1353, by Luini, introduces us at once to the Lombard-Leonardesque class of face and hair. Compare it closely with the Madonnas in the frescoes in the Salle Duchâtel. The introduction of Joseph makes this in essence a Holy Family. Note Luini’s development of the halo of Christ, cruciform in early cases, or composed of a cross inscribed in a circle, into a cross-like arrangement of rays of light. The two works by Marco da Oggiono, close by, betray similar types, far inferior to Luini’s, with further loss of primitive reverence. In 1181, Borgognone’s Presentation, an earlier Lombard work, the Madonna faintly foreshadows this Leonardesque type, though the Leonardesque features are far less markedly present than in many other examples by this silvery painter. 1530, by Solario, the famous Madonna of the Green Cushion, may be compared with those by Marco da Oggiono, which it resembles in motive. In 1599, La Vierge aux Rochers, we get Leonardo’s own personal type, which is also seen in the Madonna and St. Anne of the Salon Carré. Compare all these with the Mona Lisa, for touch and spirit. Then continue your examination through the rest of this room with the Leonardesque types: after which, turn to the School of Venice, beyond them, and note the evolution of the Titianesque types from the primitive Venetians. On the opposite side of the same room, observe, once more, how Fra Bartolommeo and his School arranged their extremely complex groups of saints into a composition resembling a state ceremonial. From this point on in the evolution of the Santa Conversazione you will see that the arrangement of the saints entirely loses all sense of sacred meaning. Artificial ecstasies replace natural piety. An attempt to be artistic, and a desire to introduce a mode of treatment fitter for the theatre than for the church, at last entirely obscure the original meaning of these groups, which are so full of ardour in Fra Angelico, so full of stateliness in Lorenzo di Credi. Another day may well be devoted to the quaintly girlish Madonnas of the =Flemish School=. Begin by observing carefully the Van Eyck of the Salon Carré, which is a Madonna with donor, and the Memling of the Salle Duchâtel, which is a Madonna with donors, not one with saints; the patrons here being merely brought in to introduce the votaries to Our Lady’s notice. From these, proceed to the Early Flemish section of the Long Gallery, and note in detail the evolution of the type in later pictures. I need hardly call attention to the Flemish love for crowns, jewellery, and costly adjuncts. These reflect the wealthy burgher life of Bruges, Ghent, and Antwerp. The translucent colour of the Flemish painters, too, lends itself well to these decorative elements.