The Pinacoteca is entered from the upper loggia. The pictures have recently been admirably arranged. They are labelled with the names and dates of the artists, and the attributions are in accordance with the latest criticism. We shall only dwell on the most interesting of the numerous works, noticing particularly the local school. We pass through Sala I. with cartoons by Andrea Appiani, a late eighteenth century Milanese artist. Sala II. contains some of the best work of the early Lombard school, frescoes of the fourteenth and fifteenth centuries, which have been removed from churches and convents. We pass some unimportant primitive frescoes that would be beautiful in their original position, but lose artistic value in the narrow space where they are now seen, and come to three frescoes by Bramantino, which show him at his best. The Madonna and Child (15) is very characteristic of his manner, in the broad treatment of the flesh and drapery, in the blond types, and the way in which the figures are lighted from below. A _Putto_ (16) has an irresistible charm. This child among the vine leaves is so true to nature, so full of joy and life. The St. Martin (17) is a noble conception of chivalrous youth. In beauty and refinement it excels any other work by Bramantino. We now come to Vincenzo Foppa, who takes the most important place in the early Lombard school. Madonna and Child with SS. John Baptist and John Evangelist kneeling on each side (19). The composition is formal, but there is a strong feeling for nature in the figures. Martyrdom of St. Sebastian (20) is a composition full of vigour and life; the saint’s figure is well drawn and modelled with a sculpturesque solidity. There is a naïve simplicity in the expression of the archers’ faces and in their close vicinity to their mark, hardly in keeping with the academic feeling shown in the architectural surroundings. Foppa’s colour in these two frescoes is much fresher and pleasanter than in his altarpieces. Next we have Borgognone (Ambrogio da Fossano), whom Morelli calls the Perugino of the Lombard school. These frescoes from the church of San Satiro belong to his best period. St. Martha, St. Catherine, St. Mary Magdalen (22); St. Barbara, St. Roch and St. Clara (23); St. Martina, St. Apollonia and St. Agnes (24). They are very beautiful figures, of most refined and delicate execution. St. Roch is especially fine, his poetic face shows a power of characterisation that is seldom seen in Borgognone’s work, and the St. Barbara is exquisitely graceful. It is very unfortunate that these valuable frescoes have been so much damaged. The large Madonna with angels and God the Father (25) is a fine picture, but loses its due effect in the narrow gallery. [Illustration: PUTTO, FRESCO BY BRAMANTINO (BRERA) _To face p. 336_] [_Anderson, Rome_ ]