We come next to a number of frescoes by Bernardino Luini, where his fundamental faults, viz., heavy forms and want of drawing, are glossed over by his gift of charm. Madonna and Child, with a lamb and little St. John, in a landscape (63), is one of the best. The Madonna is tender and dignified, and there is an idyllic feeling about the whole that is very attractive. Madonna and Child with St. Anne (64) is also charming. St. Anne is a graceful figure in yellow and purple, a combination of colours which the peasant women of Lombardy wear to this day. There are some profane subjects, 70 to 76 inclusive, from the Villa Pelucca, near Monza. A young horseman in a decoratively-treated landscape (72); Sacrifice to Pan (73); Daphne (74); Birth of Adonis (76). A very charming bust of a young woman (75), whose golden hair and dress of palest puce and white against a background of pale green makes a pleasant colour harmony. On the opposite wall are frescoes by Gaudenzio Ferrari, scenes from the life of the Virgin. There is life and movement in these paintings and a freshness both of treatment and feeling, but the execution is careless. The side panels of the Adoration of the Magi (33), with the servants and horses, are very spirited. The Meeting of the Virgin and Elizabeth (37) is rather theatrical, but the lines of the composition are good. There are other frescoes by Marco d’Oggiono and Bernardino Lanino. Sala III.—Here we have pictures of the Venetian schools of the sixteenth, seventeenth and eighteenth centuries. There are examples by Moretto, and fine portraits by G. B. Moroni. By Paris Bordone there are three sacred subjects (106, 107, 108), and a picture called Gli Amanti Veneziani (105) which shows him in a more congenial mood. It has all the charm of rich colour and sensuous beauty, and one can admire the fine qualities of the technique here, whereas in the religious subjects it gives no pleasure. Near by hangs the masterpiece of the Brescian artist, Girolamo Savoldo, Madonna and Child, with SS. Peter, Domenico, Paul and Jerome (114). The background is especially beautiful, with its water and hills and luminous sky paling to an exquisite light on the horizon. The Cenacolo (117), doubtfully ascribed to Titian, cannot be considered his work. The rather uninteresting Adoration of the Magi (119) was begun by Palma Vecchio and finished by Cariani. The large Marriage of Cana (120) is a work of the school of Paolo Veronese. There are also pictures by the sons of il Bassano.