POSCE NE DUBITA QUOD QUODCV̄ PATRI IN NOMINE MEᵒ PETIERIS FIET TIBI. They were acquired in 1867 from the collection of the Duke Antonio Litta Visconti Arese, of Milan. The Louvre also contains fragments of large fresco paintings of the _Forge of Vulcan_ (No. 1356), a _Child Seated_ (No. 1357), and a _Child Kneeling_ (No. 1358). They form part of the series, which is now preserved in Milan, but formerly decorated the Villa Pelucca near Monza; they were removed from there in 1817. These three fragments have been transferred from plaster to canvas or panel. The four frescoes (Nos. 1362-1365) are by a pupil. The art of Luini as a painter on panel is seen to advantage in the _Holy Family_ (No. 1353), the _Virgin and the Infant Christ_ (No. 1354), and _Salome receiving the Head of St. John the Baptist_ (No. 1355). The arrival of Leonardo da Vinci, when little over thirty years of age, at the court of Lodovico Sforza at Milan revolutionised art in that city. The exquisite rhythm and balance and the remarkable gestures and facial expression seen in his _Last Supper_ must have made a profound impression on all the Milanese, people and painters alike. Not having been educated in the profound principles that gradually built up the school of Florence, whence the great painter came, the majority of the native artists were so overcome by his power that in time they became enslaved by the magic of his brush. Ambrogio da Predis (1455?-1506?), who worked as Leonardo’s assistant on the National Gallery’s replica of the _Virgin of the Rocks_ in this collection (No. 1599), is not represented here. Another assistant and pupil of Leonardo was Bernardino de’ Conti. As we have seen, he may be the painter of the _Profile Portrait of a Lady_—or _La Belle Ferronnière_ (No. 1605)—which is officially regarded as being of the “School of Leonardo.” A similar attribution is also given to the _Madonna of the Scales_ (No. 1604), which should rather be assigned to Cesare da Sesto (1477-1523), a sickly and insipid imitator of the master. Another of Leonardo’s imitators was Marco d’Oggiono (1470?-1540). His copy of Leonardo’s _Last Supper_ (No. 1603) is perhaps of greater interest than his own _Holy Family_ (No. 1382) and _Madonna and Child_ (No. 1382A). One of the more original of the imitators of Leonardo was Boltraffio (1467-1516), whose _Madonna of the Casio Family_ (No. 1169) was formerly in the Milan Gallery, where any picture containing a portrait of that poet might reasonably have been expected to remain. This picture is the painter’s masterpiece. THE SCHOOL OF LOMBARDY