Sala XII., Lombard School.—Here are portraits of the Visconti family, of little artistic value. A Madonna Adoring the Child, with SS. Catherine and Joseph (248) by Vincenzo Civerchio. The Milanese painter Bernardino Buttinone has two pictures, Madonna and Child between SS. Bernardino and Stephen (249), signed and dated 145-. This picture has all the decided characteristics of the artist—the laboured execution, low flesh tones, high and prominent foreheads, enormous ears, claw-like fingers and vividly-coloured draperies. The small Madonna (250) is a highly-finished picture and equally lacking in beauty. The SS. Catherine and Sebastian by Defendente Ferrari are charming figures in gorgeous costumes. Sala XIII. possesses four pictures by Borgognone. The most interesting is the small picture of the Madonna and Child with S. Clare and a Certosino (259). It is an early work, very devout and sweet in feeling, and shows the artist’s connection with Foppa, particularly in the type of the Child and the grey flesh tones. The latter, however, are very much modified, and form a very harmonious scheme with the white draperies and silvery colour of sky and water behind. Madonna and Saints (257), by Bevilacqua, is a decorative altarpiece with colour brilliant almost to crudeness. Sala XIV. contains works of the sixteenth century by Leonardo’s followers. Two Magdalens, by Gianpietrino (262 and 263), are good examples of his work, and have some poetical charm. An unfinished Madonna (261) of Leonardesque composition shows a great similarity in the landscape background to that of the well-known Bacchus of the Louvre, a doubtful Leonardo. Madonna and Child with little S. John (271), by Bernardino dei Conti, is reminiscent of Leonardo’s Virgin of the Rocks. The colour is hot and the modelling lumpy. Sala XV., Lombard school of sixteenth century.—The first picture in this room is a lovely Madonna and Child (276) by Cesare da Sesto. It is sympathetic in feeling and refined in execution. The arrangement of dark foliage behind the Madonna, showing on one side the distant landscape and pale sky, is very happy. It is the best picture we know of this artist. Madonna and Child (277) by Gaudenzio Ferrari is very typical of his style, rather affected in attitude and hot in colour. Close by hangs a Holy Family (279) by Bramantino. The drawing of the Saviour (280) is not admitted by the best authorities to be a genuine work of Leonardo’s. Two kneeling figures (281) by Boltraffio are distinguished by dignity and feeling. They show how well Boltraffio could paint portraits. Andrea Solario has three paintings and a drawing. The best is a portrait of a young man (282), whose characteristic head, with clear, almost hard outline, is well-drawn and carefully finished. Madonna and Child (286) by Sodoma is one of his most Leonardesque works.