Cesare da Sesto’s work was very Leonardesque to begin with; later on he was influenced by Raphael. His manner is lighter and more graceful than most of the Lombards. In Gianpietrino’s painting the Lombard greyness of flesh tones is carried to an almost gloomy extreme. His Madonnas and Magdalens often have charm, but in the former he imitated Leonardo too closely, and the execution is timid. Bernardino dei Conti painted Madonnas in the Leonardesque manner, but the colour is peculiarly hot and the contours lumpy. His drawings, which are better than his paintings, have a great resemblance to those of Ambrogio de Predis, by whom, Morelli says, he was much influenced. Marco d’Oggionno’s pictures are lifeless imitations of the master, in which all the subtlety is lost, the chiaroscuro is too strong and the colours too intense. In his large canvases, such as the Archangels of the Brera, he fails signally. Of the work of Melzi and Salai we know little. Salai is mentioned by Vasari as a youth of singular grace and beauty with waving curly hair. He may have served as model for some of those Leonardesque drawings of youths with curling hair with which we are familiar. Painters deriving still from Leonardo but who have achieved a great celebrity of their own are Bernardino Luini and Gaudenzio Ferrari. Luini is the most popular painter of the Lombard school, probably because his paintings are so numerous and therefore widely known. There is always a sweetness and charm in his work, though rather superficial and sentimental, and in the best examples he attains beauty and dignity; but his forms have the Lombard heaviness and his drawing is not good. There is want of imagination and a tameness in his pictures that make them very monotonous. The dates of his birth and death are unknown, nor is anything known of his early training. He certainly imitated Leonardo, but his best work has a character and individuality of its own. The frescoes of the Monastero Maggiore in Milan, of Saronno and Lugano are considered very fine. Gaudenzio Ferrari was born about 1481 at Valduggia. Little is known of his early life; he must have felt the influence of Bramantino and Luini; his work is sometimes confused with that of the latter painter. He had much more inventive and dramatic power than Luini, as his frescoes show. He was a most prolific painter, and had too much energy and too little self-restraint. His colour is fiery and his compositions overcrowded. In spite of his ability he fell into bad taste and careless workmanship, showing unmistakable signs of that decadence which gradually overtook Italian art.