. Leonardo da Vinci, artist, thinker and man of science. \ EARLY MILANESE PAINTERS 129 dei Conti, endowed them with a series of works obviously not their To MoreUi, however, belongs the credit of having determined thegeographical limits of the Milanese School, and I cannot do betterthan reproduce his dictum : The Adda separates the Bergamasquehills from the Milaneseplain. At Canonica,on the frontier of theprovince of Bergamo,one still hears the gut-tural language of theBergamasques; at Vaprio,at the opposite end ofthe bridge across theAdda, the Milanese dia-lect predominates, andthe school whi
. Leonardo da Vinci, artist, thinker and man of science. \ EARLY MILANESE PAINTERS 129 dei Conti, endowed them with a series of works obviously not their To MoreUi, however, belongs the credit of having determined thegeographical limits of the Milanese School, and I cannot do betterthan reproduce his dictum : The Adda separates the Bergamasquehills from the Milaneseplain. At Canonica,on the frontier of theprovince of Bergamo,one still hears the gut-tural language of theBergamasques; at Vaprio,at the opposite end ofthe bridge across theAdda, the Milanese dia-lect predominates, andthe school which rosein Milan, the Lombardo-Milanese school,extendedas far as Vaprio. ^ That a Milaneseschool existed beforeLeonardos arrival, nohonest investigator willattempt to deny. It suf-fices to mention thenames of Michelino, ofBesozzo, from whom Leo-nardo borrowed the idea of an extravagant composition—a male and female peasant con-vulsed with laughter—of Vincenzo Foppa (settled in Milan as earlyas 1455), of Bernardo Zenale, of Buttinone, and of Ambrogio. STUDIES OF HORSES. (Library of the Institut de France ; from M. Ravaisson-MolliensLeonardo da Vinci.) 1 Kunstkritische Studicn ilber italienische Malerei. Die Gahrien Borghese und DoriaPamfili hi Rom. Die Galerien zu Mimchen und Dresden. Die Galerie zu , 3 vols. 1890-1893. 2 Die Qalerie zu Berlin, p. 121, S 130 LEONARDO DA VINCI Borgognone, all at the height ot their activity when the youngFlorentine came to settle among them.^ This school, influenced in turn by Mantegna and the Venetians,borrowed from the former its taste for foreshortening, and for effectsof perspective. (This is evident in the works of Foppa, for instance,of Bramante, who, we must not forget, was painter as well as archi-tect, and of Montorfano.) It also adopted Mantegnesque types ofphysiognomy—the broad face and prominent jaw. The Venetians,for their part, had revealed the delights and subtleties of colour toa few Milanese painters, such as A
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