The great altarpiece (428) is a majestic composition, and especially interesting as the work of that rarest painter, the Ferrarese Ercole de’ Roberti, who in the grand architectural and decorative environment of this Madonna Enthroned shows himself faithful to the precepts of Cosimo Tura. But the arrangement of the triple figures on the throne—St. Anne and St. Elizabeth seated on stools on either side of the Virgin, with a sort of pyramidal effect—and the types of the heads, especially of the fair and regal Virgin, are very individual. The figures of St. Augustine and of Peter the Sinner, below, complete the stately arrangement. The beautiful harmony of red and purple and puce and gorgeous reddish gold shows with rare splendour the Ferrarese feeling for colour. The Correggio (427) is not one of the painter’s best works, but the graceful Madonna has his peculiar charm; the baby is strangely small. Two figures of saints (449) are characteristic, but rather conventional productions by Cossa, noticeable for their decoration and the ‘lacquer enamel’ quality of the colour. They are parts of a triptych, of which the centre, S. Vincenzo, is in the National Gallery. The great Annunciation (448), by Francia, is a beautiful and spacious composition, with an exquisitely clear atmospheric effect and picturesque background; but in the over-elaborated Angel the painter comes perilously near the banal. A little figure of the Crucified (447) by Cosimo Tura—a fragment probably of a picture of St. Francis Receiving the Stigmata, is instinct with the great Ferrarese master’s intensity of feeling and devotion. Other and inferior painters of the school fill the rest of the room. Sala XXI., Schools of the Romagna.—The three painters, Rondinelli, Marco Palmezzano—who was pupil of Melozzo da Forlì—and Cotignola, are well represented. Rondinelli has three pictures. One illustrates a legend in the life of Galla Placidia (452), in which St. John the Evangelist appears to her and leaves his shoe behind him as a relic. Cotignola’s (Francesco Zaganelli) pictures are decorative and pleasant in colour, but weak in drawing. He was assisted in Nos. 457 and 458 by his brother Bernardino. Marco Palmezzano is the best painter of the three. The Nativity (469) is a pleasing picture, and in the Coronation (470) the music-making angels are charming. The Madonna and SS. John Baptist, Peter, Domenico and Mary Magdalen (471) is a good picture, but rather mannered in the treatment of draperies and clouds.