We come to several large canvases by the family of Campi of Cremona. The best of these is Madonna Adoring the Child (329), by Giulio Campi; the technique is able, in the later Venetian style. Two pictures by Vincenzo Campi—a Fruitseller and Fishseller—are Flemish in manner. Next come the painters of Lodi, but we have not time to dwell on these productions of the later Milanese school. In the cases are drawings of various Italian schools. Sala XVIII. contains productions of the late Lombard schools (sixteenth and seventeenth centuries) that repel by their brutal realism. In Sala XIX. we have unimportant works of the schools of Parma, Reggio and Modena. Sala XX. Ferrarese and Bolognese Schools.—The Ferrarese school is represented in this gallery by some splendid pictures of the best period. In his St. Sebastian (433) that richly imaginative artist Dosso Dossi, with his Cinquecento enjoyment of beauty and his mastery of dramatic effects of light and shade, has given us a picture of enthralling interest, painted with marvellous breadth and power. This strong young body, bound by uplifted arms to the tree, expresses the very passion of martyrdom. This is no mere physical agony; though the arrows visibly torture the flesh, they pierce the soul more sharply. The dark grove, where great fruits and leaves shine out, touched by a strange evil light, surrounds the figure with mystery and magic, which is heightened by the glimpse of a tranquil distant landscape. Not St. Sebastian, but a character from some Ariostean fable this seems—a young hero in search of truth ensnared by cruel necromancy, stripped and bound by the powers of evil. His knight’s helmet lies at his feet. The sensuous beauty of the picture increases its dramatic interest; the curve of the nude body, the flesh colour, incomparable in its coolness and its pearly shadow, crossed by that swathe of green drapery—a green all Dosso—the rich glossy leaves, the distant blue, all serve to deepen the tragedy. Francesco d’Este, whose portrait (431), in the character of St. George, by Dosso, hangs beside St. Sebastian, was one of the sons of Duke Alfonso of Ferrara and Lucrezia Borgia. The St. John Baptist (432) is lighted as if by a fire from below, in a manner very characteristic of Dosso. The Adoration of the Magi (429) by Lorenzo Costa, the predella of an altarpiece by Francia, is a good example of the master.