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Updated: May 21, 2025
A letter from Da Loglio got me a warm welcome from the castrato Luini, a delightful man, who kept a splendid table. He was the lover of Colonna, the singer, but their affection seemed to me a torment, for they could scarce live together in peace for a single day. At Luini's house I met another castrato, Millico, a great friend of the chief huntsman, Narischkin, who also became one of my friends.
Two painters, who eminently excelled in simplicity and purity of sentiment, are Gian Bellini of Venice, and Bernardino Luini of Milan. Squarcione, though often fantastic, has painted one or two of these Madonnas, remarkable for simplicity and dignity, as also his pupil Mantegna; though in both the style of execution is somewhat hard and cold.
These are the finest of the twenty pictures by that master, now exhibited in the CENTRAL MUSEUM. They both came from Rome; the former, from the Vatican; the latter, from the Capitol. GUIDO is a noble and graceful painter; but, in general, he betrays a certain negligence in the execution of several parts. N deg. 860. In this picture, LUINI has fallen little short of his master, LEONARDO DA VINCI.
It is not impossible that the male saints of the loggia may be also his, though a tenderer touch, a something more nearly Leonardesque in its quietude, must be discerned in Lucy and her sisters. The whole of the altar in this inner church belongs to Luini.
To the circumstance of his having done his best work in places hardly visited until of late years, may in part perhaps be attributed the tardy recognition of a painter eminently fitted to be popular. Luini was essentially a fresco-painter.
He never found the realization of that happiness of which he had once dreamed with her, though he won the glory of which perhaps he had never thought. Like the Madonnas of Luini whose looks are so full of earnest tenderness, this young girl was sweet and beautiful. She lived on calm, but sad.
His attitude and bearing were those of one almost respectfully listening to an expert holding forth on a subject he had made his own. Now and then he said something non-committal. There was no evidence that he had any knowledge of Italian pictures, that he could distinguish between a Giovanni Bellini and a Raphael, tell a Luini from a Titian.
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.
In the East it takes place in a garden, because there "on vit feu dans les maisons et beaucoup en plein air;" but, according to the legend, the locality ought to be a garden, and under a laurel tree, which is not always attended to. The altercation between St. Anna and her maid Judith I have never met with but once, in the series by Luini, where the disconsolate figure and expression of St.
Pater's elder sister; engravings, if I remember right, from Botticelli, or Luini, or Mantegna; a few mirrors, and a very few flowers, chosen and arranged with a simple yet conscious art. I see that room always with the sun in it, touching the polished surfaces of wood and brass and china, and bringing out its pure, bright color.
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