HE introduction of portraits into several of the pictures which were considered in the previous articles shows that Zenale enjoyed some reputation as a portraitpainter in Milan. It would be natural, therefore, to expect to find existing likenesses from his hand, particularly when we remember the peculiar vogue enjoyed by profile portraiture at this date in Lombardy. One such portrait has already been identified by Dr. Wilhelm Suida,' a profile head in the Borromeo collection at Milan bearing the inscription ANDREAS DE NO

VELLIS EPISCOPVS ALBEN. ET COMES.2

Who this young bishop of Alba may have been I cannot say, but that Zenale is the painter I am certain, for alike in modelling, colour, and expression this head is clearly analogous to the portraits in the Ambrosiana altarpiece, and to the bishop in the Treviglio picture.3 An even closer resemblance is to be found in another work in which the donor is introduced, as usual kneeling, a diptych in the Frizzoni-Salis collection at Bergamo. This beautiful picture may well rank as Zenale's finest achievement, few more charming figures than the St. Michael being found in the whole range of Milanese art. The drawing of the hands is characteristic, and the usual ornate architecture and blonde colouring recall the Treviglio altarpiece. In the figure of the Carthusian donor we may trace a definite connexion with the art of Borgognone, who was at this very time at work in the Certosa of Pavia; but

1 See Repertorium für Kunstwissenschaft, 1902, xxv, 5, page 340. 2 Reproduced on page 203. Reproduced in Vol. IV, page 178 (February 1904). Reproduced on page 205.

there is no perceptible trace of Leonardo's influence, a fact which proves this diptych must be anterior to 1490. We may note as one of Zenale's mannerisms the regular and well-defined eyebrows which he constantly gives his figures, whether, as here, in the romantic subject of St. Michael, or in his renderings of likenesses from life. It is rare to find a diptych so instinct with grace and yet so true to life as this portrait group, and had Zenale always remained at this high level his name and fame would scarcely have passed so easily into oblivion. But it was his lot, like all his Milanese contemporaries, to fall under the spell of the Florentine magician, and Leonardo's personality was irresistible. How little the younger generation understood their great teacher is proved by the sorry attempts of the Giampietrinos, the Oggionos, the Piazzas, and their kin to produce the Leonardesque article; and though, as with Zenale, the older generation never entirely lost their native Lombard manner, yet the change of ideals due to his long residence in Milan considerably modified the trend of their natural development. A curious and interesting instance of this is to be found in those two family groups in the National Gallery which hang in the Lombard room, numbered 779 and 780.5 It is true that they are officially accredited to Borgognone (a further proof of the connexion between these two artists), but I think that I may reasonably claim Zenale as the real author of these uncompromising groups. Their charm lies in the sweet tone and colouring, and we must remember that they are only fragments of what must have been a large altarpiece, so that the regularity of pose is