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Here, as in the Chapel of St. Catherine at Milan, we feel that Luini was the greatest colourist among frescanti. In the "Sposalizio" the female heads are singularly noble and idyllically graceful. Some of the young men too have Luini's special grace and abundance of golden hair. In the "Disputa" the gravity and dignity of old men are above all things striking.
Here, as in the Chapel of S. Catherine at Milan, we feel that Luini was the greatest colourist among frescanti. In the 'Sposalizio' the female heads are singularly noble and idyllically graceful. Some of the young men too have Luini's special grace and abundance of golden hair. In the 'Disputa' the gravity and dignity of old men are above all things striking.
That he was a man "gey ill to live with" seems indisputable. This may in part account for the fact that, unlike other great Italian masters, he formed no school. The frescanti who came from Florence to assist him in the Sistine Chapel were dismissed with abruptness, perhaps even with brutality.
None, perhaps, of all the greatest Italian frescanti realised a higher quality of brilliancy without gaudiness, by the scale of colours he selected and by the purity with which he used them in simple combinations. His frescoes are never dull or heavy in tone, never glaring, never thin or chalky.
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