Sala XVI. is entirely devoted to works by Luini. A fresco of angels bearing the corpse of St. Catherine to deposit in the Sepulchre (288) is a graceful composition. The well-known Madonna del Roseto (289) with its charming background of a rose-trellis is one of the most popular of this artist’s pictures. To us a more sympathetic work is the charcoal drawing (290) of the Madonna watching the Child, who sleeps on a cushion. Here is also a series of frescoes giving the story of S. Joseph, taken from the suppressed Church of Sta. Maria della Pace. Sala XVII. contains works of the Lombard school of the fifteenth and sixteenth centuries. There is a large Polyptych (307) by Vincenzo Foppa. The central panel, Madonna and Child with Angels, is a very characteristic painting of the artist. The Madonna, stately and almost severely simple, is yet perfectly natural, and so is the Child as He touches the strings of the instrument held by an angel, leaning His head as if listening to the sound. The large heads and crumpled draperies of the angels are peculiarities which Foppa shares with the Lombard sculptors. St. Francis Receiving the Stigmata, in the panel above, is rather a feeble figure. The bright red and lavish use of gold in the side panels of saints have a rich effect. The Assumption of the Virgin (308), by Borgognone, dated 1522, is a poor work; in it all his faults are exaggerated; there is no movement in the figures, the background does not recede: the whole thing is absolutely lifeless. Bramantino’s large Crucifixion (309) is very inferior to his other works in the gallery. The picture of the Madonna and Child, with the Doctors of the Church, and Lodovico il Moro, his wife Beatrice, and their children kneeling (310), has been variously attributed to Zenale, Bernardino dei Conti and Ambrogio de Predis. It has little artistic merit, much the best part being the portraits. The Virgin and Saints are heavy in type and coarse in execution, showing the Leonardesque influence imposed on the native school. Ambrogio de Predis seems to us the most probable author of this much disputed work. Marco d’Oggiono has three pictures—St. Paul (311), Assumption of the Virgin (312), the Archangels Michael, Raphael and Gabriel overcoming the Devil (313). There is no genuine inspiration in these works, nor any charm of colour or technique. We turn with relief to Boltraffio’s interesting and well-painted portrait of the poet Girolamo Casio (319). Martyrdom of St. Catherine of Alexandria (321), by Gaudenzio Farrari, a crowded and confused composition, shows the decadence of this able and facile painter.