Side by side with Foppa at the head of the Milanese school comes Bernardino Butinone (fl. 1450-1507), a great deal of whose work may still be seen at Milan. A _Madonna and Child_ (No. 1523), which is doubtfully ascribed in the Catalogue to Gregorio Schiavone, a pupil of Squarcione at Padua, may possibly be by Butinone, whose art is marked by an austerity and dryness which are absent from the paintings of Zenale, who was the partner and perhaps a pupil of Butinone. The _Circumcision, with the Portrait of the Donor_ (No. 1545), although catalogued under the name of Bramantino, may be by Zenale (1436-1526). This panel is inscribed “XL. ANNO 1491. F͞R] I͞A LAPUGNANVS P͞P HVMIL CAN̄.” Bramantino (1455?-1536?), whose name was Bartolommeo Suardi, came under the influence of Foppa and Bramante, and from the latter acquired his _sobriquet_. The pictures of Borgognone (1455?-1522?) are easily recognised by the ashen grey pallor of his faces, relieved occasionally by eyelids reddened by grief. He was a prolific painter of religious pictures which show simple pathos. With the possible exception of the _Family Portraits_ in the National Gallery (Nos. 779-780), which are indeed fragments of a standard, and may have been painted by Zenale, Borgognone, whose name was Ambrogio da Fossano, is not known to have painted a secular subject. This typical Milanese painter was another of the pupils of Foppa. Being an architect as well as a painter, Borgognone delighted in giving an architectural setting to his compositions. He also loved to introduce brightly coloured carpets and draperies, and minutely painted jewellery into his pictures. These characteristics are seen in his companion pictures of _St. Peter Martyr and a Donoress_ (No. 1182), and _St. Augustine and a kneeling Donor_ (No. 1182A). The latter of this pair of panels of his early period was purchased from Lord Aldenham in 1899 for 1000 guineas. They originally formed part of a dismembered altarpiece, the centre panel of which is now lost or unidentified. His _Presentation of Christ in the Temple_ (No. 1181), although originally painted on panel, was transferred to canvas in 1885. Borgognone might almost be termed the Perugino of the Milanese school. ANDREA SOLARIO