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MASTERPIECES IN COLOUR

EDITED BY--T. LEMAN HARE


BERNARDINO LUINI




IN THE SAME SERIES

    ARTIST.             AUTHOR.
  VELAZQUEZ.          S. L. BENSUSAN.
  REYNOLDS.           S. L. BENSUSAN.
  TURNER.             C. LEWIS HIND.
  ROMNEY.             C. LEWIS HIND.
  GREUZE.             ALYS EYRE MACKLIN.
  BOTTICELLI.         HENRY B. BINNS.
  ROSSETTI.           LUCIEN PISSARRO.
  BELLINI.            GEORGE HAY.
  FRA ANGELICO.       JAMES MASON.
  REMBRANDT.          JOSEF ISRAELS.
  LEIGHTON.           A. LYS BALDRY.
  RAPHAEL.            PAUL G. KONODY.
  HOLMAN HUNT.        MARY E. COLERIDGE.
  TITIAN.             S. L. BENSUSAN.
  MILLAIS.            A. LYS BALDRY.
  CARLO DOLCI.        GEORGE HAY.
  GAINSBOROUGH.       MAX ROTHSCHILD.
  TINTORETTO.         S. L. BENSUSAN.
  LUINI.              JAMES MASON.
  FRANZ HALS.         EDGCUMBE STALEY.

_In Preparation_

  VAN DYCK.           PERCY M. TURNER.
  WHISTLER.           T. MARTIN WOOD.
  LEONARDO DA VINCI.  M. W. BROCKWELL.
  RUBENS.             S. L. BENSUSAN.
  BURNE-JONES.        A. LYS BALDRY.
  J. F. MILLET.       PERCY M. TURNER.
  CHARDIN.            PAUL G. KONODY.
  FRAGONARD.          C. HALDANE MACFALL.
  HOLBEIN.            S. L. BENSUSAN.
  BOUCHER.            C. HALDANE MACFALL.
  VIGEE LE BRUN.      C. HALDANE MACFALL.
  WATTEAU.            C. LEWIS HIND.
  MURILLO.            S. L. BENSUSAN.

AND OTHERS.




[Illustration: PLATE I.--MADONNA AND CHILD. Frontispiece

(In the Wallace Collection)

This is another admirably painted study of the artist's favourite
subject. The attitude of the child is most engaging, the painting of
the limbs is full of skill, and the background adds considerably to
the picture's attractions. It will be noted that Luini appears to have
employed the same model for most of his studies of the Madonna.]




Bernardino LUINI

BY JAMES MASON

ILLUSTRATED WITH EIGHT REPRODUCTIONS IN COLOUR


[Illustration]


LONDON: T. C. & E. C. JACK

NEW YORK: FREDERICK A. STOKES CO.




LIST OF ILLUSTRATIONS


  Plate
     I. Madonna and Child                     Frontispiece
          In the Wallace Collection
                                                      Page
    II. Il Salvatore                                    14
          In the Ambrosiana, Milan

   III. Salome and the Head of St. John the Baptist     24
          In the Uffizi Gallery, Florence

    IV. The Mystic Marriage of St. Catherine            34
          In the Brera, Milan

     V. The Madonna of the Rose                         40
          In the Brera, Milan

    VI. Detail of Fresco                                50
          In the Brera, Milan

   VII. Head of Virgin                                  60
          In the Ambrosiana, Milan

  VIII. Burial of St. Catherine                         70
          In the Brera, Milan




[Illustration]

I

A RETROSPECT


In the beginning of the long and fascinating history of Italian Art we
see that the spirit of the Renaissance first fluttered over the minds
of men much as the spirit of life is said have moved over the face of
the waters before the first chapter of creation's marvellous story was
written. Beginnings were small, progress was slow, and the lives of
the great artists moved very unevenly to their appointed end.

There were some who rose to fame and fortune during their life, and
then died so completely that no biography can hope to rouse any
interest in their work among succeeding generations.

There were others who worked in silence and without _reclame_ of any
sort, content with the respect and esteem of those with whom they came
into immediate contact, indifferent to the plaudits of the crowd or