Sala A.—Cabinet of the gilded bronzes contains German and Dutch pictures. Sala B has little of importance, but one may notice two panels by Bernardino Buttinone, St. Bonaventura (1) and St. Louis (5). By Bartolommeo Veneto, a Madonna and Child with St. John Baptist (3), and a Madonna picture by Bernardino Luini. Sala D contains the gem of the collection, Botticelli’s picture of the Madonna adoring the Child, and three angels (15). It is one of the most lovely of his Madonna pictures, luminous in colour, full of movement, and delicate in execution. Well placed on an easel in the middle of the room it can be seen by itself and thoroughly enjoyed. The small picture of the Eternal Father (6), now attributed to Timoteo Viti, is very refined; it was formerly given to Francesco Francia, and certainly reminds one of the Ferrarese-Bolognese school. Two pictures by Bramantino, the Virgin, with St. Ambrogio, angels and donors (18) is in his usual manner, but the Nativity (19) is a strange picture, and somewhat suggestive of the Northern schools, especially the Madonna with her abnormal forehead and quaint head-dress. The group of musicians behind are graceful figures standing up against the light sky. The large altarpiece by Borgognone, Madonna and Saints (23), an early work, possesses the dignity, simplicity, and devotion which are his unfailing qualities. The characteristics of his early period are to be seen in the straight and rather rigid figures, the badly foreshortened angels with large heads, and in the elaborate architectural throne and lavish use of gold. There are also by him, two Saints (17), St. Francis, rather sentimental, and St. Elizabeth, an elderly woman with a sympathetic face; the colour of the picture is pleasant. [Illustration: PORTRAIT OF AN UNKNOWN, BY AMBROGIO DE PREDIS(?) _To face p. 363_] (AMBROSIANA) [_Anderson, Rome_ ] Sala E.—The most important work here is the cartoon by Raphael, for the School of Athens, his great fresco in the Vatican. This extremely interesting study was acquired for the Ambrosiana by Cardinal Federigo Borromeo. The figures are drawn with all the vigour and grace of the master, and are worth careful study. One noticeable difference between the finished fresco and the cartoon is the absence in the latter of the figure of Heraclites. The stooping figure on the right, Archimedes, is a portrait of Bramante, and there is a study from life of his head beside the cartoon.