It remains for us to do justice to Vinci's most distinguished imitator, Bernardin Lovino, as he writes it, or Luini, as it is generally expressed; a native of Luino, in the Lago Maggiore. Resta asserts, that he did not arrive at Milan until after the departure of Vinci, and that he was instructed by Scotto. The author of the Guide, (at page 120) includes him in the list of Lionardo's pupils, and this, from the period when he flourished, might, I think, have been the case. Because if Gaudenzio, born in 1484, _was at once the disciple of Scotto and of Lovino_, as we are informed in the treatise of Lomazzo, (p. 421) it follows, that Bernardino must already have been a master about 1500, the time when Vinci left Milan. To much the same period Vasari refers Bernardino da Lupino, (he should have said da Luino,) an artist who painted the Marriage and other histories of the Virgin in so highly finished a taste at Sarono. One of Vasari's annotators erroneously again changes the name of Lupino into _Lanino_, a pupil of Gaudenzio. My supposition respecting the age of Bernardino, is further confirmed by a portrait which he drew of himself at Sarono, in his Dispute of the child Jesus with the Doctors, where he appears then old, and this picture was executed in the year 1525, as appears from the date. Luini, therefore, may have been one of Vinci's disciples; and he certainly frequented his academy. Others indeed of the school surpassed him in delicacy of hand, and in the pleasing effect of the chiaroscuro, a quality for which Lomazzo commends Cesare da Sesto, declaring that Luini drew his shadows in too coarse a style. Notwithstanding this, no artist approached nearer Vinci, both in point of design and colouring than Bernardino, who very frequently composed in a taste so like that of his master, that out of Milan many of his pieces pass for those of Vinci. Such is the opinion of true connoisseurs, as reported and approved by the author of the New Guide, who is assuredly one belonging to this class. He adduces two examples in the pictures at the Ambrosiana; namely, the Magdalen, and the St. John, who is seen caressing his lamb, a piece which foreigners can hardly be persuaded is not from Vinci's own hand. I have seen other pictures of equal, or nearly equal, merit, in different Milanese collections which I have frequently mentioned.