Bartolomeo Suardi, called Bramantino, painted at the end of the fifteenth and beginning of the sixteenth centuries. He is said to have been a pupil of Foppa and of Bramante, working architecturally with the latter. His work is free and broad in manner, though often empty and wanting in drawing; the forms are full and the faces wide, with very regular features, particularly noticeable in the profiles. The blonde colouring of his flesh tones is unlike the usual low tones of the Milanese. There is little evidence in his work of Leonardo’s influence. Andrea Solario, born about 1460, was an accomplished painter. Of his early training we know nothing; but his elder brother Cristoforo was a sculptor, and may have helped Andrea to arrive at the excellence of drawing which we see in his portraits. Some of his work shows the influence of Leonardo, but he was also affected by the Venetians, and especially by Antonello da Messina; his portraits also show affinity with the Flemish school, in their clear outlines and high finish. The landscape backgrounds to his subjects are fine in colour and effect. He was fond of painting half-length pictures of the Madonna and Child, and treated the subject with a tender realism that is very charming. Technically he reached a higher excellence than any of his fellow-Milanese painters. With the exception of the large altarpiece at the Certosa, his pictures are mostly small and unambitious in subject. He was, however, employed by Charles d’Amboise, in 1507, to decorate with frescoes the chapel in his Castle of Gaillon in Normandy. These have perished. Boltraffio, Cesare da Sesto, Gianpietrino, Bernardino dei Conti, Marco d’Oggionno, Melzi and Salai were all close followers of Leonardo. Their work is not strong or original, nor is the drawing very good, but it has a charm nevertheless, that of earnest and conscientious effort, striving after the ideal of beauty their great master set before them, which degenerates in their hands, however, into a fatal prettiness. Their fault was an almost morbid exaggeration of the gradation of tones in the modelling of contours, by which they lost all freshness and vigour. Boltraffio, born 1467, was of noble family, and was a favourite pupil of Leonardo’s. His painting is highly finished and has distinction; his Madonnas, clad always in rich garments, are stately and beautiful, with oval faces and regular features. The painting is very smooth, which gives a cold and unnatural effect to the flesh. The fresco in St. Onofrio in Rome, formerly ascribed to Leonardo, is now given to him, and some critics consider him the author of the much-disputed Belle Ferronière of the Louvre.