If the name of Luini's master, Borgognone, is no proof of northern extraction, a northern temper is nevertheless a marked element of his genius--something of the patience, especially, of the masters of Dijon or Bruges, nowhere more clearly than in the two groups of male and female heads in the National Gallery, family groups, painted in the attitude of worship, with a lowly religious sincerity which may remind us of the contemporary work of M. Legros. Like those northern masters, he accepts piously, but can refine, what "has no comeliness." And yet perhaps no painter has so adequately presented that purely personal beauty (for which, indeed, even profane painters for the most part have seemed to care very little) as Borgognone in the two deacons, Stephen and Laurence, who, in one of the altar-pieces of the Certosa, assist at the throne of Syrus, ancient, sainted, First Bishop of Pavia--stately youths in quite imperial dalmatics of black and gold. An indefatigable worker at many forms of religious art, here and elsewhere, assisting at last in the [97] carving and inlaying of the rich marble facade of the Certosa, the rich carved and inlaid wood-work of Santa Maria at Bergamo, he is seen perhaps at his best, certainly in his most significantly religious mood, in the Church of the Incoronata at Lodi, especially in one picture there, the "Presentation of Christ in the Temple." The experienced visitor knows what to expect in the sacristies of the great Italian churches; the smaller, choicer works of Luini, say, of Della Robbia or Mino of Fiesole, the superb ambries and drawers and presses of old oak or cedar, the still untouched morsel of fresco--like sacred priestly thoughts visibly lingering there in the half-light. Well! the little octagonal Church of the Incoronata is like one of these sacristies. The work of Bramante--you see it, as it is so rarely one's luck to do, with its furniture and internal decoration complete and unchanged, the coloured pavement, the colouring which covers the walls, the elegant little organ of Domenico da Lucca (1507), the altar-screens with their dainty rows of brass cherubs. In Borgognone's picture of the "Presentation," there the place is, essentially as we see it to-day. The ceremony, invested with all the sentiment of a Christian sacrament, takes place in this very church, this "Temple" of the Incoronata where you are standing, reflected on the dimly glorious wall, as in a mirror. Borgognone in his picture has [98] but added in long legend, letter by letter, on the fascia below the cupola, the Song of Simeon.