The Works Of Bernardino Luini
( Originally Published 1907 )
DESCRIPTIONS OF THE PLATES
'THE MADONNA OF THE ROSE-HEDGE' PLATE I
THIS picture, one of Luini's loveliest productions, was painted between 1515 and 1520 for the Certosa of Pavia. Early in the nineteenth century it was sold by the monks of that place to a private owner, and in 1825 was purchased from him for the Brera Gallery, Milan, where it now hangs.
In the general character of its technique the influence of Leonardo is apparent in this work, but the type of the Madonna, and still more the face of the Child, with its "expressive and far-seeing eyes," recalls rather the Madonna pictures of Raphael.
The Virgin, clad in a red robe, is seated in front of a trellis covered with white roses. A blue mantle is draped over her fair hair. "The sweet humility of her expression and the natural movement of the Child, turning to pick the columbine in the flower-pot at his side," writes Julia Cartwright, "are alike characteristic of Luini, whose perfect taste rarely fails to lend distinction to his conception, and of whom Mr. Ruskin has said with truth that he has left nothing behind him that is not lovely.'
PORTRAIT OF A LADY' PLATE II
IN his recent monograph on Luini, Dr. Williamson enumerates three portraits, and three only, by the hand of that artist,—`La Columbina,' of which a reproduction is given in the present number, a slightly tinted drawing of a woman in the Albertina, Vienna, and this `Portrait of a Lady' in Mr. R. H. Benson's collection, London.
It is not known whom this carefully painted portrait represents. The lady wears a dark gray gown with white embroidered chemisette and yellow head-dress. In her right hand is a marten, and with her left hand she touches a long necklace to which a jeweled cross is attached. A green curtain forms the background.
"The work is an altogether unexpected revelation on the part of Luini," writes Signor Frizzoni, "but in the noble bearing, in the smile which seems to us like a reflection of Leonardo's `Mona Lisa,' yes, even in the somewhat awkward arrangement of the fingers of his beautiful model, we recognize that this is unmistakably a genuine Luini."
'THE HOLY FAMILY' PLATE III
IN this panel-picture, painted in fresco, Luini has represented the Madonna standing with outstretched arms, infolding in her mantle the infant Jesus and St. John, who, seated on a parapet in the foreground of the picture, are embracing one another. Beside the Madonna is a tall flowering lily such as Luini frequently introduced into his compositions, and against the dark and shadowy background is the figure of St. Joseph, leaning upon a staff. The whole work is full of that tender pathos especially characteristic of Luini's Madonna pictures, which perhaps more than any others are like melodies and "create a mood."
The picture was sent by Philip IV. of Spain to the monastery of the Escorial, and was later removed to the Prado Gallery, Madrid, where it now hangs.
'ST. CATHERINE AND TWO ANGELS' PLATE IV
ST. CATHERINE of Alexandria was a favorite subject with all the artists of the Lombard school, and Luini has repeatedly represented various incidents in the life of this virgin saint. In the inner chapel of the Church of San Maurizio, Milan, he painted two frescos depicting her martyrdom; at Saronno we find her figure in one of the niches of the church; among his easel-pictures are two representing her mystic marriage, and others in which she is introduced as attendant upon the Madonna; and again, he has shown her borne by angels to her tomb (plate x). In the picture which is here reproduced we see her richly robed in red, and holding in her hands the book expressive of learning and eloquence, of which she was the patron saint. A light gauzy drapery is over her shoulders, and jasmine flowers, like stars, adorn her hair. Child angels stand on either side of her, one holding a palm and the other a wheel, emblems of her martyrdom.
This picture belonged originally to the Duke of Medina, and then passed into the possession of the kings of France. Subsequently it was at Malmaison, the residence of the Empress Josephine, and in 1815 was acquired by the Hermitage Gallery, St. Petersburg, where it now hangs.
'THE CRUCIFIXION' [DETAIL] PLATE V
LUINI'S vast fresco of `The Crucifixion,' of which the central portion is here reproduced, covers the whole screen before the choir in the Church of Santa Maria degli Angeli at Lugano, a space which measures some fifty feet broad by twenty-five feet high. It bears the date 1529, and is one of the last as well as the greatest of the artist's works. Unfortunately, it has suffered sadly from the ravages of time, and its originally rich colors have become blackened, and in some places effaced, by smoke and incense.
It has been said that in this celebrated fresco all Luini's virtues and his one great fault—failure in composition—are manifested. But although the work is far too crowded as a composition, and so lacking in unity that the spectator at first feels lost in the complexities of its design, the beauty of the single groups is so striking, and the devotional spirit which inspired the artist so marked that the picture cannot fail to be profoundly impressive.
In the center stands the lofty cross on which the Saviour hangs, a crucified thief is on either side, while crowds of men, women, and children, soldiers and horses, stand around. The air above is filled with groups of sorrowing angels which hover about the (lying Christ; and in the distance, on a raised plateau, the consecutive events of the Passion are depicted.
Still farther beyond stretches a hilly landscape with a view of the town of Lugano and the church which contains the fresco. The style of the picture is, as Mr. J. Beavington-Atkinson has said, "a little out of keeping with its chronology. It survives, indeed, as the last masterwork which succeeds in reconciling the spirituality of the earliest Christian period with the perfect physical development of the Italian Renaissance."
The part of the fresco that is here reproduced represents the group of figures at the foot of the cross. In the centre stands Joseph of Arimathea bearing the vessel of vinegar in which a sponge has just been dipped. Near him is St. John, a figure full of beauty and pathos, standing with one hand upon his breast, his gaze upturned to Christ. In front are the soldiers disputing over the garments of the Saviour, and behind is the centurion on horseback, whose face is said to be a likeness of the artist. To the extreme left the Madonna is seen swooning in the arms of the holy women, and at the foot of the cross kneels Mary Magdalene, richly dressed, her arms passionately outstretched, her head raised to the Redeemer, her long hair falling in golden waves over her shoulders. "A sublime figure," Monsieur Gauthiez calls her, and Symonds says that in this kneeling Magdalene Luini more nearly approached a dramatic motive than anywhere else in the whole range of his art.
'THE DAUGHTER OF HERODIAS' PLATE VI
"SALOME, the daughter of Herodias, was often selected by painters as the theme of their pictures because of her traditional beauty," writes Signor Frizzoni, "and we know that this subject was treated by Luini at least four times. One of these works is in Florence, another in Milan, a third in Paris, and a fourth hangs in the Imperial Gallery, Vienna. In all four versions Salome's cold beauty, her regular features and rippling golden hair, are contrasted with the tragic spectacle offered by the severed head of John the Baptist."
The Vienna version, formerly attributed to Leonardo da Vinci, is here re-produced. Salome is holding a silver dish upon which lies the head of St. John, with its calm, peaceful face and long, dark, curling locks. Behind Salome is seen the executioner.
"Salome differs in features in each version of the subject," writes Dr. Williamson; "but her style of dress, her full bosom, only partially hidden by the undergarment, her long, rich, waving hair confined by a fillet, are similar in each picture. She is a beautiful, sensuous, and voluptuous woman, devoid of sympathy or tenderness,—characteristics which are marked not only in her face, but in her form and hands."
"LA COLUMBINA" PLATE VII
THIS celebrated picture has long been a subject of dispute among the critics. As was the case with so many of Luini's works, it was for many years ascribed to Leonardo da Vinci, an attribution which in this case seemed a natural one, owing to the fact that the face of the lady in `La Columbina' bears a close resemblance to that of the Virgin in Leonardo's great cartoon of St. Anne in the Royal Academy, London. Mr. Claude Phillips, who calls `La Columbina' "a puzzle," suggests that the reason of its indisputable fascination is that in its composition some drawing of Da Vinci's has been closely followed. Crowe and Cavalcaselle, however, pronounce the picture to be the work of Solario; Morelli attributes it to Gianpetrino; in the Hermitage Gallery, St. Petersburg, where it now hangs, it is catalogued under the name of Francesco Melzi; while Dr. 'Williamson, his latest biographer, unhesitatingly gives the work to Luini. It is the original of the well-known painting called `La Columbina,' or `Flora,' or `Vanity,' which in 1649 was in the collection of Marie de Médicis, and after passing through various hands, was acquired in 1850 by the Hermitage Gallery, for the sum of 40,000 florins. Three ancient copies of the picture are in private collections in England.
`La Columbina' represents a young woman, probably some Milanese beauty, idealized after the Leonardesque fashion, dressed in a white gown embroidered in yellow, and with a blue mantle thrown over one shoulder. In her lap are white jasmines, and in her left hand she holds the spray of columbine that gives the picture its title. "The face is thoroughly Luini's," writes Dr. 'Williamson, "and resembles his Madonna faces, especially about the eyes. The posture of the hand holding the columbine so daintily is very characteristic, and Luini loved to express feeling, as is done in this case, by pose and gesture. The hands themselves and their wrists are very Luinesque, the parting of the hair, the dress, the falling of the draperies, and the gathered-up flowers in the lap all bespeak the same hand, but the flowers and fern in the background appear to have been added by another."
'ADORATION OF THE MAGI' PLATE VIII
IN the pilgrimage church of Saronno, Il Santuario della Vergine, as it is called, Luini painted a series of frescos representing incidents from the life of the Virgin. The fourth in this series, the `Adoration of the Magi,' is here reproduced.
The subject was a popular one with the Milanese because of a tradition that an archbishop of their city, St. Eustorgius, who lived in the fourth century, had brought to Milan the bodies of the three kings who had journeyed to Bethlehem to worship the new-born Christ, and deposited the precious relics in a large sarcophagus in the church, which still bears the archbishop's name. After many years, however, when Milan was captured by Frederick Barbarossa, in 1162, the bones of the three kings were carried off by the conqueror and enshrined in the city of Cologne, but the Church of St. Eustorgius, in Milan, where they had reposed for centuries, was still regarded as a holy spot, and continued to be the favorite shrine of the faithful.
Luini painted the subject of the `Adoration of the Magi' again and again, and never more successfully than in the pilgrimage church of Saronno. He has observed the traditional ordering of the subject. The scene is laid out-of-doors. The Virgin, young and beautiful with a beauty as far removed from the slender and somewhat angular type of the fifteenth-century masters as from the massive figures already coming into vogue in the Roman school, is clad in a pale blue mantle and pink robe. Seated in front of a ruined stable, she presents the Holy Child to the three strange kings who have come from afar to worship him. One of these, an old man with a long white beard, kneels before the Mother and Child with clasped hands, the folds of his orange-colored mantle falling about him. The second king, cap in one hand and golden chalice in the other, kneels on the left of the Virgin, and the third, a Moor, richly dressed and wearing a gold crown upon his white turban, is at the right. St. Joseph, his hand uplifted in thanksgiving, stands near; various attendants of the kings are grouped around; and in the distance a long train of riders leading camels and a giraffe slowly descends the road that winds among the hills. The star of the east is in mid-air, and in the clouds above is a choir of five little angels singing the "Gloria in Excelsis from a scroll held in their hands.
"This version of the oft-repeated subject," writes Julia Cartwright, "is remarkable alike for the freshness and originality of the conception and for the brilliancy of the execution. It unites the splendor and festive gaiety of the Renaissance with that tender and reverent feeling that marks all Luini's works."
'MADONNA AND CHILD' PLATE IX
THIS picture, which, it is said, Luini painted for a convent of nuns, is now in the Layard Collection, Venice. It is a beautiful example of that art defined by Mr. Selwyn Brinton as "not reflective, nor introspective, nor subtly intellectual, as was that of Leonardo, but sweet, open, steeped in the sense of beauty, deeply devotional, and always entirely fascinating."
The Child, clad in a little embroidered tunic, stands on a parapet holding an apple in one hand, while the other arm is around the neck of his mother, who, with her right arm placed protectingly about him, gazes at him with a look in which is seen that presentiment of coming sorrow which the artist so often expressed in the faces of his Madonnas.
This picture, and one similar to it in the Louvre, contain almost the only representations of the Madonna by Luini in which the eyes are fully seen. Usually he painted her with lowered eyelids, and frequently with a veil covering a portion of her forehead.
'THE BURIAL OF ST. CATHERINE' PLATE X
"AND when St. Catherine was dead," says the legend, "angels came and took her body, and carried it over the desert, and over the Red Sea, till they deposited it on the summit of Mt. Sinai. There it rested in a marble sarcophagus." It is this scene which is represented in this early fresco by Luini, painted originally for the Casa Pelucca, near Monza, and now in the Brera Gallery, Milan. The fresco was executed, so the story goes, while Luini was living at the Casa Pelucca, whither (as is related in the foregoing life) he had fled for protection when charged with having caused the death of a priest who had fallen from a scaffold where the painter was at work. It was during this sojourn that Luini fell in love with Laura Pelucca; and tradition has it that the St. Catherine of the fresco bears her likeness.
Exquisitely perfect in design, sentiment, and workmanship, Luini never exceeded the mystic beauty of this decorative fresco. The colors of the draperies are green, red, yellow, and brownish-purple, shaded with darker hues of the same tints. The angel in the center has fair hair, the others auburn, bound in each case with gold fillets. Gold is also introduced in the nimbuses and borders of the robes.
"Luini not only knew how to create the most poetic figures," writes Eugène Müntz, "but excelled also, as in `The Burial of St. Catherine,' in the invention of themes as picturesque as they were original. In the lower part of this fresco is the sarcophagus, adorned with bas-reliefs representing mermaids, and inscribed with the letters `c. v. s. x.'—Caterina Virgo Sponsa Christi. In the air are three angels who bear with tender care the body of the young saint, chastely wrapped in its long draperies. The plastic simplicity of this group, its harmony, its rhythm, defy all analysis, and class Luini in the first rank of Italian painters. I do not hesitate to say that Leonardo himself could not have given to one of his compositions such clearness, such grace of outline, and so decorative an arrangement."
Rio says of this work: "It is a truly heavenly inspiration, and may be compared with the most perfect productions of mystic art in Tuscany and Umbria. I doubt if even the beatific painter of Fiesole, Fra Angelico, through the prism of his celestial visions, ever dreamed of a figure more lovely than that of St. Catherine borne by angels to her tomb on Mt. Sinai."
A LIST OF THE PRINCIPAL PAINTINGS BY LUINI WITH THEIR PRESENT LOCATIONS
AUSTRIA. BUDAPEST GALLERY; Holy Family; Madonna and Child—VIENNA, IMPERIAL GALLERY: The Daughter of Herodias (Plate vi)—VIENNA, CZERNIN GALLERY: Madonna and Child—ENGLAND. ASHRIDGE PARK, EARL BROWNLOW'S COLLECTION: Madonna with Saints and Donor (fresco)— BRIGHTON, COLLECTION OF THE MISSES COHEN: Head of Christ—KNUTSFORD, COLLECTION OF COLONEL A. CORNWALL LEGH: Marriage of St. Catherine—LONDON, NATIONAL GALLERY: Christ Disputing with the Doctors—LONDON, SOUTH KENSINGTON MUSEUM: Two figures of Saints (fresco); The Ascension (fresco)— LONDON, WALLACE COLLECTION: Madonna and Child (his); A Child-genius holding Grapes (fresco)—LONDON, COLLECTION OF DR. ABERCROMBIE: Five frescos—LONDON, COLLECTION OF R. H. BENSON, EsQ: Portrait of a Lady (Plate II); The Nativity; Three Panels of a Predella—LONDON, DORCHESTER House: 'La Columbina' —LONDON, SIR WILLIAM FARRER' S COLLECTION: Three Angels—LONDON, HYDE PARK HOUSE: Madonna, Child, and Saints—LONDON, LANSDOWNE HOUSE: Lady with a Vase—LONDON, COLLECTION OF LUDWIG MOND, EsQ: Madonna, Child, and St. John; St. Catherine of Alexandria and Angels; VenuS—MAIDENHEAD, COLLECTION OF W. H. GRENFELL, ESQ: Holy Family—PETERBOROUGH, COUNTESS OF CARYFORT'S COLLECTION: Boy with a Toy—RICHMOND, SIR FRANCIS COOK'S COLLECTION: Madonna with St. George—STRATTON PARK, EARL OF NORTHBROOK'S COLLECTION: Madonna —FRANCE. CHANTILLY, CONDÉ MUSEUM: Infant Christ; Two Heads (frescos)—PARIS, LOUVRE: Holy Family; Infant Jesus Asleep; The Daughter of Herodias; Vulcan's Forge (fresco); The Nativity (fresco); Adoration of the Magi (fresco); Annunciation (fresco); Christ (fresco); Child seated (fresco); Child kneeling (fresco); Head of a Girl (fresco)—PARIS, COLLECTION OF SIGNOR E. CERNUSCHI: Fragments of frescos from Casa Pelucca—PARIS, COLLECTION OF MONSIEUR DE REIZEL: Infant Christ—PARIS, COLLECTION OF BARON EDMOND DE ROTHSCHILD: Martha and Mary Magdalene—PARIS, BARON ALPHONSE DE ROTHSCHILD'S COLLECTION: Madonna and Child—GERMANY. BERLIN GALLERY: Madonna and Child—ITALY. BERGAMO, LOCHIS COLLECTION: The Nativity—BERGAMO, MORELLI COLLECTION: Madonna, Child, and St. John—Como, CATHEDRAL: The Nativity; Adoration of the Magi; Madonna and Saints; St. Sebastian; St. Christopher—FLORENCE, PITTI PALACE: Magdalene; St. Catherine; Woman's Head—FLORENCE, UFFIZI GALLERY: Holy Family; Beheading of John the Baptist; The Daughter of Herodias —LEGNAN 0, CHURCH OF SAN MAGNO: Altar-piece of Madonna and Saints-Lu-INO, CHURCH OF SAN PIETRO: Adoration of the Magi (fresco); St. Peter (fresco) —MILAN, BRERA GALLERY: Virgin, Child, and St. John with a Lamb (fresco); St. Joseph and the Virgin (fresco); Child crowned with Laurel (fresco); Girls playing at Forfeits (fresco); Young Woman (fresco); Two Jesters (fresco); Flying Angel (fresco); Head of a Woman (fresco); St. Joseph chosen as the Spouse of the Virgin (fresco); The Redeemer (fresco); The Résurrection (fresco); St. Ursula (fresco); Angels Playing the Timbrel (fresco); St. Thomas Aquinas (fresco); The Visitation (fresco); Presentation of the Virgin (fresco); Apollo and Daphne (fresco); Habakkuk and the Angel (fresco); Two Angels in Adoration (frescos); Two Heads of Men (frescos); Virgin and Saints (fresco); Birth of the Virgin (fresco); God the Father (fresco); Meeting of Joachim and Anna (fresco); Burial of St. Catherine (fresco) (Plate x); Angel with Incense-boat (fresco); St. Marcella (fresco); Sacrifice to Pan (fresco); Education of the Virgin (fresco); St. Martha (fresco); Angel with Censer (fresco); Presentation of the Virgin (fresco); Israelites leaving Egypt (fresco); Dream of St. Joseph (fresco); Madonna, Child, and Saints (fresco); Madonna, Child, and St. Anne (fresco); Birth of Adonis (fresco); Noah derided by Ham; Madonna of the Rose-hedge (Plate I); Madonna and Child—MILAN, AMBROSIAN LIBRARY: The Crowning with Thorns (fresco); Holy Family; Christ in Benediction; John the Baptist with a Lamb—MILAN, MusEO BoRROMEO: The Chaste Susanna; Madonna; Madonna and Saints; The Daughter of Herodias—MILAN, PALAllO REALE: Fifteen frescos from Casa Pelucca— MILAN, CHURCH OF SAN MAURIZIO: [ALTAR-SCREEN] Figures of Saints, Kneeling Donors, Assumption of the Virgin, King Sigismond presenting the Church to St. Maurice, Martyrdom of st. Maurice (frescos); [CHAPEL] Christ bound to the Column (fresco); [NUN'S CHOIR] Scenes from the Life of Christ (frescos); St. Apollonia, St. Lucy, St. Catherine, St. Agnes, St. Sebastian, St. Roch (frescos)—MILAN, CHURCH OF SANTA MARIA DELLE GRAZIE: Madonna, Saints, and Donor (fresco)— MILAN, CHURCH OF SAN GIORGIO AL PALAllO: Entomb-ment and Crowning with Thorns, Scourging and Ecce Homo, Crucifixion (frescos)—MILAN, POLDI PEZZOLI MUSEUM: Marriage of St. Catherine; Tobit and the Angel; St. Jerome; Adoration of the Christ-child — MILAN, PALAllO SCOTTI : Madonna and Saints —MONZA, CATHEDRAL: St. Gerard—NAPLES MUSEUM: Madonna and Child; John the Baptist—PAVIA, CERTOSA: Madonna and Child (fresco); St. Sebastian and St. Christopher (fresco) —PONTE IN THE VALTELLINA,CHURCH: St. Mary and St. Martin (fresco)—ROME, ALBANI PALACE: Madonna and Child—SARONNO, SANTUARIO DELLA VERGINE: Marriage of the Virgin (fresco); Christ disputing with the Doctors (fresco); Adoration of the Magi (fresco) (Plate VIII); The Nativity (fresco); St. Apollonia, St. Catherine, St. Roch, and St. Sebastian (frescos)—VENICE, LAYARD COLLECTION: Madonna and Child (Plate IX)—RUSSIA. ST. PETERSBURG, HERMITAGE GALLERY: St. Catherine and Two Angels (Plate Iv); St. Sebastian; 'La Columbina' (Plate vu)—SCOTLAND. Duxs, LANGTON HousE: The Annunciation—SPAIN. MADRID, THE PRADO: Holy Family (fresco) (Plate Ill); The Daughter of Herodias; The Christ-child and St. John (fresco)— SWITZERLAND. LUGANO, CHURCH OF SANTA MARIA DEGLr ANGELS: The Crucifixion (fresco) (see Plate v); St. Sebastian and St. Roch (frescos); The Last Supper; Madonna, Child, and St. John—WALES. CARDIFF, LORD WINDSOR'S COLLECTION: The Nativity.
A LIST OF THE PRINCIPAL BOOKS AND MAGAZINE ARTICLES DEALING WITH LUINI
ALEXANDRE, A. Histoire populaire de la peinture. (Paris, 1894) —BLANC, C. Histoire des peintres de toutes les écoles: école italienne. (Paris, 1876)—BRINTON, S. The Renaissance in Italian Art. (London, 1900)—BRUN, C. 'Bernardino Luini' in Dohme's Kunst und Künstler, etc. (Leipsic, 1879)—BURCKHARDT, J. Der Cicerone, edited by Bode. (Leipsic, 1898)— CARTWRIGHT, J. Christ and His Mother in Italian Art. (London, 1897)—COINDET, J. Histoire de la peinture en Italie. (Paris,' 861) — CROWE, J. A., AND CAVALCASELLE, G. B. History of Painting in North Italy. (London, 1871) —EASTLAKE, C. L. The Brera Gallery. London, 1883. —FRIZZONI, G. Arte italiana del rinascimento. (Milan, 1891)—KUGLER, F. T. Italian Schools of Painting. Revised by A. H. Layard. (London, 1900)—KUHN, P. A. Allgemeine Kunst-Geschichte. (Einsiedeln, 1891 et seq.)—LAFENESTRE, G. Maîtres anciens. (Paris, 1882). —LANZI, L. The History of Painting in Italy: Trans. by T. Roscoe. (London, 1828)—LOMAllO, G. P. Trattato dell' arte della pittura, scultura, ed architettura. (Rome, 1844)--MESNARD, L. Trois études sur l'art chrétien. (Grenoble, 1875)—MONGERI, G. L'arte in Milan. (Milan, 1 87z) — MORELLI, G. Italian Masters in German Galleries: Trans. by Louise M. Richter. (London, 1883)—MORELLI, G. Italian Painters: Trans. by C. J. Ffoulkes. (London, 1892-93)—MUNTZ, E. Histoire de l'art pendant la Renaissance. (Paris,1895) —RIO, A. F. De l'art chrétien. (Paris, 1861). Léonard de Vinci et son école. (Paris, 1855)-RUSKIN, J. Queen of the Air. (London, 1869)-STILLMAN, W. J. Old Italian Masters. (New York, 1892)—SYMONDS, J. A. Renaissance in Italy. (London, 1897) —THAUSING, M. Wiener Kunstbriefe. (Leipsic, 1884)—VASARI, G. Le Vite dei più eccellenti pittori. (Florence, 1568)—VENTURI, A. La Madonna. (Milan, 1900)—WILLIAMSON, G. C. Bernardino Luini. (London,1899)—WOLTMANN, A., AND WOERMANN, K. History of Painting: Trans. by Clara Bell. (New York, 1895).
ARCHIVIO STORICO DELL'ARTE, 1890] Museo Borromeo in Milano (G.Frizzoni). 1895: Bernardino Luini e la Pelucca (Luca Beltrami)—ARCHIVIO STORICO LOMBARDO, 1876: Postille (G. Mongeri) —ARTE, 1900: I quadri di scuola italiana nella Galleria Nazionale di Budapest (A. Venturi)—ART JOURNAL, 19o': The Wallace Collection, the Italian Pictures (C. Phillips)—GAZETTE DES BEAUX-ARTS, 1869 and 1870: Bernardino Luini (Georges Lafenestre). 1898 : Exposition de maitres de l' école lombarde (G. Frizzoni). 1899 and 1900: Notes sur Bernardino Luini (P. Gauthiez)—MAGAZINE OF ART, 1883: The Lugano Frescoes (C. Duncan). 1900: Gems of the Wallace Collection (M. H. Spielmann). 1901: Triptych by Luini at Legnano (G. C. Williamson)—PORTFOLIO, 1886: Lugano, Luino, and the Painter Bernardino Luini (J. Beavington-Atkinson)—UNIVERSAL REVIEW, 189o: The Painter Bernardino Luini (F. W. Farrar) —ZEITSCHRIFT FÜR BILDENDE KUNST, 1878: Die Fresken Luini's in S. Maurizio Zu Mailand (C. Brun). 1879: Luini's Passion in S. Maria degli Angeli zu Lugano (C. Brun). 1898-9: Ausstellung von Gemalden der lombardischen Schule in London (G. Pauli).
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