that he ever met Antonello, but his works 
 bear such close resemblance to that master's productions that it 
 cannot be doubted they were together. Mr. Berenson finds the 
 influence of Alvise Vivarini in his works between 1495 and 1505 
 and the portrait in the National Gallery, which seems to be still 
 earlier, is obviously Venetian in character, indeed, it passed not long 
 since under Bellini's name. 
 
 It seems unnecessary to suppose that he paid a visit to Flanders. 
 The Flemish traits so conspicuous in his work could well be derived 
 from contact with Antonello. To the end of his life he painted 
 with the utmost finish and delicacy: in the modelling of his heads 
 he was facile princeps among his contemporaries, and the brilliance 
 and warmth of his colour compensate for the somewhat cold ivory 
 pallor of his flesh tones. His landscapes are remarkably picturesque 
 and full of incident. That behind the figure of Longoni in the 
 National Gallery portrait is of the greatest delicacy and charm. 
 
 Pictures by Solario in English Private 
 Collections. 
 
 Solario is admirably represented, indeed some of his finest 
 productions are to be found in England. Unquestionably the most 
 important of these belongs to Lord Kinnaird, at Rossie Priory, in 
 Scotland ; an altar-piece, too large and heavy to allow its removal 
 for exhibition. The owner has kindly allowed a photograph to 
 be made, of which a reproduction is given herewith {Plate IX.). 
 This Pieta, about five feet square, is in excellent preservation, and 
 is a masterpiece of the artist. It dates apparendy about 1506 or 
 1507, as both in colour and types it agrees with Mr. Kay's signed 
 
Ixii. 
 
 ANDREA SOLAHIO. 
 
 and dated " Annunciation." The prevailing cliaracter is Venetian, 
 but Bramantino's influence is seen in one of tlie standing women. 
 A drawing for a Pieta somewliat resembling this picture is in 
 the Malcolm collection. Mr. Kay's "Annunciation" (No. 22, 
 Plate VIIL), signed andreas-de-.solakio, f., and dated 1506, is 
 a work of the greatest brilliance of colour, and high finish, and 
 of particular interest, as being the work ne.xt following in point 
 of date the National Gallery Longoni portrait. 
 
 Other pictures by Solario exist at Locko Park (Mr. Drury 
 Lowe's), representing The Head of the Baptist on a Charger, one 
 of the best of the many versions of this subject, of which another, not 
 by Solario, is in the National Gallery, dated 151 1. A rendering 
 of The Daughter of Herodias is at Sion House, of which a fine 
 Flemish copy is at Oldenburg. A Flagellation of Christ belongs 
 to Sir Martin Conway, very closely resembling Luini's work; at 
 Broomhall, N.B. (the Earl of Elgin), and at Mr. Humphrey Ward's, 
 are found replicas of the celebrated " Vierge au Coussin Vert" in the 
 Louvre, and a somewhat different treatment of the same subject 
 belongs to Mr. Archibald Stirling, at Cawder House, N.B., who 
 also possesses another version of the Mary Magdalen exhibited by 
 Mr. Wickham Flower, at the New GaUery, in 1S94, as a Solario. 
 The latter is, however, an undoubted first-rate example of 
 Gianpetrino's work (No. 56, Pl<itc XX.). The Early Italian 
 Exhibition of that year was fruitful in examples of Solarios, genuine 
 and otherwise. Among the former must now be placed The Head 
 of Christ, belonging to Sir Francis Cook, then exhibited under 
 Antonello da Messina's name, an identification first made by 
 Dr. Frizzoni. 
 
SODOMA. 
 
 Ixiii. 
 
 SODOMA, 
 
 Giovan Antonio de' Bazzi, commonly called II Sodoma, was born 
 about 1477, at Vercelli, in Piedmont. From 1490-97, he was 
 apprenticed to Spanzotti, a local painter, and between the latter date 
 and 1 501, when he first appears in Siena, we know nothing of his 
 movements. From 1501 to 151S, he worked in and about Siena, 
 paying two visits to Rome, the first in 1507 to decorate the Camera 
 della Segnatura in the Vatican, the second in 15 14, when the lovely 
 frescoes in the Farnesina were executed. From 151S to 1525 is the 
 second unknown period in Sodoma's career, but from 1525 to 1549 
 he was actively employed in Siena and the neighbourhood, and died 
 on February 14th in the latter year. 
 
 We need not here recapitulate the long list of his works, which 
 fill the churches and the gallery at Siena, an account of which is 
 given in all the text-books. But the questions of Sodoma's early 
 training, and his relations to Leonardo are of some moment, and 
 have given rise to much discussion.. 
 
 Sodoma came to Siena at the age of 24, and his earliest known 
 works, the frescoes in S. Anna in Creta, and in Monte Oliveto, 
 clearly betray their Lombard origin. If we further include among 
 the earliest works the Tondi (Siena Gallery, and in the late Scarpa 
 collection), and the Descent from the Cross (Siena) we have all 
 the material available for studying the influences which promoted 
 his artistic development. Morelli started the theory that Sodoma 
 went to Milan in 1497, and studied for three years under 
 Leonardo, There is nothing tangible, however, to support this 
 idea. The early works just cited are by no means so 
 Leonardesque in character as to warrant the supposition that 
 Sodoma was ever Leonardo s piipit. That they reveal an 
 acquaintance with the great Florentine's productions may be 
 admitted, but may not this be accounted for by Sodoma's 
 
Ixiv. 
 
 SODOMA. 
 
 presence not in Milan, but in Florence ? Leonardo himself did 
 not return to Florence till the close of the year 1 500, and we may 
 well believe that Sodoma had spent the three years immediately 
 preceding in studying not only Leonardo's earlier productions 
 there, but the works of the Florentine masters in general. This 
 theory will also account for the unmistakable traces of Florentine 
 influences to be found in Sodoma's early works. The very tomh 
 point to it — for the circular panel was a peculiar feature of Florentine 
 painting. 
 
 There are three early tondi, by Sodoma, in English private 
 collections, giving valuable indications of the same kind : — 
 
 (1) The Madonna picture from Dorchester House. No. 36, 
 
 Plate XVIII. 
 
 (2) The Holy Family, from High Legh Hall, Cheshire. 
 
 No. 38. 
 
 (3) The Holy Family, belonging to the Earl of Wemyss, 
 
 at Gosford House, N.B. This is a little later 
 than the other works, and shows the influence of 
 Fra Bartolommeo in the type of the S. Joseph. 
 Another early e.xample is lent by Mr. Clementi-Smith ; it 
 agrees in style with the larger Turin picture. 
 
 The second unknown period of Sodoma's career, 1518-1525, is 
 generally supposed to have been spent in Lombardy, Morelli placing 
 at this date certain very Leonardesque pictures which he attributes 
 to Sodoma. 
 
 There is some evidence to show that he was at Parma at 
 this time, but the attribution to him of these varied works 
 seems open to grave doubt. To cite but two examples, the 
 Madonna and Child, recently acquired by the Brera at Milan, and 
 the so-called " Madonone da Vaprio "— both so confidently claimed 
 for Sodoma — appear by no means certainly his. 
 
SODOMA. 
 
 Ixv. 
 
 Too much, in fact, has been made of Sodoma's connection with 
 Leonardo, too Httle of his dependence on the Florentine school in 
 general. He must have been constantly in touch witli the latter 
 throughout his career, as indeed all the Sienese painters of his day- 
 were, but unlike the others Sodoma had a strong individuahty and 
 invests his works with a cliaracter all his own. Brought up in the 
 Vercellese traditions, he must be ranked with the Lombard school. 
 Gifted with an artistic temperament he occasionally produced works 
 approaching the greatest pictorial creations of Italian art, but 
 he too often lapsed into a careless indifferent style. Wayward and 
 frivolous by nature— the Arch-Fool, il Matiaccio, a name bestowed 
 on him by the monks of Monte Oliveto, as Vasari says, " in requital 
 of his follies " — he drew well enough when he liked, and though 
 never a master of form his power of rendering movement was 
 considerable, and his poetic fancy enabled him to invent the 
 most delightful landscape backgrounds. One of the finest of 
 these is seen in the " S. George and the Dragon " picture here 
 exhibited. 
 
 Pictures by Sodoma in England. 
 The two examples in the National Gallery give no just idea of 
 the master ; the one, a small Madonna and Saints, a production 
 of little merit, the other a fragment, representing the Head of 
 Our Lord. 
 
 In private collections he Is more worthily represented. 
 
 An " Ecce Homo" belongs to Lord Methuen at Corsham ; a 
 large S. Jerome, dating from his last years, belongs to Mr. Mond; 
 the S. George and the Dragon (No. 37, Plaie XIX.), belonging 
 to Sir Francis Cook, is a fine piece of colour, with a landscape 
 full of invention and detail. A large cartoon by him is in the 
 Oxford University Galleries, and a brilliant little panel belongs to 
 Mr. Charles Buder. 
 
Ixvi. 
 
 LUINI. 
 
 Bernardino Luini is to most people the central figure in 
 Milanese art; all the more remarkable is it that scarcely anything 
 is known about him. The dates of his birth and death are 
 both undetermined, his career is lost in obscurity, his very name 
 is misquoted by Vasari. In these circumstances, his life must be 
 read in the long series of his works. 
 
 Of his early training we know nothing. Morelli, following 
 Crowe and Cavalcaselle, supposed that he began under Borgognone 
 and Bramantino, and cites the large Pieta in S. Maria della Passione, 
 in Milan, as one of his early works. This picture (now photographed 
 for the first time) is, however, so divergent in style from everything 
 else we have of the artist, that it seems impossible to endorse the 
 current opinion that it is by Luini. 
 
 The only certain dates to help us in determining the artist's 
 development relate to the years 1521 to 1533. This is the later 
 time of Luini's career when he had passed through a Leonardesque 
 phase, and shows signs of acquaintance with Gaudenzio Ferrari's 
 work. He was mostly engaged in fresco painting in these years. 
 Saronno, Como, Lugano and Milan were successively the scenes of 
 his labours. And in this sphere he appears to most advantage, for 
 in spite of the defective composition of his most ambitious work, the 
 fresco of the Passion at Lugano, he charms by his colour and the 
 loveliness of his types. His easel pictures are all highly finished, 
 and are frequently found in English collections. The following may 
 be mentioned among many others. 
 
 At the New Gallery Early Italian E.xhibition, 1S94, were 
 shown four saints* and three predella pictures, parts of a large altar- 
 
 •Sold at Christie's, 21st May, 1S98, in the collection of the late Joseph Ruston, 
 Esq., ot" Lincoln. 
 
LUINI. 
 
 Ixvii. 
 
 piece, whose central panel is in the possession of Duke Scotti, in 
 Milan. The whole work, whose parts are now scattered, is believed 
 to have been painted for the Torriani family chapel in the church 
 at Mendrisio. The prcdellas, again exhibited in the present 
 Exhibition, are unique exam[)lcs of the artist's treatment of a story, 
 namely, the lives of SS. Sicinnius, Martyrius and Alexander,* and 
 display a freedom of touch and dramatic quality, rare in Luini's 
 extant work. (No. 31-33, Plate XXIII.). 
 
 Another large altar-piece, a Nativity, formerly belonging to 
 the Maestri family of Milan and now in the possession of Mr. Benson 
 (New Gallery Exhibition, 1894, 212), illustrates, in the type of 
 the Virgin, Luini's artistic descent from Borgognone, and in other 
 respects may be compared with the Ircsco of the same subject at 
 Saronno of 1525. 
 
 Four other works in that Exhibition incorrectly bore the name 
 of Luini. 
 
 Beside the two well-known examples at Hertford House, both 
 representing the Virgin and Child, dating from different periods of 
 the artist's career, the following works may be cited: — 
 
 Ashridge. Earl Brownlow. A large fresco, representing the 
 Virgin and Child, SS. Joseph and John the Baptist, and a kneeling 
 donor, all life-size figures. The work, which has suffered by being 
 transferred to canvas, bears the inscription a.d. mdxxvx (?) 7 mag. 
 
 FRANC. DE QUADR NEPOTIS SOSPITAE DEO D. 
 
 Hyde Park House. Sir H. Naylor-Leyland. A large Madonna 
 and Child and Saints, dated 1526. 
 
 The Earl of Northbrook possesses a large Madonna picture, 
 Sir Archibald Campbell, a Nativity (at Garscube, N.B.), and Sir 
 Francis Cook, at Richmond, a Madonna, with S. George and other 
 figures. None of these are here exhibited, but we are fortunate in 
 
 * See The Guaniiaii, July 6th, 1S9S, for an article by Mr. G. McNeil Rushforth 
 " The Martyrs of the Val di Nun," a.d. 397. 
 
the opportunity of seeing Lady Carysfort's '' Boy with a Toy," — an 
 example of Luini's fondness lor a roguish imp — Colonel Legh's 
 little Marriage of S. Catherine, Mr. Mend's Madonna and Child 
 with the Infant S. John, Lord Lansdowne's Mary Magdalen, and 
 Lord Windsor's important Nativity, heretofore unknown. 
 
 Other genuine examples may exist elsewhere in England, but 
 there are a large number of pictures incorrectly passing under 
 Luini's name, many of which have appeared in various exhibitions 
 in recent years, and which it is needless to specify. Some are 
 copies of well-known originals. The greater part, however, are 
 by other Milanese painters, such as Gianpietriiio, Solario, Marco 
 d'Oggiono, &c. 
 
 CESARE DA SESTO. 
 
 Cesare Milanese, as Vasari calls him, was born about 1480, at 
 Sesto Calende, on Lake Maggiore. We know that he was in 
 Rome about 1506, and Morelli's conjecture is probablj- correct 
 that he was working under Leonardo in Milan from 1507-12. 
 Vasari states he was a successful imitator of that master, and cites 
 certain works of his which still exist. Lomazzo states that Cesare 
 and Raphael were intimate friends in Rome, and this statement 
 is fully borne out by the unmistakable Raphaelesque influences 
 to be found in his later works. Cesare was also in Southern 
 Italy about 1515-20, and one of his largest works — the "Adoration 
 of the Magi" in the Naples Museum — was painted for a church 
 in Messina. He died probably in 1521.* 
 
 Of this — his latest period— a very remarkable work has recently 
 been acquired by Sir Francis Cook, an altar-piece with the 
 Madonna and Child seated on an elaborately ornamented throne, 
 with S. John Baptist and S. George standing on each side. The 
 
 * aee Gazette des Beaux Arts, 1892, p. 332. 
 
CESARE DA SESTO. 
 
 Ixix, 
 
 figures are life-size ; behind is a landscape with classical architecture, 
 showing bas-reliefs. The Madonna and Child are still Leonardesque, 
 but the saints are inspired by Raphael, and the architectural details 
 suggest an acquaintance with classical remains derived doubtless 
 from his visit to the South. The picture, moreover, formerly 
 belonging to Lord Acton, is known to have come from Naples.* 
 
 His finest works are (i.) a large Baptism (mentioned by Vasari), 
 belonging to Duke Scotti. in Milan, with an elaborate landscape 
 executed by Bernazzano, a painter who seems at times to have 
 co-operated with Cesare by introducing highly finished landscape 
 backgrounds ; (ii.) an altar-piece, with wings, belonging to Duchessa 
 Melzi, in IVIilan. S. Roch is in the centre, and the work is cited by 
 Vasari under that tide. Here Cesare shows his eclectic character, 
 as there are traces not only of Leonardo and Raphael, but even of 
 Dosso Dossi. 
 
 His iVIadonnas are dignified, and his work always refined. He 
 is fond of the decorative effect of branching trees, and his landscape 
 has great delicacy of feeling and picturesqueness of eftect. 
 
 He is constantly confounded with Cesare ]V[agni,f an inferior 
 painter of Pavia, as in the Vatican and elsewhere, and liberties are 
 still taken with his name in ascribing to him (as Morelli did), the 
 Adoration of the IVIagi, in the Borromeo collection at Milan, the 
 so-called "Vierge au.x Balances," of the Louvre, and the curious 
 Madonna in the Turin Gallery, the last being probably by 
 Albertino Piazza, of Lodi. 
 
 His drawings are fairly often found, and are usually executed 
 
 in red chalk. Many of them pass under Leonardo's name, indeed 
 
 the Royal Academy drawing of the Madonna widi S. Anne is by 
 
 some held to be a drawing by Cesare after Leonardo. Lomazzo 
 
 specially commends Cesare as an excellent draughtsman. 
 
 * The Committee are unfortunately precluded by its size from exhibiting this 
 important worli, A reproduction, however, is given, Plate XV. 
 t See School of Pavia, Infra. 
 
Ixx. 
 
 GIANriETRINO. 
 
 GIANPIETRINO. 
 
 It is not a little remarkable that the surname of this artist, 
 perhaps the most prolific of all Leonardo's followers, is unknown 
 to us.* His popularity is attested by the diminutive form of the 
 Christian name (which is alternatively spelt Gianpietrino or 
 Gianpedrino). His works are very numerous, and in English 
 private collections usually pass under the names of Luini or Leonardo. 
 Elsewhere he is confounded with Marco d'Oggiono and Sodoma, 
 and in the eager desire of modern critics to recognise his works, now 
 that his style has once been idendfied, a large number of productions 
 of his school have been honoured with his name.f The Flemish 
 imitators who flocked to Italy after Leonardo's death seem to have 
 been particularly partial to the workshop of Gianpietrino, and many 
 of their hybrid productions are wrongly laid to his charge. Still his 
 Madonna pictures are numerous and abound especiallj- in English 
 collections. 
 
 Nothing is known of the dates of his birth and death and but 
 one picture— and that his masterpiece— is dated. This is the fine 
 altar-piece in S. Marino at Pavia, of 1521. None of his works 
 moreover are signed. 
 
 His style is " Leonardesque " and his halfdengths— generally 
 Madonnas or female saints-^are characterised by great charm of 
 expression and brilliance of colouring. His types are as unmistakable 
 as Luini's, and really quite distinct from the latter's, although 
 commonly confounded. We lind evidences of the influence of 
 Sodoma and of Solario, but it is not easy to trace his artistic 
 development owing to lack of dates. He was evidently not gifted 
 
 • Lomazzo calls him Pietro Rizzo Milanese. Resta speaks of Gio. Pedrini. 
 t At Glasgow a Madonna picture of his school is ascribed to him. 
 
GIANPIETRINO. 
 
 with much imagination,* but so long as he confined himself to 
 producing smaller devotional pictures he may claim to rank as 
 one of the best of Leonardo's pupils. Like all the followers, his 
 work is marred by bad or eccentric drawing whenever he tried to be 
 original. 
 
 MARCO D'OGGIONO. 
 
 Of this very inferior pupil of Leonardo we have little or 
 no information. He was born at Oggiono, near Milan, about 1470, 
 and Lanzi puts his death in 1530. One of his best works is 
 in the Louvre, and can be appreciated by the photograph. His later 
 works are mannered to an unpleasant degree, and easily recognisable 
 by the violent contrasts of light and shade and the bony structure 
 of faces and hands. His colouring is bright and varied. f 
 He also painted in fresco. 
 
 He is known to have been a copyist of Leonardo's work, 
 and one of his most successful replicas is that of the 
 Cenacolo now in the Diploma Gallery of the Royal Academy. 
 Another copy by him is in the Louvre and others are elsewhere. 
 
 The only known examples of the painter in English collections 
 are the Madonna pictures here exhibited. j; The National Gallery 
 
 * An exception must, however, be made in favour of the delicious *' Egeria," 
 belonging to the Marchese Brivio in Milan. 
 
 It is impossible to accept Morelli's view that the " Columbina " at S. Petersburg, 
 is by Gianpetrino, nor is the attribution to him of the unfinished picture in the 
 Brera(io5_) "The Madonna, Child and Lamb," beyond question. In the present 
 Exhibition there is another unfinished work by the same hand. (No. 39), 
 
 t Mr. Mond's " Infant Christ and S. John embracing " is one of many examples 
 of this subject based probably on an original drawing of Leonardo. Other versions 
 are at Chatsworth {by a Fleming), Christ Church Oxford, Hampton Court an<l 
 elsewhere. Many more exist abroad. 
 
 I A very characteristic and ugly work by him— representing two Angels, life-size — 
 was sold at Christie's, in 1897, for 150 guineas. 
 
Ixxii. 
 
 MARCO d'oGGIONO. 
 
 possesses a small work which well illustrates the usual style of 
 d'Oggiono. 
 
 FRANCESCO NAPOLITANO. 
 
 A few signed pictures by this Leonardesque artist show that he 
 and d'Oggiono may fairly claim to be rivals as the feeblest painters 
 of the Post-Vincian school. He afterwards migrated to Spain, and 
 many of his pictures are said to be in Valencia.* 
 
 BERNARDINO DE' CONTI. 
 
 Little is known of the life of this artist. He is said to have 
 come from Pavia, and we have signed and dated works of his 
 between 1496 and 1 501. In these he shows himself clearly 
 under the influence of Leonardo, and whatever little individuality 
 he possessed appears in his portraits, of which more than a dozen 
 are e.xtant. He seems to have been affected also by de Predis, but 
 it is impossible to say with certainty under whom he first studied. 
 Crowe and Cavalcaselle suggest Zenale, Morelli thinks Foppa or 
 Civerchio, conjectures which cannot be proved or disproved. In 
 assigning to de' Conti works, such as the altar-piece in the Brera,t 
 and the " Madonna Litta," at S. Petersburg, Morelli overrated his 
 powers as an artist, powers which were, in fact, but very mediocre. 
 
 The following is the list of his known works : — 
 
 1. Rome. Vatican. A young Sforza. Signed and dated 
 
 1496. 
 
 2. Milan. Signor Crespi. Portrait of a man. Signed and 
 
 dated 1497. 
 
 * The small altar-piece formerly in the Bononii-Cereda collection at Milan has 
 recently been bought for the Museum al Zurich, 
 f See under Zenale, p. xxi,v. 
 
BERNARUIiNO [)K' CONTI. 
 
 Ixxiii. 
 
 3. Berlin. Gallery. A Cardinal. Signed and dated 1499. 
 
 4. Paris, Madame Andre. (e,\-Vittadini collection, Milan). 
 
 Profile portrait. Signed and dated 1500. 
 
 5. Bergamo. Gallery. Madonna. Signed and dated 150 1. 
 
 6. Turin. Marchesa d'Angrogna. Catellaneus Trivulcius." 
 
 Signed and dated 1505. 
 
 7. Milan. Bonomi-Cereda collection. Madonna. Signed. 
 S. Varallo. Museo. Profile of a yotith. Signed. 
 
 9. London. Mrs. Alfred Morrison. Portrait of a lady. 
 Here exhibited. (No. 44. Plate YAW.). 
 
 10. London. George Donaldson, Esq. Portrait of a man. 
 
 11. Bergamo. Gallery. Marriage of S. Catherine. 
 
 12. Florence. Uffizi. The so-called portrait of Lucas van 
 
 Leyden. 
 
 ? 13. Milan. Borromeo. Portrait of a man. 
 
 14. Milan. Duchessa Melzi. Madonna and Child. 
 
 15. Locarno. Madonna del Sasso. (i.) Annunciation. 
 
 16. Locarno. Madonna del Sasso. (ii.) Angel and group of 
 
 portraits (photographed by Buchi, Locarno). 
 
 The addition of these two productions (now for the first time 
 made), is of some interest, as showing that de' Conti was probably 
 at work in Locarno, perhaps at the same time (1522) that Bramantino 
 was employed there to paint the half-ruined frescoes in one of the 
 churches, and his " Flight into Egypt," also in the Madonna del 
 Sasso. The works are remarkable as the only known attempt by 
 this portrait painter at a sacred subject other than a Madonna. 
 
 To this list Dr. Bode adds the following : * 
 
 1 7. Paris. Madame Andri. Man's portrait. 
 
 18. Berlin. Depot of Gallery. Portrait, signed and dated 
 
 1501. 
 
 * Gazette des Be<tiix Arts, 1 SSy, p. 498. 
 
Ixxiv. 
 
 BERNAKlltNO IiE' CONTI. 
 
 19. Berlin. Depot of Gallery. Portrait, 1506. 
 
 20. Berlin. Depot of Gallery. Portrait, 1506. 
 
 21. Potsdam. Palace. Holy Family, 1522. 
 
 A good many drawings by de' Conti (under Leonardo's name) 
 exist in public and private collections, mostly executed in silver- 
 point on blue paper. 
 
 FRANCESCO MELZI and ANDREA SALAINO. 
 
 No authenticated works of either of these painters are known 
 to us. Both were friends and followers of Leonardo ; the former — 
 of noble birth — accompanied his master to France in 1516, and after 
 the latter's death in 1519 was left his literary executor. From an 
 inscription on a drawing in the Ambrosiana we may conclude he 
 was born in 1493, and Vasari, writing in 1566, speaks of him as 
 still living. Morelli has gone so far as to doubt his having been 
 more than a dilettante, but the evidence he adduces (iii. 141-144) 
 is not convincing, and there is .some ground for believing that 
 the '■ Vertumnus and Pomona" of the Berlin Gallery is by him. 
 If so, he will also be the author of the so-called " Colombina " at 
 S. Petersburg, and of other works.* Lomazzo says he was a great 
 miniaturist, a statement which is borne out by the careful attention 
 given to detail in the Berlin picture. 
 
 Of Andrea Salai, or Salaino, little is known. He was at work 
 under Leonardo in 1504, and enjoyed a certain reputation as an 
 artist. Vasari says Leonardo retouched many of his works himself. 
 Among these are probably to be placed the Louvre " Bacchus" and 
 the " ,S. John," of which many replicas exist, that in the Ambrosiana 
 at Milan being especially fine. Two versions of this subject were 
 
 * bee Berlin catalogue, No. 2Z2. 
 
FRANCESCO MELZI AND ANDREA SALAINO. 
 
 Ixxv 
 
 exhibited at tlie ^ew Gallery in 1S94, and certain other vvorlis of a 
 lilie character are traditionally ascribed to Salaino. (See No. 40.) 
 
 The version of the "S. Anne," once in the Sacristy of 
 S. Celso at Milan, and now in the Leuchtenburg Gallery at 
 S. Petersburg, has always borne his name, but one or two other 
 productions, still in Milan, and attributed to him, seem very doubtful, 
 as they do not agree in style with the group of works of which the 
 Louvre " S. John" is the typical example. 
 
 SCHOOL OF PAVIA. 
 
 Pavia, the old-world capital of the l^ombard Kings, was the 
 centre of considerable artistic activity at the close of the 
 14th century. The Visconti family often resided there, and 
 Pisanello's presence stimulated the local craftsmen to practise the 
 art of fresco in church and in palace. Foppa, too, worked much 
 in Pavia, and the splendours of the rising Certosa brought many 
 artists into contact with Borgognone. Indigenous art is seen in 
 the work of Bononi (Louvre), Lorenzo Fasolo (Louvre, &c.), and 
 his son, Bernardino (Berlin, &c.), but the two painters of the 
 school who best deserve notice are Pier Francesco Sacchi, and 
 his pupil, Cesare Magni. Many dated works by the first-named 
 exist, ranging from 1512-1527. He has a coarse pronounced 
 style of his own, and very gaudy colouring. His best known 
 production is in the Louvre, and two others at Berlin show he 
 was influenced by Borgognone and Macrino d'Alba. 
 
 More interesting, if more feeble, is his pupil, Cesare Magni, 
 who has been (and still is) constantly confounded with 
 Cesare da Sesto. The former, however, long outlived his better 
 known namesake ; some frescoes at Saronno bear the date 1533, and 
 a picture belonging to .Sir Francis Cook is signed and dated 1530. 
 
Ixxvi. 
 
 SCHOOL OV PAVIA. 
 
 He is the follower of Sacchi in the rawness and crudeness of his 
 colouring, but he affects Leonardesque types, and that he was a 
 clumsy copyist of Leonardo's work is shown by his signed version 
 of the Cenacolo (S. Maria della Grazie) and his odd version of 
 the " Madonna of the Rocks " (Naples). His pictures are 
 frequently met with in and about Milan, most of them being signed. 
 
 Pictures by Sacchi are found in England in Mr. Mond's 
 collection (a large S. Jerome). By Ccsare Magni is an altar-piece, 
 recently belonging to Sir William Domvile and sold at Christie's 
 under Leonardo's name. 
 
 SCHOOL OF LODL 
 
 Albertino and Martino Piazza are the two representative names 
 of this local school. These brother artists worked much together, 
 and many altar-pieces in the churches of Lodi testify to their 
 imitation of the Leonardesque. Albertino's own work (Lodi, 
 Bergamo, Milan, &c.) is marked by a charming eclecticism based on 
 a study of Cesare da Sesto, and more especially Raphael. Although 
 a feeble draughtsman, he is a pleasing colounst, and his work has a 
 gracious serenity which recalls Umbrian models. He died in 1529. 
 
 Martino's work is frequently found in Milanese private 
 collections as well as at Lodi. His signed pictures are in the 
 Ambrosiana and the National Caller}'. He is often a brilliant 
 colourist, and a careful delineator of landscape. The curly hair 
 touched with gold, the types suggestive of Calisto da Lodi (who 
 was his son and the assistant of Romanino), his high finish and 
 chiaroscuro, derived from a study of Leonardo, are distinctive traits, 
 and he can be recognised as the author of a good many anonymous 
 Leonardesque school works, e.^:, probably No. 65 in this 
 Exhibition. 
 
\[ACRrNO d'alba. 
 
 Ixxvii. 
 
 MACRINO D'ALBA,* 
 
 There is no foundation for tlie belief that this artist's name was 
 Giantjiacomo Fava, as stated in the National Gallery catalogue and 
 elsewhere. He seems to have been born in Alba before 1470, and 
 was already dead in 1528. 
 
 His early Lombard training was considerably modified by a 
 visit to Rome, and a stud)' of the Florentine masters, and Ghir- 
 landajo's influence is to be seen in his work. He was a fair 
 draughtsman and colourist, and had a considerable power of 
 assimilation, while retaining his individuality. His pictures are 
 easily recognisable from the frequent recurrence of similar types 
 and attitudes, a fact which shows him to have been a person of 
 little imagination. The following is a complete list of his known 
 works ; — 
 
 1496. Altar-piece in the Certosa at Pavia. 
 
 1498. Altar-piece in the Turin Gallery. 
 
 1499. Altar-piece, with portrait of Paleologus. Said to be 
 
 lost. ?now in New York. 
 1501. Enthroned Madonna and Saints, in the Palazzo 
 
 Municipale of Alba. 
 1503. Altar-piece in the church at Crea 
 I 506. SS. Paul and Lodovico. Turin Gallery. 
 1508. S. Giovanni in Alba. 
 The following are not dated : — 
 
 Capitol. Rome - - Madonna and Saints. 
 Neviglie (near Alba) Marriage of S. Catherine. 
 Frankfort - - - - Triptych. An old copy of the left 
 compartment is in the Cereda 
 collection, Milan. 
 
 * The account here given is based on .1 recent article in Le Gall. Naz 
 Italiani III., pp, 69-9S. 
 
Ixxv'iii. 
 
 MACRINO d'aLBA. 
 
 Turin. Albertina 
 National Gallery - 
 
 Turin. Gallery - - Various parts of a polyptych. 
 
 SS. Francis and Agatha and donor. 
 Four Saints ; probably the upper 
 side parts of a polyptych, of which 
 the Albertina panel formed the 
 lower compartment on the left 
 side. 
 
 Dr. Frizzoni identifies the portrait of Novelli in the Borromeo 
 collection, ]\lilan, as Tvlacrino's work. 
 To this list can be added : — 
 
 Four panels of Saints, belonging to Wentworth Beaumont, 
 Esq., London.""' Two are here exhibited ; and S.John 
 and The Lamb, belonging to the Marquis of Lothian, 
 in Scotland. 
 
 GAUDENZIO FERRARI. 
 
 This great master was born at Valduggia, in the Duchy of 
 Milan, about 148 1 ; he was already dead in 1548. The period of 
 his activity would thus scarcely reach 50 years, yet in that space of 
 time he produced a prodigious number of works both in fresco and 
 on panel, many of his pictures being large altar-pieces for the 
 churches of "Vercelli, Novara, "Varallo and Milan. Signs of the 
 rapidity of his workmanship are often to be seen in those hastily 
 executed panels of his later years, where self-restraint and dignity of 
 composition are conspicuous by their absence ; his exuberant fancy 
 is apt to run riot, and his colour scheme becomes unpleasantly fiery. 
 But the master of the Saronno, " Angels adoring the Almighty," and 
 of the great "Crucifixion" at Varallo, reaches the highest point 
 of artistic achievement ever attained by the indigenous school of 
 
 • Others nttribute the.st works to Defendente Ferrari. 
 
GAUDIiNZIO FEKRARI. 
 
 Ixxix. 
 
 Lonibardy. Not so sensitive or so delicate an artist as Luini 
 or Sodoma, Gaudenzio possessed those dramatic and \-irile 
 qualities whicli in otiier scliools characterize a Tintoretto and a 
 Uosso Dossi. 
 
 Of his early career little is known. Judging from the four 
 pictures in the Turin Gallery he must have come under Bramantino's 
 inlluence, and many early frescoes by him, or done from his cartoons, 
 pass under Luini's name. In 1508-9 he was working in Vercelli, in 
 1 5 10 at Arona, then in order at Varallo, Novara, Vercelli, Saronno 
 and Milan. His influence was felt down to the close of the century 
 as seen in the works of Lanini, Girolamo Giovenone, Ottaviano 
 Cane, Lomazzo and others. It is remarkable that so few of 
 his pictures are to be seen out of Italy. Even the National 
 Gallery was without an e.\ample of his brush until quite lately, 
 when the "Christ Rising from the Tomb" was acquired at the 
 Scarpa sale.* Another example of the master is the S. Andrew 
 here e.xhibited (No. 53), which was at the same sale. But by far 
 the most important picture by him in England is the Nativity 
 from Dorchester House (No. 53. Plate XXVII.), a variant on this 
 oft-repeated subject, for which the artist had a peculiar predilection. 
 Mr. Willett's little Madonna (No. 54), is the only other picture 
 known in England which has any claim to be considered a genuine 
 example oi Gaudenzio's art. 
 
 SCHOOL OF VERCELLI. 
 
 Defendente Daferrari, Girolamo Giovenone, and Lanini, are of 
 some interest to English students, as there are works by the 
 first and last named in the National Gallery, and a signed 
 
 • It may be of interest to record the fact ttiat this picture was copied with 
 variations by Gaudenzio's follower, Guiseppe Giovenone. (1554-1567.) This 
 ])icture is at Turin. 
 
ixxx. 
 
 SCHOOL UF VERCELLI. 
 
 example of Giovenone is shown in the present Exhibition. By 
 some error of nomenclature No. 1,295 in the National collection 
 is put down to this artist, whereas it is in every respect a 
 typical example of Defendente 's work. A reference to the 
 photographs here exhibited will help those who do not know 
 the Turin Gallery to see how our picture falls into line with 
 the Defendente's abroad, an artist whose style is peculiarly personal 
 in types, architectural backgrounds, colour and handling.* 
 
 Girolamo Giovenone is known by several signed works in 
 Vercelli and Turin, between 1513 and 1527. About 1520 he 
 fell under Gaudenzio Ferraris influence, as is shown by the 
 triptych in the Bergamo Gallery of 1527, and the present picture, 
 which from its close resemblance to the last-named work must 
 be of about the same date. (See No. 75.) 
 
 Bernardino Lanini was born in Vercelli about 1508, and was 
 closely associated in early years with Gaudenzio Ferrari. His 
 works are frequent in Turin and Vercelli, and examples of his 
 later style, when he tried to adopt the Leonardesque manner, are 
 seen in the National Gallery picture of 1543, and in another 
 large altar-piece signed and dated 1552, in the collection of 
 Sir Francis Cook at Richmond. A beautiful painted processional 
 flag of 1565 is in the Institute di Belle Arti at Vercelli; he 
 died about 1578, and with him passed away the last traces of 
 purer Lombard arc, for Lomazzo and Vasari, his immediate suc- 
 cessors, were mere eclectics of the baser sort.f 
 
 * In one of the private collections of Turin there arc no less than thirty examples 
 of the work of Defendente and his school. 
 
 t There are signed works by the little-known artists CJandolfino (of Asti) and 
 Grammorseo in the collection of Sir Henry Howorth, MP. The former appears to 
 be a crude follower of Borgognonc, the laUer an imitator of Gaudenzio Ferrari. 
 
PLATE III. 
 
 Tiifc; Virgin and Child. 
 
 Catalogue No. 3. 
 
 Foppa. 
 
 i 
 
 i 
 
PLATE IV. 
 
 St. Augustine and Donor. 
 
 Catalogue No. r. 
 
 Borgogiioiie. 
 
.VI STAJ? 
 
PLATE VI. 
 
 Portrait of Bianca Maria Sfor^a. Ambmgio de Predis. 
 
 Catalogue No. 51. 
 
.IV aCTAiII 
 
.iiv aiAJi 
 
 .0/ JfJijVlil.Jj. J 
 
 ! /. 10 TIAJiTHOH 
 
.iiiv aiAJi 
 
 ./lOlT/.i 
 
.ZI aTAJl 
 
PLATE XI. 
 
 Narcissus. Boliraffio. 
 Catalofjuc No. 47.-\. 
 
Till 
 
 .IX STAJ? 
 
I 
 
PLATE Xn. 
 
 Portrait of a Man. Boltraffio. 
 Catalogue No. 48. 
 
.nX ZTAII 
 
PLATE XIII. 
 
 PoiiTR.MT OF A L.ADV. Jlerunniiu,, ,// Coiili. 
 
 Cat;iloi;iic Nu. 44. 
 
( 
 
4 
 
 PLATE XV. 
 
 The Virgin enthroned between St. John and St. George. 
 Cesare da Sesto. 
 Belonging to Sir Francis Cook, at Richmond. 
 
PLATE XVIII. 
 
 Holy Family. Sodama. 
 Catalogue No. 36. 
 
 •I 
 
 i 
 
PLATE XXIV. 
 
 A Marv MAcnAi.KNE. Lnini. 
 Catalogue Xo, 35, 
 
i 
 
 PLATE XXV. 
 
 A Rov WITH A Toy. I.nini. 
 Catnlogue No. 25. 
 
.VXX 
 
PLATE XXVII. 
 
 The Nativity. Caudenzio Ferrari. 
 
 Catalogue No. 52. 
 
.IiyZX STAJ? 
 
CATALOGUE OF PICTURES EXHIBITED. 
 
 The order of ihe Numbers, is, as far as the hanging permits, chronological. The terms 
 " right " and " left " mean the right and left of the spectator, unless " right hand " 
 or "left hand" is mentioned, when the description refers to the right and left of the 
 person represented. 
 
 Owing to lack of space, afezv of the pictures have had to be hung in the Members' 
 Writing-room downstairs. 
 
 BORGOGNONE. 
 . 1 St. Augustine and Donor. 
 
 Full length life-size figure of St. Augustine, standing to right wearing 
 gold brocade cope and jewelled mitre, his left hand, wearing glove and rings, 
 holds crozier ; his right, also gloved and jewelled, rests on shoulder of the 
 donor, who kneels to right in attitude of prayer, with his cap in his hands. 
 
 From the Litta and Prince Napoleon's collections. Formerly in the 
 Certosa of Pavia. 
 
 The pendant, representing St. Peter Martyr and Donoress, is in the 
 Louvre. (See p. xxxiii.) 
 
 Exhibited at New Gallery, 1894. 
 Panel, 54^^ by 25 inches. 
 
 Lent by Lord Aldenham. 
 
 BUTTINONE. 
 2 Virgin and Child and Angels. 
 
 Small full-length figure of the Virgin, seated, with the Child upon her 
 lap; two angels with musical instruments on each side; architectural 
 background. The Virgin and Child have hales and ornaments in gesso, 
 with jewels inserted. 
 
 Exhibited Burlington House, 1885. 
 
 Exhibited at New Gallery, 1894. 
 
 Panel, 50 by 25 inches. 
 
 Lent by Colonel Jekyll, C.M.G. 
 
2 
 
 FOPPA. 
 
 Plate III. 3 The Virgin and Child. 
 
 The Virgin is seated suckling the Infant Saviour on her lap. He is 
 dressed in a yellow tunic, and wears a red cap. A curtain on the left 
 behind, with an arabesque pattern ; on the right, a distant landscape. 
 
 Panel, 17 by 13 inches. (See p. xxvii.) 
 
 Lent by Sir Martin Conway. 
 
 FOPPA. 
 
 The Dead Christ with the Emblems of the Passion. 
 
 Small half-length figure, placed in the sepulchre with the cross behind, 
 from which hang two scourges, and on each side the spear and the reed. 
 A halo round the head, and rays emanating from the body. 
 
 Panel, 20 by 15^ inches. 
 
 Lent by Sir Martin Conway. 
 
 ATTRIBUTED TO FOPPA. 
 
 5 Portrait of a Man. 
 
 Half-length life size figure to right ; brown dress and scarlet cap, 
 Exhibited at New Gallery, 1894. (See p. xxvii.) 
 Panel, 23 by 18 inches. 
 
 Lent by Mrs. Alfred Morrison. 
 
 ATTRIBUTED TO ZENALE. 
 
 6 Family Group in adoration before the Virgin and Child and 
 Saints. 
 
 The Virgin is seated on a decorated throne with the Infant Saviour on 
 her lap, who is in the act of blessing a group of kneeling men, opposite whom 
 kneel a corresponding number of ladies, all in gay costumes. Behind, on 
 either side, stand SS. James, Stephen, Bernardino and John the Evangelist. 
 
 If this little work be correctly ascribed, it will date from Zcnale's 
 later time, as the influence of Leonardo is seen in the types of the Madonna 
 and Child. 
 
 The work should be compared with the large altar-piece in the Brera 
 formerly ascribed to Zenale and now to Bernardino de' Conti, with the 
 Madonna of Bevilacqua in the same gallery, and with the portrait groups in 
 the National Gallery assigned to Borgognone. (See p. xxxviii.) 
 
 Panel, 22 by ig"^ inches. 
 
 Lent by George Donaldson^ Esq. 
 
3 
 
 ATTRIBUTED TO AMBROGIO DE PREDIS. 
 Plate VII. 7 Portrait of a Lady, supposed to be Beatrice d'Estc. 
 
 Seen to the left in profile, full-length figure richly attired and wearing 
 jewels. She holds some flowers in her right hand. Dark ground. 
 
 It may be noted that a great resemblance exists between this figure 
 and one in the fresco at S, Pietro in Gessate, Milan, signed by Buttinone 
 and Zenale. 
 
 Tempera on canvas, 54"^ by 231^ inches. 
 
 Lent by George Donaldson, Esq, 
 
 BEVILACQUA. 
 8 (on Screen) VIRGIN AND CHILD AND AnGELS. 
 
 The Virgin is seated on a marble ledge, with the Child in her lap, who 
 holds a book. On each side stands an ange! playing a musical instrument. 
 A red curtain behind. The whole framed by a gilded arch. 
 
 A picture by this rare artist (see p. xxxix.), vividly recalling the 
 Madonna in the Brera, dated 1502. 
 
 Panel transferred to canvas, 33^ by 24 inches. 
 
 Lent by Sir Martin Conway. 
 
 BRAMANTINO. 
 
 9-14 Set of Six Decorative Panels, with busts to right and left. 
 Exhibited at Burlington House, 1884 and 1885. 
 
 These formed part of a decorative frieze in the Castle of San Martino, 
 midway between Brescia and Mantua. Twenty-seven others of the series 
 are in the same owner's possession. (For their attribution to Bramantino, 
 see p. xlvi.) 
 
 Panel, each 18 by 18 inches. Lent by Henry Willett, Esq. 
 
 SCHOOL OF LEONARDO DA VINCI. 
 15 (hung in the Members' Writing-room) THE DAUGHTER OF HeroDIAS. 
 
 Similar composition to the following {q.v.), except that a third head 
 appears in the middle in the background. 
 
 There can be little doubt that the original design for this composition 
 emanated from Leonardo himself, and that different versions of it were 
 painted by his pupils and followers. The best known ;md finest is in the 
 Vienna Gallery, rightly attributed to Cesare da Sesto, and a replica of this — 
 with variations — is shown in the present Exhibition. Other examples by 
 different hands belong to the Hon, Mrs. Bail lie- Hamilton in Scotland 
 and in the Hampton Court Gallery, the latter a late production by a far 
 weaker hand. 
 
 The present example was formerly attributed to Luini. It seems 
 rather to be by some late follower of Gianpietrino. 
 Exhibited at Leeds in 1868. 
 
 Canvas, 51^ by 33^ inches. Le}ii by Colonel H. Cornwall Legh, 
 
4 
 
 CESARE DA SESTO. 
 The Daughter of Herodias. 
 
 Full length, less than life; her left hand is in front of her, holding up 
 her gown, her right points to a basin which stands on a table, and over 
 which the executioner is holding John the Baptist's head. The table is 
 marble, on supporters representing sphinxes; the green cloth over it is 
 turned up at the corner, and shows a yellow lining. 
 
 Replica with variations of the picture by Cesare da Sesto in the Vienna 
 Gallery. The Salome, in the latter, wears a brooch with the head of Medusa; 
 the colouring of shawl and sleeve is of a pale blue; the dish or " tazza" is 
 veined with blue and other tints, the expression is also somewhat different. 
 
 Said to have come from the Barberini Palace in 1799. 
 
 Bought by M. Collot at Christie's in 1805 for 1,000 guineas. 
 
 Bought by M. Thibaudeau at the Collot Sale in 1855. 
 
 Sold at the Thibaudeau Sale in 1857 for 15,000 francs. 
 
 Bought at the Scarisbrick Sale in i86r for ;^388 ioj". by the 
 Rev. Davenport Bromley. 
 
 Purchased by present proprietor from the Rev. — Hawkins. 
 
 Panel, 521^ by 311^ inches. 
 
 Lent by George Salting, Esq. 
 
 ATTRIBUTED TO LEONARDO DA VINCI. 
 "La Vierge au Bas Relief." 
 
 The Virgin seated, with the Child on her lap , He is in the act of 
 embracing the little St. John ; behind, on the right, i.s St. Joseph, leaning on 
 a staff, and on the left, an aged man (? Zacharias), his hands clasped in 
 adoration ; in the left hand lower corner is a low relief which has given the 
 picture its name; dark background. 
 The picture engraved by Forster. 
 
 Originally at Mantua, and was brought to England by Mr. Crawley of 
 Luton, Bedfordshire. 
 
 Formerly the property of Mr. Dimsdale. 
 
 Described by Lanzi, Waagen, Kugler, and other writers. 
 
 Exhibited at Burlington House, 1886, 
 
 Purchased by Lord Monson from Mr. Woodburn the dealer. 
 Purchased by the present proprietor in 1888. 
 
 Kugler (II., 356) rightly points out that "replicas" of this picture 
 exist in the Brera at Milan, and (with variations) in the Hermitage at 
 - St. Petersburg. Both these are admittedly the work of Leonardo's follower, 
 Cesare da Sesto ; and MorelH and others long since recognised the same 
 hand in the present magnificent work. 
 
 Panel, 35 by ny^ inches. l.cni by the Ha>i oj Carys/ort, K.P. 
 
5 
 
 CESARE DA SESTO. 
 
 18 St. Jerome. 
 
 The Saint is seated, holding a skull in his left hand and an open book 
 in his right, towards which he turns as if to read. He has a long beard and 
 is nude but for a red garment across his knees. Landscape background of 
 distant blue mountains, a lake, and a castle on a hill. 
 
 The drawing for the head of St. Jerome is in the Albertina Collection 
 at Vienna (see photographs). Morelli cites this picture as evidence of the 
 influence of Leonardo over Cesare. It would date about 1507-10. 
 
 Panel, 31 by 231^ inches. Lent by Sir Francis Cook, Bart. 
 
 ATTRIBUTED TO CESARE DA SESTO, 
 
 19 (on Screen) St. Jerome. 
 
 The Saint, clad in a loose blue garment, kneels before the Crucifix, 
 beneath which are seen his Cardinal's hat and cloak, and a skull ; behind 
 him is the lion. Elaborate landscape background, with small figures in 
 mid-distance crossing a bridge. 
 
 Dr. Frizzoni {Gazette des Beaux Arts, I.e.) attributes it to Solario, and 
 compares it to the Riposo of the Poldi PezzoH Museum. Signed and dated 
 1515- 
 
 Purchased by the late John Bowes, Esq., the donor of the Bowes 
 Museum and its contents, in 1841. 
 Panel, 27 by 21 inches. 
 
 Lent by the Trustees of the Boives Museum, Barnard Castle. 
 
 SOLARIO. 
 
 20 Virgin and Child. 
 
 Small three-quarter figure of the Virgin, seated, holding the Child, who 
 stands with one foot on her lap and the other on a ledge which runs across 
 the front of the picture; through an opening behind is seen a landscape 
 with some small figures. 
 
 Dr. Frizzoni {Gazette des Beaux Arts, 1. c.) is disposed to date this picture 
 about the first few years of the xvith century, and compares it in point of 
 technique with "La Vierge au coussin vert " in the Louvre. 
 
 Exhibited at Burlington House, 1894. 
 
 Panel, 233^ by 18 inches. Lent by George Salting, Esq. 
 
 ATTRIBUTED TO SOLARIO. 
 
 21 . The Virgin in Adoration. 
 
 The Virgin kneeling in adoration over the Infant Saviour who lies on 
 the ground before her, His head supported on two cushions; on either side 
 an angel playing a musical instrument; landscape background. 
 
 Exhibited at New Gallery, 1894. 
 
6 
 
 Formerly attributed to I'erugino, and first recognised as an early work 
 of Solario by the present owner. 
 
 Panel, 43 by 27 inches. Lent by Dr. /. P. Richter. 
 
 SOLARIO. 
 
 Plate VIII. 22 The Annunciation. 
 
 On the right is seen the Virgin kneeling at a table, full face, her left 
 hand resting on an open book. On the left, the angel, seen in profile, 
 kneeling on one knee and bearing a branch of lilies. Behind the Virgin, a 
 large canopied couch with hanging green curtains, on the left, a landscape 
 seen through an opening. 
 
 Signed below on the right ANDREAS de Solario F. 1506. 
 
 The northern feeling of the landscape suggests the possibility of its 
 being of a later date than the rest of the picture, which is of the highest 
 possible quality and in a perfect state of preservation. (See p. Ixii.) 
 
 Panel, 30 by 31 inches. Lent by Arthur Kay^ Esq. 
 
 MACRINO D'ALBA. 
 
 23 St. Agatha. 
 
 Full-length figure, holding the palm in her left hand, and the symbol 
 of her martyrdom in the right, She is clad in a red dress, with a green 
 cloak. Behind, a golden hanging, with a parapet and a landscape ; the floor 
 is of coloured marbles. 
 
 Panel, 51 by 16 inches. 
 
 One of a set of 4 panels belonging to, and lent by 
 
 Wentwortk Beautnont, Esq. 
 
 MACRINO D'ALBA. 
 
 24 St. Lawrence. 
 
 Full-length figure holding the palm and the gridiron, the symbol of his 
 martyrdom, in his right hand, and a book in his left. He wears his deacon's 
 robe richly adorned with pearls. Accessories corresponding with those in 
 the companion picture, No. 23. 
 
 Panel, 51 by 16 inches. 
 
 One of a set of 4 panels belonging to, and lent by 
 
 Weiitworth Beaumont, Esq. 
 
 ATTRIBUTED TO LEONARDO DA VINCI. 
 Plate XXV. 25 (on Screen) " A BoY with a Toy." 
 
 Half-length nude figure, less than life-size, of a boy, turned to the left, 
 looking full-face at the spectator. He holds in both hands two tablets of 
 wood loosely held together by red straps, under which is (apparently) a 
 straw. From the Arundel Collection. 
 
7 
 
 Was inherited by Lady Betty Germaine, and left in her will to 
 Sir William Hamilton. 
 
 Purchased by Mr. Beckford, of Fonthill. 
 
 Purchased by iVIr. Farquhar, and repurchased by Mr. Beckford. 
 Came into the Hamilton Palace Collection, and sold in 1882, 
 Purchased by the present proprietor, iS8g. 
 
 Two drawings of the same boy are said to be in the drawing book of 
 Leonardo, in the Ambrosian Library, at Milan, 
 
 The examples of Luini's work in the present Exhibition point to the 
 same hand in this beautiful and perfectly preserved picture. 
 
 Panel, 15^ by 13 inches. Lent by the Countess of Carysfort. 
 
 ATTRIBUTED TO LUINI. 
 
 26 Three Angels, 
 
 Small full-length figures, facing, of three child-angels standing on clouds, 
 looking downwards in attitudes of adoration. 
 
 Probably originally the lunette of a larger picture. 
 Exhibited at New Gallery, 1894. 
 
 On the back of the panel is branded: Ducale Pinacoteca Litta Visconti 
 Arese in Milano. 
 
 Panel, 23 by 29^^ inches. Lent by Sir William Farrer. 
 
 LUINL 
 
 27 Virgin and Child and little St. John. 
 
 ' The Virgin is seated with her right arm round the Infant Saviour, who 
 stands at her knee blessing the little St. John, who is kneeling in an attitude 
 of adoration. Landscape in right-hand top corner with distant blue hills, 
 trees, a river and a bridge. The type of the Virgin comes from Borgognone. 
 Hence probably an early work of the master. 
 
 Panel, 34^ by 26 inches. Lent by Ludwig Mond, Esq. 
 
 LUINI. 
 
 Plate XXIL 28 The Nativity. 
 
 The Virgin kneels on the right, St. Joseph on the left, both in adoration 
 of the Infant Saviour, who lies in the centre. Behind, on the right, the 
 stable, on the left, a landscape with the vision of the shepherds, two of whom 
 are seen approaching. Figures under life-size. 
 
 A beautiful example of the artist's mature period. 
 
 Panel, 50^ by 42 inches. Lent by Lord Windsor. 
 
 LUINI, 
 
 29 St. Catherine and Angels. 
 
 Half-figure of the Saint, facing the spectator, looking down at a book 
 which she holds in her hands; an angel on either side; dark background. 
 
Exhibited at Manchester Art Treasures Kxhibition, l6S2- 
 Exhibited at Leeds, iS68. 
 Exhibited at Burlington House, 1S92. 
 
 After the picture in the Hermitage Gallery at St. Petersburg, formerly 
 considered to be by Leonardo da Vinci. The attribution to Luini is given 
 on the authority of the owner. 
 
 Panel, 27^ by 25 inches. Lent by Ludwig Mond, Esq. 
 
 LUINI. 
 
 80 The Marriage of St. Catherine. 
 
 The Virgin stands facing the spectator, and holds the Infant Saviour 
 who is standing upon a parapet in the act of placing the ring upon 
 St. Catherine's finger. The Saint is standing on the left in profile, her left 
 hand resting on the wheel. An open book lies before her. Green curtains 
 on either side, and a dark background. 
 
 Exhibited at Manchester Art Treasures Exhibition, 1857. 
 
 Exhibited at Leeds, 1868. 
 
 Panel, 23 by 20^ inches. Lent by Colonel H. Cornwall Legh. 
 
 LUINI. 
 
 Plate XXIII. 31-33 The History of Three Martyrs, SS. Sicinnius, Martyrius and 
 Alexander, in Five Scenes upon Three Panels. 
 
 No. I. The three friends, in the garb of pilgrims, as befits Greeks of 
 Cappadocia, shaking hands and setting forth ; in the background they are 
 seen crossing a river in a ferry-boat; distant view of the gates of a city. 
 Panel, I2J^ by iS inches. 
 
 No. 2. This picture is divided into three compartments. On the left, 
 the friends are receiving their investiture before Vigilius, Bishop of Trent, 
 in the presence of a lady and others, Sicinnius as deacon, the other two as 
 members of the minor orders ; after which they went forth to preach the 
 gospel in the ancient valley of the Anauni — the Val di Non. In the centre, 
 they are rebuking a sacrifice to the local Rhostic deity — whose cult, when 
 the district became Latinised, had been identified with that of the Roman 
 Saturn ; priests and soldiers murmuring. On the right, the two monks are 
 being stabbed by soldiers in a wood, the lady in the background. 
 
 Panel, \2y% by 38)^ inches. 
 
 No, 3. The last scene represents the three wounded bodies being dragged 
 with ropes by soldiers; the two monks dead, the deacon still praying, their 
 church in the background, with the wood of which Sicinnius was afterwards 
 burned. 
 
 Panel, 12^ by 18 inches. 
 
9 
 
 Exhibited at New Gallery, 1S94. 
 
 From the Passalacqua collection. These are the predella portions of 
 the Torriani dc Mendrisio altar-piece, of which the central part, representing 
 the Nativity, belongs to Duke Scotti in Milan. Four small figures of Saints 
 (Sisinnius, Alexander, Catherine of Siena and Catherine of Alexandria) 
 completing the altar-piece, were dispersed at Christies, May 21st, 1898. 
 
 Lent by R. H. Benson, Esq. 
 
 LUINI. 
 
 Plate XXVI. 34 PORTRAIT OF A Lady. 
 
 Half-length life-size figure facing, dark grey dress, white embroidered 
 chemisette and yellow coif ; in right hand a pet marten, the left touching 
 necklet, to which is suspended a jewelled cross. Green curtain behind. 
 
 Exhibited at New Gallery, 1894. 
 
 Panel, 29 by 21^ inches. Le7it by R. H. Benson, Esq. 
 
 ATTRIBUTED TO LEONARDO DA VINCI. 
 Plate XXIV. 35 (On Screen) PORTRAIT OF A LADY HOLDING A Vase (perhaps intended 
 for a Mary Magdalene). 
 
 Life-sized to waist, 3^ left, looking full face ; green dress and brown 
 chemisette; long hair. She holds in her left hand a vase, the cover of which 
 she is in the act of raising with her right hand. 
 Exhibited at Burlington House, 1876. 
 
 The other examples of Luini's work in the present Exhibition suggest 
 the same hand in this beautiful picture. 
 Panel, 22^ by i8j^ inches. 
 
 Lent by the Marquis of Lansdoivne, K.C. 
 
 SODOMA. 
 
 Plate XVIII. 36 HoLY Family. 
 
 Small full-length figure of the Virgin kneeling and bending over the 
 Infant Saviour, who is seated on the ground with the little St. John beside 
 Him ; behind the Virgin, St. Joseph is seated leaning on a staff ; on the left 
 are two kneeling angels ; landscape background. 
 
 Exhibited at Burlington House, 1887. (See p. Ixiv.) 
 
 Circular Panel, 42 inches diameter. 
 
 Lent by Captahi Holford, C.I.E. 
 
 SODOMA. 
 
 Plate XIX. 37 St. George and the Dragon. 
 
 St. George is seen on horseback in the act of slaying the dragon, who 
 lies writhing on the ground transfixed by the lance of the Saint. The horse 
 is animated like his rider, and attacks the dragon with his teeth. On the 
 
left in front the Princess stands in a terrified attitude with clasped hands. 
 The scene is laid in an elaborate and imaginative landscape in which water 
 and boats, a castle with round towers, and long stemmed trees with foliage 
 filling the top corners of the picture, are conspicuous features. 
 
 From the Earl of Shrewsbury's collection. Originally at Siena. 
 
 The resemblances in the landscape to the great St. Sebastian picture 
 in the Uffizi, and also to the Adoration of the Magi in S. Agostino at 
 Siena, fixes the date about 1520-25. (See p. Ixv.) 
 
 Panel, 55 % by 38 inches. Lent by Sir Francis Cook, Bart 
 
 SODOMA. 
 The Holy Family and St. John. 
 
 The Virgin is seated on the ground, the Infant Christ reclining at her 
 feet asleep. On the left, St. Elizabeth nursing the little St. John, on the 
 right, St. Joseph looking over the shoulder of the Virgin, and leaning on his 
 staff". Behind, a landscape with a castle. 
 
 An early work of the master. (See p. Ixiv.) 
 Circular Panel, 43 inches diameter. 
 
 Lent by Colonel H. Cornwall Legh. 
 
 ATTRIBUTED TO LEONARDO DA VINCI. 
 Virgin and Child (unfinished). 
 
 Half-length of the Virgin holding the Infant Christ in her arms; the 
 flesh parts partly finished, the dress and curtain background only laid in 
 in gold. 
 
 By the same hand as that which painted another unfinished picture 
 of the Madonna and Child in the Brera, Milan, lately ascribed, though not 
 convincingly, to Gianpietrino. 
 
 Panel, 25 by 19 inches. Lent by George Donaldson, Esq. 
 
 ATTRIBUTED TO LEONARDO DA VINCI. 
 (On the Screen) PORTRAIT OF A Lady. 
 
 She is represented nude, seated in a chair, over which falls a cloak; the 
 body turned to the left, the head seen full face. Behind, seen through an 
 open portico, a landscape with distant blue rocks. Life-size. 
 
 This work, inspired by the " Mona Lisa " of the Louvre, belongs to that 
 group of paintings to which, traditionally, the name of Salaino attaches. 
 Vasari states that many of these were worked upon by Leonardo himself. 
 The present composition is repeated in another portrait of the same lady, 
 now in the Hermitage at St. Petersburg, and tlie drawing for it is at 
 Chantilly (see photographs). There is also a counterpart in the collection 
 of Mr. Muir-Mackenzie, Q.C., in London, with a decorati\'e back- 
 
ground composed of leaves; this example is still attributed to Salaino. 
 (See p. Ixxv.) 
 
 In the left hand lower corner, written by a later hand, can be read 
 La belle Gabrielle. 
 
 Canvas, 32 by 25 inches. Lent by Earl Spencer, K.G. 
 
 ATTRIBUTED TO LEONARDO DA VINCI. ' 
 
 41 Female Figure, sometimes called Flora. 
 
 Half-length female figure, nearly nude, crowned with a wreath of 
 flowers, and holding- a bunch of flowers in her right hand, while with the 
 left she grasps a scarf that covers the lower part of her body. 
 
 Exhibited at Burlington House, 18S2. 
 
 Waagen (iv., 306), says : — " The features of the face show that tj'pe of 
 beauty belonging to Leonardo da Vinci which was so frequently repeated. 
 In this instance, however, they exhibit such refinement of form, such a 
 charm of gracefulness, and such deHcacy of sfiimato, that I am inclined to 
 attribute this head to the hand of Leonardo himself. Other portions, on 
 the other hand, are too full and too empty for him, and visibly indicate 
 the hand of a scholar." Waagen proceeds to suggest Luini as the 
 scholar, a view which is certainly incorrect, although it is difficult to name 
 any other pupil of the master with any degree of confidence. 
 
 Panel, 26 by 21 inches. 
 
 Lent by Charles Morrison, Esq, 
 
 ATTRIBUTED TO LEONARDO DA VINCI. 
 
 42 The Virgin and Child, St. John and an Angel. 
 
 The composition is that of the picture in the National Gallery known 
 as " The Madonna of the Rocks," except that in the present picture there is 
 an entirely different landscape background. The colour scheme and 
 rendering of detail is also widely divergent. 
 
 On the subject of these numerous versions of the National Gallery 
 picture see p. liii. 
 
 From the Giustiniani Gallery. 
 
 Panel, 25^ by inches. 
 
 Le}it by L.ord Wantage, V.C, 
 MILANESE SCHOOL. 
 
 43 Another version of the same subject as the preceding, with a background 
 composed of ruins through which a distant landscape is seen. 
 
12 
 
 The work lias been attributed, not without some show of probability, to 
 Albcrtino Piazza (of Lodi). (See p. Ixxvi.) 
 
 On the subject of these repetitions of the National Gallery " Madonna 
 of the Rocks," see p. liii. 
 
 Panel, 32^ by 24^^ inches. 
 
 Ltvit by the Hon. Mrs. Baillie-Hamilton. 
 
 BERNARDINO DE' CONTI. 
 Plate XIII. 44 Portrait of a Lady. 
 
 Plalf-length life-size figure seated to left, in richly-embroidered and 
 laced dress; a veil is attached to her head by a band. 
 
 Exhibited at New Gallery, 1894, under the name of Boltraffio. 
 Ascribed by Morelli to de' Conti. (Sec pp. lix., Ixxiii.) 
 
 Panel, 30 by 22j^ inches. Lent by Mrs. Alfred Morrison. 
 
 ATTRIBUTED TO BERNARDINO DE' CONTI. 
 45 Portrait of a Man. 
 
 Seen in profile to the right, less than life-size. He wears a black cap 
 and dress; dark blue background. 
 
 Panel, 17 by 11 inches. Lent by George Donaldson, Esq. 
 
 BOLTRAFFIO. 
 Plate X. 46 Portrait of a Young Man. 
 
 Less than life, seen to the waist, turned 3^ right, face nearly full. His 
 hair falls on his shoulders, and the right hand is half concealed in the breast 
 of his coat. The sleeve is a dark orange red, of a tint peculiar to Boltraffio, 
 and on the facing of the dark coat are the letters C. B. 
 
 On the back of the panel is a large skull, and the inscription INSIGNE 
 SVM lERONYMl CASH. It Is probable that the young man is one of the 
 Casio family, Boltraffio's friends and patrons, who-se portraits recur in the 
 Louvre picture. (See p. lix.) 
 
 Hitherto ascribed to Leonardo da Vinci. 
 
 Panel, 16 by 1 1 inches. Lent by the Duke of Devonshire, K.G. 
 
 ATTRIBUTED TO LEONARDO DA VINCL 
 Plate X, 47 Portrait of a Young Man holding an Arrow. 
 
 Less than life, seen to the waist, part of the right hand alone being 
 visible, turned 3,^ right, face nearly full. His hair falls on the shoulders, 
 and is bound by a fillet passing across the forehead. Dark background. 
 Under-dress green, covered by a red cloak, open at the neck. The arrow 
 suggests that the painter's conception of his subject was as a S. Sebastian. 
 
13 
 
 Dr. Waagen (iv., 444) says; — "The fine features are rendered with great 
 delicacy and decision of forms. The feehng, however, and the style of the 
 reddish flesh tones and treatment show rather the hand of Boltraffio, one of 
 Leonardo's best and rarest scholars." 
 
 When purchased early in the century by the then Earl of Elgin, from 
 the collection of a " Marquis del Gallo," it was described as " Portrait de 
 Francois de Melzo, qui parait i^i dans le costume d'ApoUon, par 
 Leonardo da Vinci." 
 
 Panel, 18^2 by 13 inches. Lent by the Earl of Elgin^ K.G. 
 
 BOLTRAEEIO. 
 
 Plate XL 47a Narcissus. 
 
 Profile head with myrtle wreath, half life size, looking down at his 
 reflection in the curve of a stone basin. The head stands out against 
 a dark background of rocks. The shoulders are covered by a white fur 
 cloak with red sleeves. Landscape with lake to left. 
 
 The same model reappears in the profile portrait of a youth (also in 
 the character of Narcissus) in the Uffizi Gallery ; again in a profile of San 
 Sebastian in the Frizzoni collection at Bergamo; and again in a profile 
 drawing in the Louvre. 
 
 Panel, 9 by 10 inches. 
 
 Lent by General Sir Arthur Ellis, K.C. V.O., C.S.I. 
 
 BOLTRAEEIO. 
 
 Plate xn. 48 Portrait of a Man. 
 
 Seen in profile to the left, half-length, less than life size, wearing a 
 black cap and dress, the right hand half hidden in the folds, dark hair, 
 blue background. 
 
 l-'rom the Eastlake collection. 
 
 Exhibited at New Gallery, 1S9S. 
 
 Panel, 22 by 17^ inches. Lent by Ludwig Maud, Esq. 
 
 AMBROGIG DE PREDIS. 
 Plate V. 49 Portrait of a Young Man, said to be Francesco di Bartolommco Archinto 
 (1474-1551), Governor of Chiavenna in the time of Louis XII. 
 
 Under life-size bust-portrait facing, looking to the left, long fair hair, 
 black cap, dark coat trimmed with leopard's skin, right hand resting on a 
 sill, holding small scroll inscribed with monogram composed of the letters 
 AMBPR and date 1494. 
 
 One of the only two known examples of the painter's work bearing 
 his signature. (See p. xlix.) 
 
 Formerly in the possession of the Archinti family and attributed to 
 Leonardo da Vinci. 
 
 Exhibited at New Gallery, 1894. 
 
 Panel, 21^ by 15 inches. Lent by W. Fnilcr-Maidand, Esq, 
 
14 
 
 AMIiROGIO DE I'RKDIS. 
 50 Portrait of a Young Man. 
 
 Life-size bust ^ to right, thick busliy hair, black cap and black dress. 
 Background of glass of ornamental pattern. 
 Exhibited at Leeds, iSGS. 
 Exhibited at Burlington House, 1S75. 
 
 Hitherto ascribed to Boltraffio. The signed portrait by dc Predis 
 (here exhibited) suggests the ascription to that artist, rather than to 
 Bohraffio. Others consider it, both in subject and style, to be more Venetiati 
 than Milanese. 
 
 Panel, 15 by 13 inches. Lent by Sir Francis Cook, Bart. 
 
 AMBROGIO DE PREDIS. 
 Plate VI. 51 Portrait of Bian'ca Maria Sforza. 
 
 Seen in profile to the left, half-length, under life size. She wears a 
 richly ornamented dress, and her hair is profusely decked with pearls. Dark 
 background. 
 
 Bianca Maria, d. of Galeazzo Maria Sforza, Duke of Milan, was born 
 1472, and married in 1494, as his second wife, the Emperor Maximilian. 
 (See p. xlix.) Lent by Dr. Lippmaiin {of Berlin). 
 
 GAUDENZIO FERRARI 
 
 Plate XXVII. 52 The Holy Family. 
 
 The Virgin kneels in adoration over the Infant Saviour, who lies before 
 her supported by three child-angels; two others hover above, holding a 
 scroll ; on the left, kneels the donor, Cardinal Taverna ; on the right, near 
 the Virgin, is St. Jcseph, uncovering his head ; stable on the right; distant 
 landscape on the left. (See p. Ixxix.) 
 
 Exhibited at Burlington House, 1887. 
 
 Exhibited at New Gallery, 1894. 
 
 Pane), 59 by 45 inches. 
 
 Lent by Captain Ho/ford, CLE. 
 GAUDENZIO FERRARI. 
 
 53 St. Andrew. 
 
 FulMength figure of the Saint bearing the Cross. He is clothed in a 
 green dress, with a red mantle. Landscape background. The type of the 
 Saint, with his long red beard, is a favourite one with the artist. 
 
 The picture recalls the Louvre St. Paul in style the latter being 
 dated 1543. The sureness and rapidity of the artist's brushwork maybe 
 observed in the landscape. 
 
 Purchased in 1S96 at the Scarpa Sale, Milan. (See p. Ixxix.) 
 
 Panel, 59 by 33 inches. 
 
 Lent by Ludzvig Mond, Esq. 
 
15 
 
 GAUDENZIO FERRARI. 
 
 54 Virgin and Child. 
 
 Under life-size half-length figure of the Virgin turned to right, holding 
 the Infant Christ in her arms, who plays with the veil which falls from 
 her head. 
 
 Exhibited at New Gallery, 1894. 
 Panel, 21 by 14^ inches. 
 
 Lent by Henry Wil/ett, Esq. 
 
 GIANPIETRINO. 
 
 Plate XXI. 55 VIRGIN AND Child. 
 
 Half-length figure of the Virgin holding t!ie Infant Christ in her arms. 
 She is seen full face, and the Child has His left arm raised touching her 
 chin. Dark background. 
 
 Hitherto considered to be by Leonardo da Vinci. 
 
 One of the finest of Gianpietrino's Madonna pictures. (See p. Ixx.) 
 
 Panel, 25 by 19 inches. 
 
 Lent by Sir Francis Cook, Bart. 
 GIANPIETRINO. 
 
 Plate XX. 50 Portrait of a Lady as Mary Magdalen. 
 
 Half-length figure, standing before a porphyry sepulchre, holding a vase 
 in her right hand; green dress, red mantle. 
 
 Formerly in the Aldobrandini collection at Rome, where it was called 
 The Portrait of Artemisia, and attributed to Leonardo da Vinci. 
 
 Exhibited at the New Gallery in 1S94 under the name of Solario 
 (see p. Ixii.) 
 
 Panel, 24 by iSj^ inches. 
 
 Lent by Wick/iai/i Flower, Esq. 
 
 GIANPIETRINO. 
 
 57 The Daughter of Herodias. 
 
 She is seen carrying the dish on which the executioner is in tlie act of 
 placing the head of St. John the Baptist. Salome averts her head. To the 
 knees, less than life-size. 
 
 Panel, 26 by 32 inches. 
 
 Lent by Lndwig Mond, Esq. 
 
i6 
 
 GIANPIETRINO. 
 
 58 The Holy Family. 
 
 On the right the Virgin is seated with the Infant Saviour on her lap, 
 who plays with the little St. John. The latter, in an attitude of adoration, 
 is supported by St. Joseph. Under life-size to the knees. On the left is a 
 landscape background with small figures. 
 Panel, 20}^ by 25 inches. 
 
 Lent by Captain Holford, CLE. 
 
 ATTRIBUTED TO LEONARDO DA VINCI. 
 
 Plate XVII. 59 Virgin and Child. 
 
 Small three-quarter length figure of the Virgin seated, facing and 
 looking at the Infant Saviour on her left knee ; her right hand is raised ; 
 the Child looks up at the Cross, which He holds in His left hand. 
 Landscape of blue pointed rocky hills. 
 
 Dr. Frizzoni cites a recently acquired picture in the Brera Gallery, 
 and holds that both are by Sodoma after Leonardo. Prof. Venturi admits 
 the resemblance, but denies the attribution to Sodoma. 
 
 Exhibited at New Gallery, 1894. 
 
 See next number. 
 
 Panel, 19 by 14 inches. 
 
 Lent by Lord Battersea. 
 
 ATTRIBUTED TO LEONARDO DA VINCI. 
 
 Plate XVII. 60 Virgin and Child. 
 
 A similar composition to the last, with a quieter background of a lake 
 fringed by hills. 
 
 This was a particularly favourite subject with the immediate followers 
 of Leonardo. Several examples are to be seen in foreign galleries, and 
 another version is at Apsley House. The present example is clearly by a 
 different hand from that which painted the preceding one, and both, as well 
 as the others, are probably derived from a common source, presumably some 
 drawing by Leonardo himself. The style and touch resemble that of the 
 " Vierge aux Balances " of the Louvre, and the surmise has been hazarded 
 that the amanuensis was Salaino. 
 
 Panel, i8j^^ by 14 inches. 
 
 Lent by the Duke of Bucdeucli, L\.G. 
 
17 
 
 SCHOOL OF PIEDMONT. 
 61 The Adoration of the Kixgs. 
 
 The Virgin with the Infant Saviour, who is holding a golden casket, on 
 her knee; behind is St. Joseph. To right, a king, his crown on the ground, 
 kneeling, adoring the Saviour, Behind are two crowned figures bearing 
 costly gifts. In the background, architectural ruins; to the right, in the 
 distance, a procession, ruins and landscape, terminating in hills. 
 
 The attribution " School of Foppa," is given in the Glasgow Official 
 Catalogue : the work is closely related in style to Defendentc Daferrari 
 (but not by him), and probably emanates from one of the local craftsmen 
 working in the Picdmontese district early in the iGth century. 
 Panel, 6S}2 by 34 inches. 
 
 Lent from the Corporation Galleries of Art, Glasgoiv. 
 
 CESARE DA SESTO. 
 
 Plate XVI. 62 (on Screen) St. John the Baptist. 
 
 Small full-length nude figure, seated, with the left leg crossed over the 
 right knee, and pointing upwards with the right hand, the left holds a 
 slender cross. Dark background of trees and rocks, and a distant landscape 
 seen on the left. 
 
 This beautiful little St. John is a reduced version of the " Bacchus " of 
 the Louvre (see photos under " Salaino "), but the handling is quite distinct, 
 with more life and better modelling. The treatment of light and shade 
 in the present work is essentially Leonardesque, and the high finish and 
 delicacy of touch suggest Cesare da Sesto. It is attributed by Dr. Frizzoni 
 (1. c.) to Bernardino Lanino. Others attribute it to Martino Piazza (of 
 Lodi), and date it from the same period as the National Gallery St. John 
 the Baptist. This is nearer to Leonardo himself than any other known 
 version. (See p. Ixxvi.) 
 
 Panel, 9^/3 by inches. Lent by the Earl of Crazvford, K. T. 
 
 MILANESE SCHOOL. 
 
 63 (on Screen) VIRGIN AND Child and St. John. 
 
 The Virgin is seated on the ground. The Infant Saviour and the little 
 St. John embrace. The Virgin raises her left arm as if to protect them. 
 Landscape background. 
 
 Hitherto attributed to Gaudenzio Ferrari, but probably the work of 
 Martino Piazza (of Lodi). (See p. Ixxvi.) 
 
 Panel, 12 by 9}^ inches. 
 
 Lent by Sir f. C. Robiusoji. 
 
i8 
 
 UNKNOWN. 
 
 64 (on Screen) St. John THE B.-vptlst. 
 
 Small full-length figure of St. John seated to left on a rock drinking 
 from a shell; in his left hand he holds his cross; before him, a spring 
 pouring from a rock ; landscape background. 
 
 Exhibited at New Gallery, 1894. 
 
 From the collections of the Marchese Guadagni, Florence, Mr. Wood- 
 burn, Mr. Cole and Mr. Morris Moore, from whom it was bought in 1855 for 
 the Baring Collection. At various times this picture has passed under the 
 names of Raphael and Marco Palmezzano, and more recently Bugiardini. 
 Dr. Frizzoni (1. c.) attributes it to Timoteo della Vite : others have thought 
 they recognised the hand of Martino Piazza, of Lodi (see p. Ixxvi.), an 
 ascription which would entitle the work to a place in the Milanese School. 
 
 Panel, 25 by 18^ inches. 
 
 Lent by the Earl of Northbrook, G.C.S.I. 
 
 PROBABLY BY MARTINO PIAZZA (OF LODI). 
 
 65 (on Screen) The VIRGIN AND CHILD AND St. John. 
 
 Full-length figure of the Virgin seated to right, holding the Infant 
 Christ on her knees. He raises His right hand in benediction of the infant 
 St. John, who kneels facing, looking up at Him and holds His Cross ; the 
 Virgin's left hand is placed on His shoulder ; landscape in background seen 
 through a window. 
 
 Exhibited at the New Gallery, 1 894. 
 
 Exhibited at Burlington House, 1895. 
 
 Panel, 2C)}i by 22 inches. 
 
 Lent by R. H. Benson, Esq. 
 
 UNKNOWN. 
 
 66 (on Screen) VIRGIN AND CHILD. 
 
 The Virgin stands behind a parapet on which the Infant Christ is seated. 
 He leans forward to take a flower which the Virgin holds in her left hand. 
 Behind, a dark wall with two openings showing a landscape. 
 
 The type of the Virgin is that of Borgognone, but the feeling and 
 execution are quite distinct. 
 
 Panel, 23^ by 17^^ inches. 
 
 Lent by C. Brinstey Marlay, Esq, 
 
19 
 
 LANINI. 
 
 67 The Virgin and Child and St. John. 
 
 The Virgin is seated beside a large trce-triink, holding the Infant 
 Christ, whilst the little St. John and a lamb appear below on the left. 
 Distant landscape with rocks. 
 
 An early and good example of a small cabinet picture by Lanini, most 
 of whose works are large altar-pieces. The influence of Gaudenzio is 
 evident. (See p. Ixxx.) 
 
 Panel, iS by l2}i inches. 
 
 Lent by Sir J. C. Robinson. 
 
 CtVERCHIO. 
 
 68 Virgin and Child. 
 
 The Virgin is seated on a throne holding the Infant Saviour on her 
 right knee, and an open book in her left hand. Three-quarter length, ftdl 
 face, wearing an embroidered dress, blue robe, with green lining ; gold 
 nimbi. The back of the throne is semi- circular, and composed of different 
 coloured marbles ; on each side is a large crystal vase, beyond which a 
 landscape is seen. 
 
 This is probably an early example of Civerchlo's work (see p. xHi.), 
 showing connection with Foppa's fresco of 1485 in the Brera. 
 Panel, 28 by 21 inches. 
 
 Lent by the Hon. Mrs. Bailiic-Havtilton. 
 
 ASCRIBED TO LUINI. 
 
 69 The Virgin and Child. 
 
 Life-size figure of the Virgin seated, holding the Infant Christ to her 
 breast He turns to look towards the spectator. Dark wall behind, with 
 two arched openings through which distant hills are seen. 
 
 The ascription to Luini is quite untenable. 
 
 Panel, 32^^ by 24 >^ inches. 
 
 Lent by R. Jenery Slice, Esq. 
 
20 
 
 (The following Pictures, excepting No. y2, are hung in the Members 
 Writing-room, downstairs.) 
 
 ATTRIBUTED TO LUINI. 
 
 70 The Annunciation. 
 
 In the left panel is seen the Virgin full face to the knees, her right hand 
 on her breast, her left raised. On the right, a reading-desk and open book, 
 on the left, other books and a curtain. 
 
 In the right panel is seen the Archangel Gabriel in profile, right hand 
 extended, left hand holding a crown ; below, lilies. Both nearly life-size 
 figures. 
 
 I'anel, each 38^-^ by 30 inches. 
 
 Lent by the Hon. Mrs. Baitlie-HannHon. 
 
 ATTRIBUTED TO LUINI. 
 
 71 " La CoLOMniNA." 
 
 Half figure of a girl in a figured loose white dress, fastened in front 
 with a brooch, and blue cloak over the left shoulder, which is bare. She 
 holds some jasmine blossom in her right hand on her lap, and some other 
 flowers ( ? columbine) in her left. Dark foliage background. 
 
 Exhibited at Burlington House, 1887. 
 
 After the picture in the Hermitage at St. Petersburg (see p. Ixxi,). 
 Other examples are at Stratton, at Stafford House, and at Rossie Priory, 
 N.B. Possibly they all derive from some original drawing of Leonardo da 
 Vinci, although none of the pictures named can be assigned to the master 
 himself. By the same hand is the Vcrtumnus and Pomona, at Berlin. 
 
 Panel, 2S by 24 inches. 
 
 Lent by Captain Hotford, CJ.E. 
 
 MARCO D'OGGIONO. 
 
 72 Virgin and Child and St. John. 
 
 The Virgin is seated on the ground with the Infant Saviour on her 
 
 lap, to whom she is giving the breast. St. John stands on the right, with 
 
 folded hands, his reed cross at his side. Behind, a landscape. 
 
 Panel, 205^ by 16% inches. 
 
 ' Lent by R. H. Benson, Esq. 
 
SCHOOL OF LEONARDO DA VL\CI. 
 
 73 The Infant Christ axd the little St. John embracing. 
 
 The two children are seated on the ground embracing ; flowers grow 
 about them in profusion, and behind is seen a rocky promontory with a 
 castle and other buildings, and water on each side. 
 
 A favourite composition with the followers of Leonardo. (See p. Ixxi.) 
 
 The present example is considered by some judges to be the work of 
 Marco d'Oggiono. 
 
 From the Marquis of Exeter's and the Doetsch collections. 
 
 Panel, 25^ by 19 inches. Lent by Liiduig Moud, Esq. 
 
 SODOMA. 
 
 74 Holy Family. 
 
 The Virgin is seated holding the Infant Saviour on her left knee, 
 behind whom appears the young St. John. On the left, behind, is an aged 
 Saint ( ? Jerome). Dark background. 
 
 A genuine but damaged work of Sodoma's early time. (Sec p. Ixiv.) 
 
 Panel, 26 by 18 inches. Lent by the Rev. A. E, Clementi-Smith, 
 
 GIROLAMO GIOVENONE. 
 
 75 Virgin and Child and Saints. 
 
 Full-length figure of the Virgin seated, with one foot on the step of 
 the seat. She holds the nude Christ, who stands on her right knee. Behind, 
 on the left, St. Apollonia, and another female Saint on the riglit. 
 
 All the figures rather under life size. 
 
 Signed on a cartcllino affixed to the step HIERONDI IVVENONIS 
 
 OPIFICIS. 
 
 Painted about 1527. (Sec p. Ixxx.) 
 From the Eastlake Collection. 
 
 Panel, 51 by 2S inches. Lent by Herbert F. Cook, Esq. 
 
 MARCO D'OGGIONO. 
 
 76 Virgin and Child. 
 
 The Virgin, standing behind a parapet, holds the Infant Saviour, who 
 places one hand on her breast. She wears a brightly-coloured dress, the 
 yellow lining of which falls over the ledge in front. A curtain behind, with 
 a landscape appearing on each side. 
 
 Panel, 251^ by 21 inches. Lent by Mrs. Morrison. 
 
CATALOGUE OF PHOTOGRAPHS EXIHBITED. 
 
 The collection is systematically arranged under i/te names of the various Painters 2vho 
 are placed in alphabetical order. A Supplementary Album contains Photograplis 
 of larger size, and all reproductions of Gaudenzio Ferrari's zvork are in this book. 
 
 The Committee are indebted to the Autotype Company for the loan of a Portfolio with 
 special reproductions of the Milanese Pictures in the Hermitage at St. Petersburg 
 and elseivhere: also to Mliss Constance focelyn Ffoulkcs for the loan of various 
 photographs. 
 
 The bulk of the collection is lent by Herbert F. Cook, Esq. 
 
 Al'PiANI, NiCCOLO. Vol, A. & R. 
 
 PA(jE 
 
 Adoration of the Magi — Brera 
 
 Bembo, Bonifacio (?). 
 
 Portraits of Francesco Sforza and his wife Bianca Maria Visconti-Duomo 
 at Monza - 
 
 3.4 
 
 Bevilacqua. 
 
 Madonna and Saints, signed and dated 1502 — Brera - - - _ _ 7 
 
 Nativity— Dresden - g 
 
 Madonna — Bergamo, Casa PiccincHi ^ 
 
 BOLTRAFl'lO. 
 
 Madonna — National Gallery _ ________ n 
 
 Madonna — Poldi - jj 
 Madonna — Bergamo 
 
24 
 
 PAGE 
 
 Madonna and Saints — Louvre -------- - 14 
 
 Male Portrait— Ambrosiana - -- -- -- -- 15 
 
 Female Portrait — -Ambrosiana -------- - 16 
 
 Female Saints~S. Maurizio, Milan -------- 17-20 
 
 Madonna — Mr. Charles Loeser — Florence ------- 21 
 
 Madonna — Salone — Milan ---------- 22 
 
 Sta. Barbara — Berlin ---------- - 23 
 
 Madonna and Donor — Fresco S. Onofrio, Rome 24 
 
 Male Portrait— Berne ---------- 25 
 
 Male Portrait— Frizzoni Cull., Milan -------- 26 
 
 Madonna— Bnda Pest ---------- 27 
 
 Salvator Mundi — Morelli Coll., Bergamo ------- 28 
 
 Male Head Drawing — Venice Academy ------- 29 
 
 Male Portrait — Marquand Coll., New York ------ 30 
 
 Salvator Mundi— Vittadini Coll., Milan ------- 31 
 
 S. Sebastian— Frizzoni Coll., Milan -------- 32 
 
 Male Head Drawing — Louvre - -- -- -- -- 33 
 
 Male Portrait— Umzi \ _ 
 
 Madonna — Poldi J 
 
 Portrait of a Lady — Belonging to Contc Fcbo Borromco, Milan - - - 35 
 
 ? La belle Feronnifere — Louvre -------- - 36 
 
 Two kneeling figures— Brera (ex Ccrcda Coll., Milan)- - _ - - 37 
 
 BoNOxi, Carlo. 
 
 Madonna and Saints. Signed and dated 1507. Louvre . - - - 39 
 BORGOGNONE. 
 
 Madonna and Saints — Ambrosiana - -- -- -- - 41 
 
 Crucifixion. Signed and dated 1490. Certosa ------ 42 
 
 S. Ambrose and Saints — Certosa. Dated in records, 1490 - - - - 43 
 
 S. Siro and Saints. Dated in records 1491. Certosa 44 
 
 Madonna — Borromeo Coll., - 45 
 
 Madonna and Saints — Brera - -- -- -- -- 46 
 
 So-called Triptych— National Gallery- 47 
 
 Christ and Carthusian Monks, Scuola di Belle Arti, Pavia - - - - 48 
 
 S. Ambrose and kneeling donor- — Lord Aldenham ----- 49 
 
 S. Peter Martyr and kneeling donorcss — Louvre ----- 50 
 
 Madonna — National Gallery - -- -- -- -- 51 
 
 Triptych— S. Eustorgio, Milan - - - - 52 
 
 Madonna — Visconti Vcnosta Coll., Milan ------- 53 
 
25 
 
 PAGE 
 
 Madonna — Oldenburg 54 
 
 Presentation in the Temple — Louvre -------- 55 
 
 Triptych — National Gallery, BerHn -------- 56 
 
 Madonna — Vittadini Coll., Milan 57 
 
 Annunciation '^ 
 
 Presentation in the Temple f ^ 
 
 - , . r Incoronata — Lodi ----- 58-61 
 
 Adoration of the Magi V ^ 
 
 Visitation y 
 
 Madonna and Saints. Signed. Berlin 62 
 S. Louis ") 
 
 [ Bergamo _ _ - . 63-64 
 
 S. Stephen ) 
 
 Madonna — Eorromeo Coll.- 
 
 Madonna — Bergamo - C6 
 
 Martyr and two Angels — Frizzoni Coll., Milan ------ 67 
 
 Coronation of the Virgin— Brera -------- qq 
 
 Sta. Agatha 
 
 Sta. Lucia j ^^""^^^^ " " ^'^"^^ 
 
 ? S. Anthony— Vittadini Coll., Milan -------- 71 
 
 Pieta — Bergamo - -- -- -- -- -- 72 
 
 Madonna and Saints — Sir Charles Turner ------- 73 
 
 Assumption and Coronation of the Virgin. Signed and dated 1522. Brera 74 
 
 S. Jerome — Casa Baglioni — Bergamo ------- 75 
 
 Ceiling — Certosa - -- -- -- -- -- 
 
 } Deposition — Buda Pest --------- - 77 
 
 ? S. Ambrose and the Emperor Theodore — Bergamo ----- ys 
 
 ? Madonna — Bergamo yg 
 
 Frescoes — Sacristy Passione, Milan -------- go 
 
 Coronation of the Virgin and details, S. Simpliciano, Milan- - - - 81-106 
 
 Bkamante. 
 
 Frescoes — Casa Prinetti — Milan- 107-114 
 
 (Sec also S^ippleiiientary Photographs^ 
 
 Bkamantino. 
 
 Deposition (in the market) --------- 115 
 
 Adoration of the Magi — Layard Coll., Venice ------ 116 
 
 Holy Family — Brera -.- 117 
 
 Madonna— Brera - nS 
 
 Madonna and Donors — Ambro.-^iana ------- - iig 
 
 Flight into Egypt — Locarno - -- -- -- -- 120 
 
26 
 
 PAGE 
 
 Putto — Louvre - - - - - - - - " - - ■ '^l 
 
 S. Martin and the Beggar— Brera - 122 
 Annunciation ~J 
 
 Nativity ^ Brera 123-125 
 Two Heads J 
 
 ? Nativity — Ambrosiana _- - - 126 
 (See also Supplementary Photographs.) 
 
 BUTTINONE. 
 {See Zenale.) 
 
 Cesare da Sesto. Vol. C-Lan. 
 
 Madonna — Brera - i 
 
 Madonna (ex Coll. Garavaglio). .'Now in Paris _ _ - - - 2 
 
 Madonna and Saints— Brera - 3 
 
 Adoration of the Magi— Naples- -------- 4 
 
 Daughter of Herodias — Vienna -------- - 5 
 
 S. Jerome — Sir Francis Cook ~ - 6 
 
 Andrea da Salerno. 
 
 Baptism — Salerno - -- -- -- -- -- 9 
 
 Madonna — Naples - -- -- -- -- -- 10 
 
 Cesare Magni. 
 
 Holy Family — Brera ---------- - n 
 
 Madonna and Saints. Signed. Berlin - - '2 
 
 Last Supper— Sta. Maria delle Grazie— Milan. (Signed copy of Leonardo's 
 
 fresco) - -- -- -- -- -- - 13 
 
 Madonna of the Rocks—Naples. (Copy with variations of the National 
 
 Gallery picture) ---------- - 14 
 
 Madonna — Vittadini Coll., Milan - - IS 
 
 Madonna and Saints (sold at Christie's, 189;, as a Leonardo) . - - 17 
 
 Madonna and Saints— Vatican -------- 18 
 
 ? Adoration of the Magi— Borromeo Coll., Milan ----- 19 
 
 ? Madonna. Bergamo ■ 
 
 ? Madonna and Saints. Brera -------- - 22 
 
27 
 
 PAGE 
 
 Chiesa da Pavia. 
 
 Madonna I t ,- i 
 
 > Incoronata, Lodi (Organ shutters) - - - - - 23, 24 
 
 Sta. Catherine J - \ b / D' ^ 
 
 CiVERCHIO. 
 
 Triptych. Signed and dated 1495. Brescia 25 
 
 Nativity. Signed. Brcra --------- - 26 
 
 Deposition, 1509 — S. Giovanni — Brescia 27-28 
 
 Frescoes — Carmine — Brescia - 29-30 
 
 CONTI, BERNAKDIXO DE'. 
 
 Portrait of a Cardinal. Signed and dated 1499. Berlin - - _ _ 32 
 Male Portrait. Signed and dated 1500. (Hx Vittadini Coll.) Now 
 belonging to Mme. Andr^— Paris . - - ^ - - - 
 
 Portrait of a Lady, belonging to Mrs. Alfred Morrison . - _ _ 3^ 
 
 Madonna. Signed and dated 1501. Bergamo ------ ^l; 
 
 Madonna. Munich - -- -- -- -- -- 36 
 
 Male Portrait — Schloss — Berlin. Signed and dated 1501 - - _ . ^7 
 
 Male Portrait — Marchesa d'Angrogna —Turin. Signed and dated 1505 - 38 
 Male Portrait, signed — -Varallo --------- 
 
 Male Portrait — 1506 — Berlin Gall. Depot ------- 40 
 
 Annunciation - - - -) 
 
 Angel and Group of Portraits -J ' 41 42 
 
 Madonna — Poldi - -- -- -- -- - 4^ 
 
 ? Male Portrait — Borromeo Coli., Milan - -- -- -- 44 
 
 (See a/so SuppleineiUary Volume.) 
 
 Defendknte Daferrari. 
 
 Triptych — Turin - -- -- -- -- -- 45 
 
 Madonna and Saints — Turin - 46 
 
 Christ among the Doctors. Signed— Stuttgart ------ 47 
 
 Sposalizio— Sig. Fontana— Turin -------- 48 
 
 Nativity — Berlin - 4^ 
 
 ? Adoration of the Magi— Glasgow -------- 50 
 
 EusEBio Ferrari. 
 
 Triptych — M aye nee 
 
 51-52 
 
28 
 
 Holy Family— Berlii 
 
 Beenadino Fasoi,o di Pavia. 
 
 Lorenzo Fasolo ui Tavia. 
 Family of the Virgin. Signed and dated 15.3— Loiivrc 
 
 Ferka.mola. 
 
 Madonna and Saints. Signed and dated 1 5 rj - 
 
 F'OPPA, ViNCENZO. 
 
 Crucifixion. Signed and dated 1456- Bergamo - - - - - 
 
 Madonna and Angels. Fresco. 1485— Brera ------ 
 
 Madonna — Berlin 
 
 Madonna— Frizzoni Coll., Milan - 
 
 Madonna and Saints. Folyptych— Brera ------ 
 
 S. Sebastian Fresco— Brera -------- 
 
 In I Legends of S. Peter, Martyr Kvall paintings in S.Eustorgio-Milan 
 
 part I Annunciation and Assumption] 
 
 Deposition— Berlin - - 
 
 ? Madonna — Poldi 
 
 ? Male Portrait, belonging to Mrs. Alfred Morrison 
 
 ySec also Suppkmenlary Volume.^ 
 
 59 
 60 
 61 
 62 
 63-64 
 65 
 
 67-73 
 
 75 
 76 
 
 77 
 
 Gaudenzio Fekkaki. 
 (/)! Supplcmeniary Volume.) 
 
 Gianpietrino. 
 
 Magdalen — Brera ------ 
 
 Magdalen— Museo Artistico Municipale, Milan - 
 
 Madonna— Sir Francis Cook - - - - 
 
 Two Madonnas— Mrs. Murray - - - " 
 
 S. Catherine — Hampton Court - - ■ " 
 
 Magdalen— Mr. Wickham Flower 
 
 Madonna— Munich (old copy) - - - ' 
 
 Madonna— Villa Borghese, Rome 
 
 The Nymph Egeria— Marchese Brivio, Milan 
 
 79 
 80 
 81 
 82 
 83 
 84 
 85 
 
29 
 
 PAGE 
 
 S. Catherine — Pitti, Florence - 88 
 
 Madonna — Oldenburg - 89 
 
 Madonna— Mrs. Murray - -- -- -- -- - 90 
 
 Magdalen 1 ^^^^^.^^ Gallery (School-work)- ------ 91-92 
 
 S. Catherine | 
 
 Holy Family— Stuttgart ----- 93 
 
 Madonna and Saints — Buda Pest -------- 94 
 
 Magdalen— Augsburg (Flemish Copy) ------- 95 
 
 Holy Family — Glasgow (School-work) ------- 96 
 
 Christ bearing Cross— Vienna Academy ------- 97 
 
 Abundance— Borromeo Coll., Milan -------- 98 
 
 The Daughter of Hcrodias, CoL Legh ------- gg 
 
 (See also Snpplanentayy Voluiitc^ 
 
 GlOVENONE, GiROLAMO. 
 
 Madonna and Saints, Turin --------- 99 
 
 Madonna and Saints. Signed and dated 1 5 14 ------ 100 
 
 Triptych, Bergamo. Signed and dated 1 527 ------ loi 
 
 Madonna and Saints. Signed. Mr. Herbert Cook ----- 103 
 
 LaniNI. 
 
 Madonna and Saints, National Gallery. Signed and dated 1 543 - - 10.? 
 
 Baptism of Christ. Private Coll., Milan. Signed 104 
 
 ? Madonna — Oldenburg ---------- 105 
 
 ? Madonna— Poldi - - - io6 
 
 Madonna and Saints, Borgo Sesia. Signed and dated . - - - 107 
 
 Last Supper — Vercelli - -- -- -- -- - 108 
 
 LuiNi. Vol. Lu. — Sal. 
 
 Madonna and S. Anne— Fresco Brcra ------- i 
 
 Holy Family — Ambrosiana. (Based on Leonardo's Cartoon.) - . - 2 
 
 Holy Family | Ruda Pe.st - - - 3-4 
 
 Madonna and Saints ) 
 
 Madonna and Saints. Signed and dated 152!. Brera - , - _ 5 
 
 Madonna, Brera - 6 
 
 Holy Family, Louvre 7 
 
 Madonna, Czernin Gallery, Vienna 8 
 
 Adoration of the Magi j ^^^^^^ ^^^^^^^.^ _ _ _ _ _ . 
 Nativity ) 
 
30 
 
 PAGE 
 
 ? Forge of Vulcan, Louvre --------- - ii 
 
 Nymphs Bathing, Milan - 12 
 
 Daughter of Herodias, Vienna --------- 13 
 
 Daughter of Herodias, Uffizi - 14 
 
 Modesty and Vanity (ex Sciarra Coll.). Now in Paris - - - _ 15 
 
 Christ and the Pharisees, National Gallery ------- 16 
 
 S. Catherine carried up to Hcavcn — Brera I'^resco ----- 17 
 
 Holy Family — Brera Fresco --------- 18 
 
 Last Supper — Lugano . - - ^ ----- - 19 
 
 Adoration of the Shepherds— Como ------- 20 
 
 Christ at the Column — S. Maurizio, Milan - ------ 21 
 
 Putto — S. Maurizio, Milan - - - - 22 
 
 Two Female Saints— S. Maurizio, Milan ------- 23 
 
 Two Female Saints— S, Maurizio, Milan ------- 24 
 
 Marriage of the Virgin — Saroniio -------- 25 
 
 Nativity — Saronno - -- -- -- -- -- 26 
 
 Presentation in the Temple — Saronno - - 27 
 
 Adoration of the Magi — Saronno - 28 
 
 S. Roch — Saronno - -- -- -- -- -- 29 
 
 S. Sebastian — Saronno - -- -- -- -- - 30 
 
 Ceiling decoration— Saronno - -- -- -- -- 31 
 
 Christ among the Doctors — Saronno - - . 32 
 
 Detail from the Sposalizio — Saronno -------- 33 
 
 Detail from p. 32 — Saronno. The Painter's Portrait ----- 34 
 
 Marriage of S. Catherine— Col. Legh - ------- 35 
 
 Marriage of S. Catherine — Poldi -------- 36 
 
 Tobit and the Angel— Poldi ----- . - _ 38 
 
 Drawing for preceding — Ambrosiana -------- 39 
 
 ? Madonna, Drawing — Brera --------- 40 
 
 School of Luini. 
 
 Madonna and Saints, Uffizi - 41 
 
 Female Portrait, Pitti ----- 42 
 
 Macrino d'Alba. 
 
 Madonna and Saints. Signed and dated 1498. Turin - - - - 43 
 
 Altar-piece in part. Signed and dated 1496. Certosa di Pavia - - - 44 
 
 Madonna and Saints. Signed and dated 1503. Crca - - - - 45 
 
 Madonna and Saints, Capitol, Rome -------- 46 
 
31 
 
 PAGE 
 
 Three Saints "> „ . ,„ 
 
 c ■ ^ f Turin ----- 4/-4b 
 
 Three baints ) 
 
 Two Saints and kneeling donor, Albcrtina, Turin ----- 49 
 
 Madonna and Saints, New York 50 
 
 Two Saints | ^^^.^ ^ ^^^^ ^^^^^ , 506 - - - - - - S 1-52 
 
 Two Saints ) 
 
 S. Francis — Turin - -- -- -- -- -- S3 
 
 Old Copy of part of the Frankfort Triptych— Cercda ColL, Milan - - 54 
 
 Deposition— Turin (School-work) - 55 
 
 Melzi. 
 
 ? Vertumnus and Pomona. Berlin 56 
 
 MONTOR.FANO. 
 
 Crucifixion. Signed and dated 1495. Sta. Maria delle Grazic, Milan- - 57 
 St. George and the Dragon. Brescia ------- 58 
 
 Antonio da Monza. 
 
 Day of Pentecost. Signed. Vienna Academy 59 
 
 (See also Sitpphmentary Volume.) 
 
 Cristoforo de' Motis. 
 Window in the Certosa, Pavia, 1477 -------- 60 
 
 Francesco Napolitano. 
 
 Madonna. Brera - ._. 61 
 
 Madonna and Saints. Zurich (ex Ccreda Cull. Signed) - - - - 62 
 
 Marco d'Ocgiono. 
 
 Salvator Mundi, Villa Borghesc 63 
 
 Madonna, Louvre - - - - - 64 
 
 The three Archangels. Brera - - - 
 
 Two Angels. Sold at Christie's, 1S97. Davenport-Bromley Sale - - 66 
 ? Holy Family. Carrand Coll., Florence ------- 67 
 
 ? Holy Family. Louvre --------- - 68 
 
 ? Infant Christ and little S. John. Mond Coll. ------ I 
 
 ? Infant Christ and little S. John. Hampton Court - - - - - ) 
 
 ? Infant Christ and little S. John. Naples ------ 70 
 
32 
 
 PAGE 
 
 Martino Piazza. 
 
 Nativity. Ambrosiana. Signed 71 
 
 Nativity. Signor Sessa, IVIilan, 1520 - 72 
 
 St. John the Baptist. National Gallery. Signed 73 
 
 Triptych. Cathedral, Lodi 74 
 
 Albertino PlAZ;iA. 
 
 ? S. Catherine. Hampton Court -------- 75 
 
 Altar-piece. S. Agnese, Lodi (joint work) ------ 76 
 
 Altar-piece. Incoronata, Lodi (joint work) ------ 77 
 
 Christ and two Saints. Borromeo Coll. ------- /S 
 
 Coronation of the Virgin. Incoronata, Lodi ------ 79 
 
 Marriage of S. Catherine. Bergamo ------- - 80 
 
 ? Madonna and little S. John. Mr. Robert Benson ----- Si 
 
 Adoration of the Magi— Frizzoni-Salis Coll., Bergamo - - - - 82 
 
 (See also Supplementary Vclume) 
 
 AmbrOGIO de Predis. 
 
 Male Portrait. Signed and dated 1494. Mr. Fuller Maitland - - - S3 
 
 Emperor Maximilian. Vienna. Signed and dated 1 502 - - - - 84 
 
 Portrait of a Page. Morelli Coll., Bergamo ------ 85 
 
 Portrait of Francesco Brivio. Poldi ------- - 87 
 
 Male Portrait Frizzoni Coll., Milan -------- 88 
 
 Male Portrait. Uffizi - - - ■ ^9 
 
 ? Male Portrait. Mrs. Austin --------- 9° 
 
 S. Sebastian. Frizzoni Coll., Milan -------- 9' 
 
 S. Sebastian (after restoration) --------- 92 
 
 > Male Portrait 1 ,,.(■----■-" " 9^ 
 
 ^ , „ . > Ambrosiana < f,. 
 
 ? Female Portrait J (.-------• 94 
 
 Two Angels. Wings of Leonardo's Altar-piece, Madonna of the Rocks, 
 
 bought for National Gallery (ex Mclzi Coll., Milan) - - - - 95, 96 
 
 Madonna of the Rocks. National Gallery - - 97 
 
 Female Portrait. Oldenburg --------- 98 
 
 ? Galeazzo Maria Sforza ^ - 
 
 Female Portrait. Pitti 
 
 f Trivulzio Coll., Milan ----- 99-100 
 
 ? Lodovico Sforza 
 
 Pier Francesco Sacciii. 
 
 Group of Saints. Berlin - -- -- -- -- - 103 
 
 Crucifixion. Berlin. Signed and dated 1 5 14 ------ 104 
 
 St. Paul. Mond Coll. - - - '°5 
 
 The Doctors of the Church. Louvre. Signed and dated 1516 - - - 106 
 
33 
 
 PAGE 
 
 Salaixo. 
 
 S. John the Baptist. Louvre - -- -- -- -- 107 
 
 S. John the Baptist. Mr. Hewetson _ loS 
 
 S. John the Baptist. Mr. Waters -------- 109 
 
 Bacchus. Louvre - - - - - - - - - - - uo 
 
 ? The risen Christ and Saints. Berlin - - - - - - - 1 1 1 
 
 ? Madonna and Saints. Brcra -------- - 112 
 
 SODOMA. Vol. So — Z. 
 
 Frescoes S. Anna in Creta. Siena -------- 1-6 
 
 Nativity. (Ex Scarpa Coll.) - -- -- -- -- 7 
 
 Nativity, Siena - 8 
 
 Descent from the Cross. Siena -------- - g 
 
 Madonna and Saints. Turin - -- -- -- -- 10 
 
 Holy Family. Munich - -- -- -- -- - 11 
 
 Holy Family. Turin - -- -- -- -- - 12 
 
 Frescoes. Monte Oliveto --------- - 13-43 
 
 Christ at the Column. Siena - -- -- -- -- 44 
 
 Four Saints. Oratory of S. Bernard. Siena ------ 45-4S 
 
 Other Frescoes. Oratory of S. Bernard. Siena- ----- 49-52 
 
 S. Sebastian. Uffizi ---------- - 53 
 
 S. Sebastian (in detail) - -- -- -- -- - 54 
 
 Story of S. Catherine. S. Domenico. Siena ------ 55-57 
 
 Fresco. S. Spirito. Siena - - 5S 
 
 Frescoes. Sifjnoria. Siena 59"*^- 
 
 Adoration of the Magi. S. Agostino. Siena ------ G3 
 
 S. George and the Dragon. Sir Francis Coolc ------ G4 
 
 Sacrifice of Abraham. Fisa - -- -- -- -- 65 
 
 Pieti. Pisa ------------ 66 
 
 Christ in Limbo. Siena Academy 67 
 
 Madonna and Saints. Uffizi - - _ - 63 
 
 Agony in the Garden. Siena - -- -- -- -- 69 
 
 Birth of the Virgin. Carmine. Siena ------- 70 
 
 Lucretia. Turin - -- -- -- -- -- 71 
 
 Madonna and Saints. Signoria. Siena ------- 72 
 
 Madonna and Saints. Signoria. Siena - -- -- -- 73 
 
 Holy Family. Vittadini Coll., Milan ------- 74 
 
 Holy Family. Villa Borghcse --------- 75 
 
 Holy Family. Vienna ---------- 76 
 
 S.Jerome. Mond Coll. 77 
 
34 
 
 PAGE 
 
 Pieta. Villa Borghcsc ---------- 73 
 
 Christ and Two Angels. Dr. J. 1'. Ricl.tcr 79 
 
 ? Charity. Berlin . - - - So 
 
 HeadofLeda. Drawing. Musoo Municipale, Milan - - - - - 8l 
 
 Head of Lcda. Drawing. Ambrosiana ------- 82 
 
 ? Madonna. Lord Hattcrsca - - - 83 
 
 ? Madonna. Brcra - -- -- -- -- -- 84 
 
 ? Madonna. Gcnouillach Coll., Milan - 86 
 
 ? Portrait of a I.ady. Frankfort -------- 87 
 
 ? Madonna. Fresco. Vaprio _ . - .- SS 
 
 ? Tondo. Chigi Pal. Siena - - - 89 
 
 Fresco. Monte Oliveto. Siena. (By Maestro Riccio) . - . . 90 
 {Si's nlso Siippkmefitaiy Volidiic) 
 
 Soi.ARlO. 
 
 Madonna and Saints. 1495. Urcra 9' 
 
 Madonna in Adoration. Ur. J. 1'. Richter - 92 
 
 Madonna. Brera - -- -- -- -- -- 93 
 
 Portrait of a Senator. National Gallery - - 94 
 
 St. John the Baptist and S. Catherine. 1495. Poldi ----- 95-9'J 
 
 Crucifixion. Louvre. 1503. - -- -- -- -- 97 
 
 Ecce Homo — Sir Francis Cook --------- 9^ 
 
 Portrait. Longoni. National Gallery. 1505 ----- - 99 
 
 Portrait of a Man. Brera - - - - " '°° 
 
 Christ bearing the Cross. Borghesc. Rome ------ loi 
 
 Christ bearing the Cross. Vienna 
 
 Ecce Homo. Poldi 
 
 Christ bearing the Cross. Modena -------- '04 
 
 Madonna. Bergamo - -- -- -- -- - ^05 
 
 Holy Family. Ex Marenzi Coll., Bergamo. ? Now in America - - 106 
 
 The Daughter of Herodias. Oldenburg. Probably Flemish Copy - - 107 
 ? Portrait of a Lady playing Musical Instrument, Belonging to Miss Hertz, 
 
 T, ----- 108 
 
 Rome ------ 
 
 La Vicrge au Coussin Vert. Louvre -------- 109 
 
 Holy Family. 1515. Poldi --------- no 
 
 ? S. Jerome. Ambrosiana --------- - 
 
 Portrait of Charles dAmboise. Louvre - - - - - - " 
 
 Copy of Leonardo's Cenacolo S. Maria dclle Grazie. Signed. Milan- - 113 
 
 Drawings for the Heads of the Apostles, in the above. Weimar- - - 114 
 {Sec aha Supplemenlary Volume) 
 
35 
 
 PAGE 
 
 Zknai.e. 
 
 Frescoes in S. Pietro in Gessate, Milan. Signed b}' Buttinone and Zenale - 115-116 
 
 Details of the altar-piece at Treviglio. Joint work of Buttinone and Zenale 1 17-125 
 
 Diptych, Frizzoni Salis Coll., Bergamo 126 
 
 Circumcision. 1491. Louvre -------- - 127 
 
 ? Madonna and kneeling Votaress. Fresco. Brera ----- 128 
 
 ? Fresco in the Castle at Locarno, Madonna and Saints - - - - 129 
 
 ? Madonna and Child (with forged signature). Bergamo - - - - 131 
 
 ? Madonna and Saints, with Portraits of the Sforza Family. Brera - - 133-134 
 
 Buttinone. 
 
 Triptych. Signed and dated 14S4. Brera ------ 135 
 
 A Doctor of the Church. Parma - -- -- -- - 136 
 
 Madonna and Saints. Signed, Isola Bella - ------ 137 
 
 Madonna and kneeling Donor. Academy, Vienna ----- 13S 
 
 Extra Volume. 
 
 Photographs of the Certosa of Pavia are shown ------ 1-20 
 
 Photographs of Leonardo's Last Supper ------- 21-28 
 
 La Vierge aux Rochers. Louvre - 29 
 
 La Vierge aux Rochers. M. Cheramy. Paris ------ 30 
 
 La Joconde. Louvre - - 31 
 Portrait of a Girl, once belonging to Morclli, subsequently to Donna Laura 
 
 Minghetti, Rome, and now to Mr. Theodore M. Davis, of New York - 32 
 
 S. Jerome. Unfinished. Vatican 33 
 
 Annunciation. Louvre - -- -- -- -- - 34 
 
 Adoration of the Magi, Uffizi - - _ 35-36 
 
 Cartoon for the S. Anne Esterhazy Coll,, Vienna , - - - _ 37- 38 
 
 The S. Anne picture at Lord Yarborough's ------ 39 
 
 The Turin Cartoon - -- -- -- -- -- 40 
 
 The S. Anne of the Brera - . - - . 41 
 
 The S. Anne of the Uffizi ---------- 42 
 
 The S. Anne Raczynski Coll., Berlin (Flemish) ------ 43 
 
 Holy Family by Luini. Ambrosiana, after the Academy Cartoon - - 44 
 
 The S. Anne of the Leuchtenberg Gallery ------- 46 
 
 Madonna, engraved by Joubert ----- - 
 
 Madonna, engraved by Muxel - -- -- -- -- 48 
 
 Various Drawings by Leonardo -------- - 49-55 
 
 The Leda of the Borghese Gallery - -- -- -- - 61 
 
 The Leda of the Doetsch Coll. 62 
 
 i^See also Supphincntary Volmtie) 
 
36 
 
 PAGE 
 
 Unknown or Uncertain. 
 
 Pieti S. Maria della Passione, Milan (wrongly attributed to Luini) - - 63 
 
 Nativity. 1522, Now in the market under Bramantino's name - - - 64 
 
 S. Jerome. Marchese Fassati, Milan ------- - 65 
 
 S. Jerome. Vienna ---------- - 66 
 
 S.Jerome. Sold at Christie's, 1897 -------- 67 
 
 S. Jerome. Poldi ------ 68 
 
 La Vierge aux Balances. Louvre -------- 69 
 
 Male Portrait. Bergamo --------- - 70 
 
 Two Groups of Portraits, National Gallery, wrongly attributed to Borgognone 7 1 
 
 Madonna and Child. Bergamo -------- - 72 
 
 S. Catherine. Munich _ - - - - 73 
 
 Flora. Hampton Court - -- -- -- -- - 74 
 
 Venus. Mond Coll. 75 
 
 Madonna and Saints. Berlin --------- 77 
 
 Madonna and Child and Angels. Berlin ------- 78 
 
 Holy Family. Dresden. Under the name of Gaudcnzio Ferrari - - 79 
 
 Madonna and Child. Flemish. Munich - 80 
 
 Madonna and Child appearing to Lodovico il Moro. Poldi - - - ^3 
 
 Bramantino. Large Supplementary 
 
 Volume. 
 
 Pieta fresco. S. Sepolcro, Milan -------- i 
 
 Tapestries in the Casa Trivulzio, Milan. (Designed by Bramantino, 
 
 executed by Benedictus of Milan) 1-4 
 Fresco, representing Argus, recently discovered in the Castle at Milan, 
 
 probably by Bramante - -- -- -- -- 5 
 
 Antonio da Monza. 
 
 Two Miniatures in the Goldsmidt Coll., Paris - ^ 7 
 
 Ambrogto de Predis. 
 
 ? Female Portrait in the Ambrosiana, Milan 9 
 
 Bernardino de' Conti. 
 
 Portrait of Maximilian Sforza. Signed and dated 1496, In the Vatican - 10 
 
37 
 
 PAGE 
 
 GlANPIETRINO. 
 
 Nativity. S. Sepolcro, Milan n 
 Ecce Homo. S. Sepolcro, Milan. (Sciiuol-work) - - . . . 12 
 
 FOPPA. 
 
 Adoration of the Magi. National Gallery 
 
 Albertino Piazza. 
 
 Madonna and Child. Central Panel of the Polyptych in the Iiicoronata 
 
 at Lodi - [4 
 
 So DOM A. 
 
 Frescoes in the Farnesina, Rome - 15-16 
 
 Unknown. 
 
 Miniature, with Purtraits of Ludovico and Beatrice d'Kste. ? Britisli Museum 17 
 SOLARIO. 
 
 Annunciation. Signed and dated 1506. Mr. Arthur Kay - - - - ig 
 Deposition from the Cross, at Rossie Priory, N.B. . ~ - - . 20 
 
 Leonardo da Vinci. 
 
 Supposed Portrait of Isabella d'Este. Louvre ------ 21 
 
 Portrait of a Lady. Liechtenstein Coll., Vienna 22 
 
 Cartoon of S. Anne. Esterhazy Coll., Vienna (by a Pupil) - - - ^5-24 
 
 CiPRIANO VALORSA. 
 
38 
 
 PAGE 
 
 Gaudenzio Ferrari. 
 
 Madonna, belonging to Mr. Willett - - 
 
 Various works at Vercclli - - " ' " 27-2S 
 
 Madonna and Angels. Vittadini Coll., Milan ------ 29 
 
 Varioiis works at Vcrcelli ---------- 29-30 
 
 Nativity. Dorchester House --------- 3° 
 
 Martyrdom of S. Catherine. Brera -------- 3' 
 
 S. Paul. Louvre ----------- 32 
 
 Last Supper. Passione, Milan --------- 32 
 
 Angels. Bergamo ----------- 34 
 
 Cupola at Saronno ----- 33^38 
 
 Madonna. Brcra - -- -- -- -- -- 39 
 
 Crucifi.-cion. Turin - -- -- -- -- -- 39 
 
 Deposition. Turin - -- -- - 40 
 
 Christ rising from the Tomb. National Gallery ------ 40 
 
 Various Drawings in the Albertina, Turin - 41-42 
 
 Madonna and Saints. Turin --------- 43 
 
 Madonna. Bergamo- - -- -- -- -- - 43 
 
 Virgin and Saints. Turin - - 44 
 
 S. Peter and Kneeling Donor. Turin ------- 45 
 
 Annunciation. Lady Layard, Venice - - 45 
 
 Two Triptychs. Brera - 46 
 
 Four Early Works. Turin- --------- 47-48 
 
 H. F. C. 
 
INDEX No. I. 
 
 LIST OF CONTRIBUTORS. 
 
 ♦Lord Aldenham, No. i. 
 
 Hon. Mrs. Eaillie-Hamilton, 43, OS, 70. 
 
 Lord Battersea, 59. 
 
 Wentworth B. Beaumont, Esq., 23, 24. 
 •Robert H. Benson, Esq., 31-33, 34, 65, 72. 
 
 Trustees of the Bowes Museum, Barnard 
 Castle, 19. 
 
 Duke of Buccleuch, K.G., 60. 
 *Earl of Carysfort, K.P,, 17. 
 
 Countess of Carysfort, 25. 
 
 Rev. a. E. Clementi-Smith, 74. 
 
 Sir Martin Conway, 3, 4, 8. 
 •Sir Francis Cook, Bart, 18, 37, 50, 55. 
 •Herbert F. Cook, Esq,, 75. 
 
 Earl of Crawford and Balcarres, K.T., 62. 
 
 Duke of Devonshire, K.G., 46. 
 
 George Donaldson, Esq., 6, 7, 39, 45. 
 
 Earl of Elgin and Kincardine, K.G., 47. 
 
 General Sir Arthur Ellis, K.C.V.0.,C.S.I., 
 47A. 
 
 •Sir William J. Farrer, 26. 
 •WicKHAM Flower, Esq., 56. 
 W. P'uller-Maitlanu, Esq., 49. 
 
 The Corporation of Glasgow, No. 61, 
 •Captain G. L. Holford, CLE., 36, 52, 
 
 58,71. 
 
 •Colonel Herbert Jekvll. C.M.G., 2. 
 
 *Arthur Kay, Esq., 22. 
 Marquis of Lansdowne, K.G., 35, 
 Colonel H. M. Cornwall Legh, 15, 
 30- 38- 
 
 *Dk. Frederick Lippmann, 51. 
 *C. Brinsley Marlav, Esq., 66. 
 ■LuDwiG Mono, Esq., F.R.S., 27, 29, 48, 
 53. 57. 73- 
 
 Mrs. Alfred Morrison, 5, 44, 76. 
 
 Charles Morrison, Esq., 41. 
 •Earl of Northbrook, CJ.C.S.L, 64. 
 
 Dr. J. P. RiCHTER, 21. 
 
 •Sir Charles J. Robinson, 63, 67. 
 •George Salting, Esq., 16, 20. 
 
 R. Jenery Shee, Esq.. 69. 
 
 Earl Spencer, K.G., 40. 
 
 Lord Wantage, V.C, 42. 
 
 Henry Willett, Esq., 9-14, 54. 
 *Rt Hon. Lori> Windsor, 28, 
 
 • Contributors whose names are thus marked are Members of the Club. 
 
40 
 
 INDEX No. 2. 
 
 NAMES OF ARTISTS REPRESENTED OR REFERRED TO, AND 
 LIST OF ENGLISH COLLECTIONS MENTIONED. 
 
 Andrea da Salerno, 26. 
 Appiani, 23. 
 
 Bartolommco Veneto, x., xlviii., !ix. 
 Bevilacqua, xxxix., 3, 23. 
 Boccaccino, x. 
 Boltraffio, Ivii., 12, 13, 23. 
 Bonifacio Bembo, xxviii., 23. 
 Bononi, 24. 
 
 Borgognone, xxx., 1, 34. 
 Borgognone, Bernardino, xxxix. 
 Bramante, xliii., 25. 
 Bramantino, xlv., 3, 25, 36. 
 British Museum (Foppa), xxvii. 
 
 „ „ (Predis, A. de), 1. 
 
 „ ,, (Solario), Ixii. 
 
 Buttinone, xxv., i, 35. 
 Cesare da Sesto, Ixviii., 4, 5, 17, 26. 
 Cesare Magni, Ixxv., 26. 
 Chiesa da Pavia, 27. 
 Civerchio, xli., 19, 27. 
 Conti, Bernardino de', Ixxii., 12, 27, 36. 
 Defendente Daferrari, Ixxix., 27. 
 English Private Collections : — 
 
 Aldenham, Lord, xxxiii., i. 
 
 Althorp, Earl Spencer, 10. 
 
 Ashridge, Earl Brownlow, Ixvii. 
 
 Eaillie-Hamilton, Honble. Mrs., xlii., 3, 12, 
 19, 20. 
 
 Battersea, Lord, 16. 
 
 Beaumont, Mr. Wentworth, Ixxviii., 6. 
 
 Benson, Mr. Robert H., Ixvii., 8, g, 18, 20. 
 
 Bowes Museum, 5. 
 
 Bowood, Marquis of Lansdowne, 9. 
 
 Broome Hall, Earl of Elgin, Ixii., 12. 
 
 Butler, Mr. Charles, Ixv. 
 
 Carysfort, Earl of, 4, 6. 
 
 Chatsworth, Duke of Devonshire, lix., 12. 
 
 Clementi'Smith, Rev. A. E., Ixiv,, 21. 
 
 Conway, Sir Martin, xxvii., xxxix., Ixii., 2, 3. 
 
 Cook, Sir Francis, Bart., xxvii., xli., Ixii., Ixv., 
 
 Ixvii., Ixviii., Ixix., lxxv.,lxxx., 5,9, 14, 15. 
 Cook, Mr. Herbert F., 21. 
 Corshani, Lord Methuen, Ixv. 
 Domvile, Sir William, Ixxvi. 
 Donaldson, Mr. George, Ixxiii., 2, 3, 10, 12. 
 Dorchester House, Captain Holford, xix, 
 
 xlviii., Ixiv., Ixxix., 9, 14, 16, 20. 
 Drax, Mr. Erie, xlii. 
 Ellis, General Sir Arthur, 13. 
 Farrer, Sir William, 7. 
 Flower, Mr. Wickham, Ixii., 15. 
 FuUer-Maitland, Mr. W., xlix., 13. 
 Garscube, N.B., Sir Archibald Campbell, Ixvii." 
 Gosford, N.B., Earl of Wemyss, Ixiv. 
 Haigh Hall, Eari of Crawford, 17- 
 Hertford House, xlvii., Ivii., Ixvii. 
 High Legh, Col. Cornwall-Legh, Ixiv., Ixviii., 3 
 
 S, 10. 
 
 Howorth, Sir Henry, Ixxx. 
 
 Hyde Park House, Sir H. Naylor-Leyland; 
 
 Bart., Ixvii. 
 James, W. D., xlvii. 
 Jekyll, Colonel, i. 
 Kay, Mr. Arthur, Ixii., 6. 
 Locko Park, Mr. Drury-Lowe, Ixii. 
 Marlay, Mr. C. Brinsley, 18. 
 Mond, Mr. Lndwig, lix., Ixv., Ixxi., Ixxvi., 
 
 Ixxix., 7, 8, 13, 14, i5» 21- 
 
Montagu House, Duke of Buccleuch, lO. 
 
 Morrison, Mr. Charles, ii. 
 
 Morrison, Mrs. Alfred, xxvii., lix., Ixxiii., 2, 
 12, 21, 
 
 Muir-Mackenzie, Mr., 10. 
 
 Newbattle, N.B., Marquis of Lothian, Ixxviii. 
 
 Northbrook, Earl of, Ixvii., 18. 
 
 Richter, Dr. J. P., 5. 
 
 Robinson, Sir J. C, 17, 19. 
 
 Rossie Priory, N.B., Lord Kinnaird, Ixi. 
 
 Royal Academy, Ixix., Ixxi. 
 
 Ruston, Mr., Ixvi. 
 
 Salting, Mr. George, 4, 5. 
 
 Shee, Mr. R. Jenery, 19. 
 
 Sion House, Duke of Nortliumberland, Ixii. 
 
 Stirling, Mr. Archibald, Ixii. 
 
 Turner, Sir Charles, xxxvi. 
 
 Wantage, Lord, r i. 
 
 Ward, Mr. Humphrey, Ixii, 
 
 Willett, Mr. Henry, xlvi., Ixxix., 3, 15. 
 
 Windsor, Lord, 7. 
 Eusebio Ferrari, 27. 
 Fasolo da Pavia, 2S. 
 Ferramola, xl., 28. 
 Foppa, xxvi., 2, 28, 37. 
 Foppa (the younger), xxx. 
 Gandolfino (of Asti), Ixxx. 
 Gaudenzio Ferrari, x., Ixxviii., 14, 15, 3S, 
 Gianpietrino, Ixx., 15, 16, 28, 37. 
 Giovenone, Girolamo, Ixxix., 21, 29. 
 Giovenone, Guiseppe, Ixxix. 
 Glasgow, Ixx., 17. 
 Grammorseo, Ixxx. 
 Lanini, Ixxx., 19, 29. 
 Leonardo da Vinci, xii., xv.-xvii., 35, 37. 
 Liverpool, xxiv. 
 Lodi, School of, Ixxvi. 
 
 Luini, Ixvi., 7, 8, 9, 19, 20, 29, 30, 
 Macrina d'Alba, Ixxvii., 6, 30. 
 Melzi, Ixxiv., 31. 
 Montorfano, xxix., 31. 
 Monza, Antonio da, 37, 36. 
 Motis, Cristoforo de, 31. 
 Napolitano, Francesco, Ixxii., 31. 
 National Gallery : — 
 
 Boltraffio, Iviii. 
 
 Borgognone, xxxvi. 
 
 Defendente (Girolamo Giovenone) Ixxix. 
 
 Foppa, xxxviii. 
 
 Gaudenzio Ferrari, Ixxix. 
 
 Lanini, Ixxx. 
 
 Macrino d'Alba, Ixxviii. 
 
 " Madonna of The Rocks," li., 11. 
 
 Oggiono, Marco d', Ixxi. 
 
 Piazza, Martino, Ixxvi. 
 
 Predis, Ambrogio dc, xlix. 
 
 Sodoma, Ixv. 
 
 Solario, Ixi, 
 Oggiono, Marco d', Ixxi., 20, 21, 31, 
 Oxford, University Galleries, Ixv. 
 Pavia, School of, Ixxv. 
 Piazzas, The, Ixxvi., 17, 18, 32, 37. 
 Piedmont, School of, Ixxix., 17. 
 Predis, Ambrogio de, xlviii., 13, 14, 32, 36. 
 Predis, Cristofero de, Ivii. 
 Sacchi, Pier Francesco, Ixxv., 33. 
 Salaino, Ixxiv., 10, 33. 
 Sodoma, x., Ixiii., 9, 10, 21, 33, 37. 
 Solario, ix., 5, 6, 34, 37. 
 South Kensington Museum, lix. 
 Valorsa, Cipriano, 37. 
 Vercelli, School of, Ixxix. 
 Zenale, xxi., 2, 35.