ture of the earlier Renaissance
from the Gothic style. They are gargoyles; but they have lost the
grotesque element. At the same time the sculptor, while discarding
Gothic tradition, has not betaken himself yet to a servile imitation
of the antique. He has used invention, and substituted for grinning
dragons' heads something wild and bizarre of his own in harmony with
classic taste.

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 Pieta above, are thoroughly Lombard, showing how Luini's ideal of
beauty could be expressed in carving. Some of the choicest figures in
the Monastero Maggiore at Milan seem to have descended from the walls
and stepped into their tabernacles on this altar. Yet the style is not
maintained consistently. In the reliefs illustrating the life of S.
Abondio we miss Luini's childlike grace, and find instead a something
that reminds us of Donatello--a seeking after the classical in dress,
carriage, and grouping of accessory figures. It may have been that the
carver, recognising Luini's defective composition, and finding nothing
in that master's manner adapted to the spirit of relief, had the good
taste to render what was Luinesquely lovely in his female figures, and
to fall back on a severer model for his basreliefs.

The building-fund for the Duomo was raised in Como and its districts.
Boxes were placed in all the churches to receive the alms of those who
wished to aid the work. The clergy begged in Lent, and preached the
duty of contributing on special days. Presents of lime and bricks
and other materials were thankfully received. Bishops, canons, and
municipal magistrates were expected to make costly gifts on taking
office. Notaries, under