Near it, two works by _Marco da Oggiono_, a pupil of Leonardo. His work and Luini’s should be compared with that of the founder of the school. The differences and agreements should be observed. Notice also the survivals from earlier treatment. 354. _Sacchi._ The Four Doctors of the Church, attended by the Symbols of the Four Evangelists. This is a composition which frequently recurs in early art. L, St. Augustine, holding his book “De Civitate Dei,” with the Eagle of St. John. Next, St. Gregory, inspired by the Holy Spirit as a dove, and accompanied by the Bull of St. Luke. Then, St. Jerome, in his Cardinal’s hat, with the Angel of St. Matthew. Lastly, St. Ambrose with his scourge (alluding to his action in closing the doors of the church at Milan on the Emperor Theodosius after the massacre of Thessalonica), accompanied by the winged Lion of St. Mark. An interesting symbolical composition, deserving close study. 232. _Luini._ The daughter of Herodias with the head of St. John Baptist. A favourite subject with the artist, who often repeated it. Compare it with his other works in this gallery, till you feel you begin to understand Luini. Above it, _Borgognone_. Presentation in the Temple. In the pallid colouring peculiar to this charming Lombard master. Observe the positions of the High Priest and other personages. 85. _Borgognone._ St. Peter Martyr introducing or commending a Lady Donor to the Madonna. One panel of a triptych; the rest of it is wanting. Look out for similar figures of saints introducing votaries. St. Peter Martyr has usually a wound or a knife in his head, to indicate the mode of his martyrdom. Beneath, a quaint little Leonardesque Annunciation. _Solario._ Calvary, characteristic of the School of Leonardo. Beneath it, 394, =*=_Solario_. Madonna with the Green Cushion. His masterpiece, a graceful and tender work, exhibiting the growing taste of the Renaissance. 458. Attributed to _Leonardo_. The young St. John Baptist. Hair, smile and treatment characteristic; but possibly a copy. You will meet with many similar St. Johns in Florentine sculpture below hereafter. 465. School of _Leonardo_. Holy Family. St. Michael the Archangel oddly introduced in order to permit the Child Christ to play with the scales in which he weighs souls—a curious Renaissance conception, wholly out of keeping with earlier reverential feeling. =*=460. _Leonardo._ “La Vierge aux Rochers.” A replica of the picture in the National Gallery in London. Much faded, but probably genuine. Examine closely the rocks, the Madonna, and the Angel. 395. _Solario._ Good portrait of Charles d’Amboise, a member of the great French family who will frequently crop up in connection with the Renaissance. 461. Attributed to _Leonardo_, more probably _Bernardino de’ Conti_. Portrait of a Lady. Compare with the Mona Lisa, as exhibiting well the real advance in portraiture made by Leonardo.