Panetti was the master of Benvenuto Tisi, a very prolific painter who is better known by the name of Garofalo (1481?-1559), owing to his occasionally painting a gillyflower into his pictures as a signature. Although the Catalogue includes four small works by this artist, a _Circumcision_ (No. 1550), a _Holy Family_ (No. 1552), a _Madonna and Child_ (No. 1554), and a _Sleeping Child Jesus_ (No. 1553), only the last of them is now exhibited. Another artist in this school who signed his pictures with a _rebus_ was Giovanni Lutero (1479?-1542), who is better known under the name of Dosso Dossi. A typical instance of this punning use of his name is the _Money Changers driven out of the Temple_, in the Doria Gallery at Rome; it is signed with a “D” traversed by a bone (_osso_), obviously a play on his name of Dosso or D OSSO. No picture by Dosso Dossi is now exhibited. Francesco Bonsignori (1455-1519), Marco Zoppo (fl. 1471-1498), Michele Coltellini (1480-1542), Ippolito Scarsellino (1551-1620), Girolamo da Carpi, and other Ferrarese painters are unrepresented in this collection. THE SCHOOL OF MILAN The painters who practised in Milan in the fourteenth century were little better than provincial craftsmen who had come within the range of the Giottesque tradition without grasping the more vital of its principles. Those who worked in Milanese territory in the first half of the fifteenth century acquired some of the reflected influences which passed from the work of Pisanello and Jacopo Bellini in Verona, and from the more striking achievements of the Paduan and early Venetian schools, but their work lacked all trace of originality. A painter of the name of Michelino Molinari da Besozzo (fl. 1394-1442), or Michele da Pavia, was painting at Milan about 1420. However, there cannot be said to have been a school of painting, but only an aggregation of painters in Milanese territory, prior to the arrival at Pavia and Milan of the Brescian-born master, Vicenzo Foppa, about 1458. Previous to that important event, if not throughout the whole range of its activity, Milanese art lacked the higher elements of genius in all matters æsthetic. As a school it was to the end too inclined to mere prettiness and superficial sweetness. The Umbrian-born architect and painter, Bramante (1444-1514), who had received his education in Florence, painted in Lombardy from 1472-1474, as his Panigarola frescoes now in the Brera testify. Bramante also influenced Foppa, whose work is well defined and whose colouring is subdued.