Ambrogio da Fossano, called Borgognone, is a much better artist. His name first appears in 1481 as a painter of the University of Milan. His early work is characterised by a simplicity and refinement and a sense of beauty which is much developed later on. He has at first the same tendency to grey flesh tones as Foppa and Buttinone, only with him they are modified to pleasant cool colour harmonizing with the silvery hues of background and draperies. Later he develops a freer expression, which we see at its best in the beautiful frescoes of S. Satiro (now in the Brera) and the Certosa. He may have felt the influence of Leonardo, but he never lost his individuality. All through his life he kept the religious feeling which is his marked characteristic, and which makes the deepest appeal of his work. His drawing, however, is often bad; his flying angels are wrongly foreshortened, and there is no movement in his figures. He did an immense amount of painting and there is a sameness in his pictures, graceful though they are. About 1483 Leonardo da Vinci came from Florence and settled in Milan. His art must have been a revelation to the Lombard painters. Not only was his technique infinitely superior to theirs, but his scope was so great, his imagination so profound, he created new forms, new types, a new world of light and shadow and perspective. His enterprises were gigantic, not in painting only, but in sculpture, architecture and engineering. The Milanese, who had little originality of their own and were always susceptible to outside influence, gathered round him, and a school of painting was formed in which we see his types imitated to such a degree that much of his pupils’ work has been attributed to the master himself, until modern criticism, headed by Morelli, has given it back to the true authors. The painters we shall now mention must all have felt more or less Leonardo’s influence. Ambrogio de Predis was Court painter to Lodovico il Moro in 1482, and therefore was a painter of repute when Leonardo arrived in Milan; but that he became a close follower of the master is shown by the fact of his being associated with him in the altarpiece of the Virgin of the Rocks, of which de Predis painted the two side panels, the angels in the National Gallery, and many critics think he also executed the London version of the central part under the direction of Leonardo. Of the portraits attributed to him, some are very good, a profile of a girl in the Ambrosiana being the best. So much better is it than the coarsely-painted clumsy angels of the National Gallery, that it is difficult to recognise the connection between them; we can only suppose, however, that portrait painting was more congenial to him.