391] In the Brera. See also the Madonna, with Infant Christ, S. John,
and a Lamb, at Lugano.

[392] Side chapel of S. Maurizio at Milan. These frescoes are, in my
opinion, Luini's very best. The whole church is a wonderful monument of
Lombard art.

[393] "Crucifixion" at Lugano.

[394] See, for example, the oil-paintings in the cathedral of Como, so
fascinating in their details, so lame in composition.

[395] In the Brera.

[396] Frescoes at Saronno and in the Sacro Monte at Varallo.

[397] The whole lake-district of Italy, where the valleys of Monte Rosa
and the Simplon descend upon the plain of Lombardy, is rich in works of
this school. At Luino and Lugano, on the island of San Giulio, and in the
hill-set chapels of the Val Sesia, may be found traces of frescoes of
incomparable beauty. One of these sites deserves special mention. Just at
the point where the pathway of the Colma leaves the chestnut groves and
meadows to join the road leading to Varallo, there stands a little
chapel, with an open loggia of round Renaissance arches, designed and
painted, according to tradition, by Ferrari, and without doubt
representative of his manner. The harmony between its colours, so mellow
in their ruin, its graceful arcades and quiet roofing, and the glowing
tones of those granite mountains, with their wealth of vineyards, and
their forests of immemorial chestnut trees, is perfect beyond words.

[398] This, the last of the Stanze, was only in part designed by Raphael.
In spite of what I have said above, the "Battle of Constantine," planned
by Raphael, and executed by Giulio, is a grand example of a pupil's power
to carry out his master's scheme.

[399] Baroccio had great authority at Florence in the seventeenth
century, when the cult of Correggio had overspread all Italy.

[400] Pitti Palace.

[401] Franciabigio's and Rosso's frescoes stand beside Del Sarto's in the
atrium of the Annunziata at Florence. Pontormo's portraits of Cosimo and
Lorenzo de' Medici in the Uffizzi, though painted from busts and
medallions, have a real historical value.

[402] The "Christ in Limbo" in S. Lorenzo at Florence, and the detestable
picture of "Time, Beauty, Love, and Folly," in our National Gallery.

[403] _Opere Burlesche_, vol. iii. pp. 39-46.

[404] Near Siena. These pictures are a series of twenty-four subjects
from the life of S. Benedict.

[405] In the church of S. Domenico, Siena.

[406] In the Uffizzi. See also Sodoma's