ls from the Netherlands into Italy, though it is now
believed, from stubborn discrepancies in dates, that the story of his
great friendship with Jan Van Eyck, as given by Vasari, is apochryphal.
Very likely Hans Memling, called also 'John of Bruges,' was the real
friend and leader of Antonella. His best work consisted of portraits. He
is believed to have died at Venice in 1496.

Benvenuto Tisio, surnamed from the place of his birth Garofalo, was born
in 1481, and died in 1559. He passed from the early school of Ferrara to
that of Raphael. His conception was apt to be fantastic, while his
colouring was vivid to abruptness, and he was deficient in charm of
expression. He fell into the fault of monotonous ideality. At the same
time his heads are beautiful, and his drapery is classic. His finest
work is an 'Entombment' in the Borghese Palace, Rome. There is an
altar-piece by Garofalo, a Madonna and Child with angels, in the
National Gallery.

Bernardo Luini, who stands foremost among the scholars of Lionardo da
Vinci, was born by the Lago Maggiore, the date unknown, came to Milan in
1500, was elderly in 1525, and is supposed to have died not long after
1530. His work is chiefly found in Milan. His great merit has been only
lately acknowledged. He is not 'very powerful or original,' but for
'purity, grace, and spiritual expression,' he ranks very high. He unites
the earnestness of the older masters with the prevailing feeling for
beauty of the great masters of Italian Art. His pictures were long
mistaken for those of his master, Lionardo, though it is said that when
the difference between them is once pointed out, it is easily
recognised; indeed, the resemblance is confined to a smiling beatific
expression in the countenances, which abounds more in Luini's pictures.
His heads of women, children, and angels present every degree of
serenity, sweet cheerfulness and happiness, up to ecstatic rapture.
'Christ Disputing with the Doctors,' in the National Gallery, formerly
called a Lionardo, is now known to be a Luini. He painted much, whether
in tempera, fresco, or oil. His favourite subjects in oil were the
Madonna and Child, with St John and the Lamb, and the Marriage of St
Catherine. Probable he appears to greatest advantage in frescoes. He is
said to have reached his highest perfection in the figure of St John in
a Crucifixion in the Monasterio Maggiore, Milan.

Jacopo Palma, called Il Palma Vecchio, was born about 1480 near