Following this principle in the case of the present chapter, we must first dispose of the "pseudo-Lombards"--the Cremonese, namely, and Correggio. The pictures belonging to artists of Cremona are, as will be seen below, practically Venetian. Correggio and his imitator Parmigiano are more difficult to deal with. The truth is that Correggio stands very much apart (see under 10); but if he must be labelled, it seems best to follow Morelli and class him, on the score of his early training, with the Ferrarese. Coming now to the genuine Lombard School, one sees by looking round the room that it is by no means identical with Leonardo da Vinci. He himself was a Florentine, who settled at Milan, and whose powerful individuality exercised a strong influence on succeeding painters there. But before his coming, there was a native Lombard School--with artists scattered about in the towns and villages around Milan, and with a distinct style of its own. Long before Leonardo came to settle at Milan, the Lombard Madonnas--with their long oval faces and somewhat simpering smile--have already what we now describe as a "Leonardesque character." Among technical points we may notice as characteristic of the Lombard School, in its earlier phases, a partiality for sombre tints and high finish in the rendering of detail. In spirit the School is characterised by great simplicity of feeling. It will be noticed that among the Milanese pictures there are few with any allegorical or mythological subject. Even after Leonardo came to Milan, bringing with him new motives and a wide curiosity, the native Lombard masters, such as Luini and Gaudenzio Ferrari, adhered in the main to sacred subjects. The Lombard School, it should be observed, was late in arising. The building of Milan Cathedral and the Certosa of Pavia in the first part of the fifteenth century directed the art-impulse of the time rather to sculpture, and it was not till about 1450 that Vincenzo Foppa came from Brescia and established the principal school of painting at Milan. Other schools started with spiritual aims, which wore off, as it were, under the new pleasure of sharpening their means of execution; but the Lombards first took up the art when it had already been reduced to a science. And then most of the painters were natives, not of some large capital, but of small towns or country villages. Thus Luini was born on the Lago Maggiore, and the traditions of his life all murmur about the lake district. But he learned technique at Milan; and thus came to "stand alone," adds Ruskin, "in uniting consummate art power with untainted simplicity of religious imagination" (see references under 18).