168. _Dosso._ St. Jerome in the Desert. Interesting as showing a later
treatment of this familiar subject.
230. _Luini._ Holy Family. A good specimen of Luini’s easel work.
Compare with the frescoes in the Salle Duchâtel. The hair is
characteristic, also the oval face and cast of features.
Near it, two works by _Marco da Oggiono_, a pupil of Leonardo. His work
and Luini’s should be compared with that of the founder of the school.
The differences and agreements should be observed. Notice also the
survivals from earlier treatment.
354. _Sacchi._ The Four Doctors of the Church, attended by the Symbols
of the Four Evangelists. This is a composition which frequently recurs
in early art. L, St. Augustine, holding his book “De Civitate Dei,” with
the Eagle of St. John. Next, St. Gregory, inspired by the Holy Spirit as
a dove, and accompanied by the Bull of St. Luke. Then, St. Jerome, in
his Cardinal’s hat, with the Angel of St. Matthew. Lastly, St. Ambrose
with his scourge (alluding to his action in closing the doors of the
church at Milan on the Emperor Theodosius after the massacre of
Thessalonica), accompanied by the winged Lion of St. Mark. An
interesting symbolical composition, deserving close study.
232. _Luini._ The daughter of Herodias with the head of St. John
Baptist. A favourite subject with the artist, who often repeated it.
Compare it with his other works in this gallery, till you feel you begin
to understand Luini.
Above it, _Borgognone_. Presentation in the Temple. In the pallid
colouring peculiar to this charming Lombard master. Observe the
positions of the High Priest and other personages.
85. _Borgognone._ St. Peter Martyr introducing or commending a Lady
Donor to the Madonna. One panel of a triptych; the rest of it is
wanting. Look out for similar figures of saints introducing votaries.
St. Peter Martyr has usually a wound or a knife in his head, to indicate
the mode of his martyrdom.
Beneath, a quaint little Leonardesque Annunciation.
_Solario._ Calvary, characteristic of the School of Leonardo.
Beneath it, 394, =*=_Solario_. Madonna with the Green Cushion. His
masterpiece, a graceful and tender work, exhibiting the growing taste of
the Renaissance.
458. Attributed to _Leonardo_. The young St. John Baptist. Hair, smile
and treatment characteristic; but possibly a copy. You will meet with
many similar St. Johns in Florentine sculpture below hereafter.
465. School of _Leonardo_. Holy Family. St. Michael the Archangel oddly
introduced in order to permit the Child Christ to play with the scales
in which he weighs souls—a curious Renaissance conception, wholly out
of keeping with earlier reverential feeling.
=*=460. _Leonardo._ “La Vierge aux Rochers.” A replica of the picture in
the National Gallery in London. Much faded, but probably genuine.
Examine closely the rocks, the Madonna, and the Angel.
395. _Solario._ Good portrait of Charles d’Amboise, a member of the
great French family who will frequently crop up in connection with the
Renaissance.
461. Attributed to _Leonardo_, more probably _Bernardino de’ Conti_.
Portrait of a Lady. Compare with the Mona Lisa, as exhibiting well the
real advance in portraiture made by Leonardo.
463. Attributed to _Leonardo_, but probably spurious; Bacchus, a fine
youthful figure, begun as a St. John Baptist, and afterwards altered.
Compare with the other St. John Baptist near it.
=*=_Beltraffio._ The Madonna of the Casio family. A characteristic
Leonardesque virgin, attended by St. John Baptist and the bleeding St.
Sebastian. (A votive picture.) By her side kneel two members of the
Casio family, one the poet of that name, crowned with laurel.
Intermediate Renaissance treatment of the Madonna and donors.