arms crossed on the breast. Below are other statues and rich
bas-reliefs, and one inscription speaks of him as the "Renewer of the Arts
and Sciences."

Many of his writings are in the libraries of Europe in manuscript form:
his best known work is the "Trattato della Pittura," and has been
translated into English. As an engineer his canal of Mortesana was enough
to give him fame; as an artist he may be called the "Poet of Painters,"
and, if those who followed him surpassed him, it should be remembered that
it is easier to advance in a path once opened than to discover a new path.
Personally he was much beloved, and, though he lived when morals were at a
low estimate, he led a proper and reputable life. His pictures were pure
in their spirit, and he seemed only to desire the progress of art and
science, and it is a pleasure to read and learn of him, as it is to see
his works.

Other good artists of the Lombard school in the fifteenth century were
BERNARDINO LUINI (about 1460-1530), who was the best pupil of Leonardo,
GIOVANNI ANTONIO BELTRAFFIO (1467-1516), GAUDENZIO FARRARI (1484-1549),
AMBROGIO BORGOGNONE (works dated about 1500), and ANDREA SOLARIO, whose
age is not known.

We return now to the Florentine school at a time when the most remarkable
period of its existence was about to begin. We shall speak first of FRA
BARTOLOMMEO or BACCIO DELLA PORTA, also called IL FRATE (1469-1517). He
was born at Savignano, and studied at Florence under Cosimo Rosselli, but
was much influenced by the works of Leonardo da Vinci. This painter became
famous for the beauty of his pictures of the Madonna, and at the time
when the great Savonarola went to Florence Bartolommeo was employed in the
Convent of San Marco, where the preacher lived. The artist became the
devoted friend of the preacher, and, when the latter was seized, tortured,
and burned, Bartolommeo became a friar, and left his pictures to be
finished by his pupil Albertinelli. For four years he lived the most
austere life, and did not touch his brush: then his superior commanded him
to resume his art; but the painter had no interest in it. About this time
Raphael sought him out, and became his friend; he also instructed the monk
in perspective, and in turn Raphael learned from him, for Fra Bartolommeo
was the first artist who used lay figures in arranging his draperies; he
also told Raphael some secrets of colors.

About 1513 Bartolommeo went to Rome, and after his return