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Updated: May 21, 2025
He throws his little arm about her neck, clinging to her veil or caressing her face. Besides this group of pictures by Bartolommeo, there are other scattered instances of portrait Madonnas during the Italian Renaissance, by men too great to be tied to the fashions of their day. Mantegna was such a painter, and Luini another.
I already know by heart the list of guests in every hotel in Switzerland. 'Ah, it is diversion zat you wish? Have you seen zat ver' beautiful Luini in ze chapel of San Bartolomeo? It is four hundred years old. 'Yes, Gustavo, I have seen the Luini in the chapel of San Bartolomeo. I derived all the pleasure to be got out of it the first afternoon I came. 'Ze garden of Prince Sartonio-Crevelli?
Few pictures bring the splendid Milanese court so vividly before us as these portraits of the Bentivogli: they are, moreover, very precious for the light they throw on what Luini could achieve in the secular style so rarely touched by him. Great, however, as are these frescos, they are far surpassed both in value and interest by his paintings in the side chapel of St. Catherine.
By Solario, a younger contemporary of Da Vinci, are 1532, a Crucifixion; 1530, a masterpiece, the much admired Virgin of the Green Cushion; and 1533, Head of the Baptist. The sweet and tender Luini is seen almost at his best in 1355, Salome with the Baptist's head: other works by him are 1362, Silence, and 1353, a Holy Family.
Gaudenzio Ferrari was a genius of a different order, more robust, more varied, but less single-minded than Luini. His style reveals the influences of a many-sided, ill-assimilated education; blending the manners of Bramantino, Lionardo, and Raphael without proper fusion.
Several weeks before Muzio's return Fabio had begun a portrait of his wife, depicting her with the attributes of Saint Cecilia. He had made noteworthy progress in his art; the famous Luini, the pupil of Leonardo da Vinci, had come to him in Ferrara, and aiding him with his own advice, had also imparted to him the precepts of his great master.
The blues detach themselves too much, perhaps, from the rest of the colouring; and that is all a devil's advocate could say. It is possible that the absence of blue makes the S. Catherine frescoes in the Monastero Maggiore at Milan surpass all other works of Luini. But nowhere else has he shown more beauty and variety in detail than here.
The pedestal throne is also seen in two of Correggio's Dresden pictures, but here the Virgin is seated, with the child on her lap. An exceedingly simple throne Madonna is that of Luini, in the Brera at Milan, where the Virgin sits on a plain coping not at all high.
Many of the faces that seemed the most pronouncedly Italian, with a Luini smile, or the voluptuous, calm gaze of a Titian, flowers of the Adriatic, or the plains of Lombardy, had blossomed on the shrubs of the North transplanted to the old Latin soil. Whatever colors be spread on the palette of Rome, the color which stands out is always Roman.
Catherine" now at Oxford. Ruskin has never said so much about Luini as, perhaps, he intended. A short notice in the "Cestus of Aglaia," and occasional references scattered up and down his later works, hardly give the prominence in his writings that the painter held in his thoughts. It was about this time that he was made an Hon. Member of the Florentine Academy.
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