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Updated: May 5, 2025
The Luinesque smile is on their lips and in their eyes, quiet, refined, as though the emblems of their martyrdom brought back no thought of pain to break the Paradise of rest in which they dwell. There are twenty-six in all a sisterhood of stainless souls, the lilies of Love's garden planted round Christ's throne.
The Luinesque smile is on their lips and in their eyes, quiet, refined, as though the emblems of their martyrdom brought back no thought of pain to break the Paradise of rest in which they dwell. There are twenty-six in all, a sisterhood of stainless souls, the lilies of Love's garden planted round Christ's throne.
The pictures in the chapels, chiefly by Luini and Ferrari an idyllic Nativity, with faun-like shepherds and choirs of angels a sumptuous adoration of the Magi a jewelled Sposalizio with abundance of golden hair flowing over draperies of green and crimson will interest those who are as yet unfamiliar with Lombard painting. Yet their architectural setting, perhaps, is superior to their intrinsic merit as works of art; and their chief value consists in adding rare dim flakes of colour to the cool light of the lovely church. More curious, because less easily matched, is the gilded woodwork above the altar of S. Abondio, attributed to a German carver, but executed for the most part in the purest Luinesque manner. The pose of the enthroned Madonna, the type and gesture of S. Catherine, and the treatment of the Piet
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