BERNARDINO See also:

• BERNARDINO LUINI (?1465-?154o)

LUINI (?1465-?154o)  , the most celebrated See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master of the Lombard school of See also:

• PAINTING

painting founded upon the See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of Leonardo da See also:

• VINCI, LEONARDO (1690-173o)

Vinci, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at Luino, a See also:

• VILLAGE

village on Lago See also:

• MAGGIORE, LAGO (Lacus Verbanus of the Romans; Fr. Lac Majeur; Ger. Langensee)

Maggiore . He wrote his name as " Bernardin Lovino," but the spelling " See also:

• LUINI, BERNARDINO (?1465-?154o)

Luini " is now generally adopted . Few facts are known regarding his See also:

• LIFE

life, and until a comparatively See also:

• RECENT

recent date many even of his See also:

• WORKS

works had, in the See also:

• LAPSE (Lat. lapses, a slip or departure)

lapse of years and laxity of attribution, got assigned to Leonardo da Vinci . It appears that Luini studied painting at See also:

• VERCELLI (anc. Vercellae)

Vercelli under Giovenone, or perhaps under Stephano Scotto . He reached See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan either after the departure of Da Vinci in 15oo, or shortly before that event; it is thus uncertain whether or not the two artists had any See also:

• PERSONAL

personal acquaintance, but Luini was at any See also:

• RATE

rate in the painting-school established in Milan by the See also:

• GREAT

great Florentine . In the later works of Luini a certain See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence from the style of See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael is superadded to that, far more prominent and fundamental, from the style of Leonardo; but there is nothing to show that he ever visited See also:

• ROME
• ROME (Roma)

Rome . His two sons are the only pupils who have with confidence been assigned to him; and even this can scarcely be true of the younger, who was born in 1530, when Bernardino was well advanced in years . Guadenzio See also:

• FERRARI, GAUDENZIO (1484-1549)
• FERRARI, GIUSEPPE (1812–1876)
• FERRARI, PAOLO (1822–1889)

Ferrari has also been termed his See also:

• DISCIPLE

disciple . One of the sons, EN angelista, has See also:

• LEFT

left little which can now be identified; the other, Aurelio, was accomplished in See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective and landscape See also:

• WORK

work . There was likewise a See also:

• BROTHER

brother of Bernardino, named Ambrogio, a competent painter . Bernardino, who hardly ever left See also:

• LOMBARDY

Lombardy, had some merit as a poet, and is said to have composed a See also:

• TREATISE

treatise on painting . The precise date of his See also:

• DEATH

death is unknown; he may perhaps have survived till about 1540 .

A serene, contented and happy mind, naturally expressing itself in forms of See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace and beauty, seems stamped upon all the works of Luini . The same See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character is traceable in his portrait, painted in an upper See also:

• GROUP

group in his See also:

• FRESCO (Ital. for cool, " fresh ")

fresco of " See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ crowned with Thorns " in the Ambrosian library in Milan —a See also:

• VENERABLE (Lat. venerabilis, worthy of reverence, venerari, to reverence, to worship, allied to Venus, love; the Indo-Germ. root is wen-, to desire, whence Eng. " win, properly to struggle for, hence to gain)

venerable bearded personage . The only See also:

• ANECDOTE (from av-, privative, and isSLSwµu, to give out or publish)

anecdote which has been preserved of him tells a similar See also:

• TALE (O.Eng. talu, number, account, story; the word is common to many Teutonic languages; cf. Ger. Zahl, number, Erzahlung, narrative, Du. taal, speech, language)

tale . It is said that for the single figures of See also:

• SAINTS, BATTLE OF THE

saints in the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church at See also:

• SARONNO

Saronno he received a sum equal to 22 francs per See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day, along with See also:

• WINE (Lat. vinum, Gr. oivos)

wine, See also:

• BREAD

bread and lodging; and he was so well satisfied with this remuneration that, in completing the See also:

• COMMISSION (from Lat. commissio, committere)

commission, he painted a Nativity for nothing . A dignified suavity is the most marked characteristic of Luini's works . They are constantly beautiful, with a beauty which depends at least as much upon the loving self-withdrawn expression as upon the See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere refinement and attractiveness of See also:

• FORM (Lat. forma)

form . This quality of expression appears in all Luini's productions, whether See also:

• SECULAR (Lat. saecularis, of or belonging to an age or generation, saeculum)

secular or sacred, and imbues the latter with a peculiarly religious grace—not ecclesiastical See also:

• UNCTION (Lat. unctio, anointing, ungere, unguere, to smear with ointment, to anoint; cf. " ointment," O.Fr. oignement, from oigner, mod. oindre, to anoint)

unction, but the devoutness of the See also:

• HEART
• HEART, LUNG

heart . His heads, while extremely like those painted by Leonardo, have less subtlety and involution and less variety of expression, but fully as much amenity . He began indeed with a somewhat dry style, as in the " Pieta " in the church of the Passione; but this soon See also:

• DEVELOPED

developed into the quality which distinguishes all his most renowned works; although his See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution, especially as regards modelling, was never absolutely equal to that of Leonardo . Luini's paintings do not exhibit an impetuous style of execution, and certainly not a negligent one; yet it appears that he was in fact a very rapid worker, as his picture of the " Crowning with Thorns," painted for the See also:

• COLLEGE (Collegium)

College del S . Sepolcro, and containing a large number of figures, is recorded to have occupied him only See also:

• THIRTY

thirty-eight days, to which an assistant added eleven . His method was See also:

• SIMPLE

simple and expeditious, the shadows being painted with the pure See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour laid on thick, while the See also:

• LIGHTS, CEREMONIAL USE OF

lights are of the same colour thinly used, and mixed with a little See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white .

The frescoes exhibit more freedom of See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand than the oil pictures; and they are on the whole less like the work of Da Vinci, having at an See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early date a certain resem- Luini's colouring is mostly See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich, and his See also:

• LIGHT

light and shade forcible . Among his See also:

• PRINCIPAL

principal works the following are to be mentioned . At Saronno are frescoes painted towards 1525, representing the life of the Madonna—her " See also:

• MARRIAGE

Marriage," the " Presentation of the See also:

• INFANT (in early forms enfaunt, enfant, through the Fr. enfant, from Lat. infans, in, not, and fans, the present participle of fari, to speak)

Infant Saviour in the See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

Temple," the See also:

• ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

Adoration of the Magi " and other incidents . His own portrait appears in the subject of the youthful " Jesus with the Doctors in the Temple." This See also:

• SERIES (a Latin word from serere, to join)

series—in which some comparatively archaic details occur, such as gilded nimbuses—was partly repeated from one which Luini had executed towards 1520 in S . Croce . In the Brera See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, Milan, are frescoes from the suppressed church of La See also:

• PACE (through O. Fr. pas, from Lat. passus, step, properly the stretch of the leg in walking, from pandere, to stretch)
• PACE, RICHARD (c. 1482-1536)

Pace and the See also:

• CONVENT (Lat. conventus, from convenire, to come together)

Convent della Pelucca—the former treating subjects from the life of the Virgin, the latter, of a classic See also:

• KIND (O. E. ge-cynde, from the same root as is seen in " kin," supra)

kind, more decorative in manner . The subject of girls playing at the See also:

• GAME

game of " hot-cockles," and that of three angels depositing St See also:

• CATHERINE
• CATHERINE, SAINT

Catherine in her See also:

• SEPULCHRE, CANONS REGULAR OF THE HOLY
• SEPULCHRE, EASTER
• SEPULCHRE, THE HOLY

sepulchre, are particularly memorable, each of them a work of perfect See also:

• CHARM (through the Fr. from the Lat. carmen, a song)

charm and grace in its way . In the Casa See also:

• SILVA, ANTONIO JOSE DA (1705–1739)

Silva, Milan, are frescoes from See also:

• OVID [PUBLIUS OvID1us NASO] (43 B.C.–A.D. 17)

Ovid's Metamorphoses . The Monastero Maggiore of Milan (or church of S . Maurizio) is a See also:

• NOBLE, SIR ANDREW (1832- )

noble treasure-See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house of Luini's See also:

• ART

art—including a large Crucifixion, with about one See also:

• HUNDRED

hundred and See also:

• FORTY

forty figures; " Christ See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound to the See also:

• COLUMN (Lat. columna)

Column," between figures of Saints Catherine and See also:

• STEPHEN
• STEPHEN (1097?-1154)
• STEPHEN (ISTVAN) BATHORY (1533-1586)
• STEPHEN, SIR JAMES (1789-1859)
• STEPHEN, SIR JAMES FITZJAMES, BART
• STEPHEN, SIR LESLIE (1832-1904)

Stephen, and the founder of the See also:

• CHAPEL

chapel kneeling before Catherine; the martyrdom of this See also:

• SAINT (lat. sanctus, " holy ")

saint; the " Entombment of Christ," and a large number of other subjects . In the Ambrosian library is the fresco (already mentioned), covering one entire See also:

• WALL (O. Eng. weal, weall, Mid. Eng. wal, wane, adapted from Lat. vallum, rampart; the original O. Eng. word for a wall was wag or tenth)
• WALL, RICHARD (1694-1778)

wall of the See also:

• SALA, GEORGE AUGUSTUS HENRY (1828-1895)

Sala della S . See also:

• CORONA (Lat. for " crown ")

Corona, of " Christ crowned with Thorns," with two executioners, and on each See also:

• SIDE
• SIDE (mod. Eski Adalia)

side six members of a confraternity; in the same See also:

• BUILDING

building the " Infant Baptist playing with a See also:

• LAMB (a word common to Teutonic languages; cf. Ger. Lamm)
• LAMB, CHARLES (1775–1834)

Lamb "; in ,the Brera, the " Virgin Enthroned, with Saints (dated 1521); in the Louvre, the " Daughter of Herodias receiving the See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

Head of the Baptist " i in the Esterhazy Gallery, See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna, the " Virgin between .

Saints Catherine and See also:

• BARBARA, SAINT

Barbara "; in the See also:

• NATIONAL

National Gallery, See also:

• LONDON

London, " Christ disputing with the Doctors " (or rather, perhaps, the See also:

• PHARISEES

Pharisees) . Many or most of these gallery pictures used to pass for the handiwork of Da Vinci . The same is the See also:

• CASE
• CASE, JOHN (d. 1600)

case with the highly celebrated " Vanity and Modesty " in the Sciarra See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

Palace, Rome, which also may nevertheless in all See also:

• PROBABILITY (Lat. probabilis, probable or credible)

probability be assigned to Luini . Another singularly beautiful picture by him is in the Royal Palace in Milan—a large See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition of " See also:

• WOMEN

Women Bathing." That Luini was also pre-eminent as a decorative artist is shown by his works in the Certosa of See also:

• PAVIA (anc. Ticinum, q.v.)

Pavia . A See also:

• GOOD, JOHN MASON (1764-1827)

good See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of Luini by Dr G . C . See also:

• WILLIAMSON, ALEXANDER WILLIAM (1824–1904)
• WILLIAMSON, SIR JOSEPH (1633–1701)
• WILLIAMSON, WILLIAM CRAWFORD (18r6–1895)

Williamson was published in 1900 . (W . M .