Portrait of a young woman (8), formerly ascribed to Leonardo, but given by Morelli to Ambrogio de Predis, an attribution which is now generally accepted. It is a charming and vivacious portrait, and certainly superior to most of de Predis’ work, but we must remember that he excelled in portraiture. By Leonardo it assuredly is not. The identity of the portrait has also been much discussed. It was at one time called Beatrice d’Este. The latest conjecture is that it is the portrait of Bianca, natural daughter of Lodovico Sforza and wife of Galeazzo di San Severino. The portrait of a man holding a scroll of music (19), is attributed in the catalogue to Leonardo; we think, however, it is more likely to be also by Ambrogio de Predis, whose work was much influenced by Leonardo, and it has all the characteristics of his painting, the heavy modelling, and hot dark colour. It is an interesting and thoughtful face, presumably a musician, and perhaps the portrait of the celebrated Franchino Gaffurio, master of the choir of the Duomo of Milan. Holy Family and St. Elizabeth (3), from Leonardo’s design (the cartoon in Burlington House), is a well-known picture by Luini, but like all imitations of the master, it is quite superficial, and loses entirely the deep and mysterious significance of the original, so that one can hardly help wishing his designs had not been so much copied. The youthful Saviour (9) has a certain beauty and refinement, but shows Luini’s weakness in drawing, especially in the large and clumsy hand. St. John with a Lamb (10) is a very charming picture of a little boy hugging a lamb. The Way to Calvary (18), by Giovanni Cariani, is an interesting example of this Bergamesque artist. Other noticeable pictures in this room are, the Presentation in the Temple (33), by Tiepolo; Adoration of the Magi (42), ascribed to Titian; Holy Family (43), by Bonifazio Veronese, and a full-length portrait by Gio. Battista Moroni. Sala F contains inferior pictures of the late Lombard school; there is, besides, a pleasing altarpiece, attributed to Pinturicchio (58), though surely by a North Italian hand. Sala G.—This room is filled with drawings; there are various studies, doubtfully attributed to Leonardo and drawings by his followers; among the latter an excellent pencil-drawing of a child’s profile by Ambrogio de Predis or Bernardino dei Conti; it is the portrait of Massimiliano Sforza, eldest son of Lodovico il Moro, and probably the study for his portrait in the large altarpiece in the Brera; some well-drawn heads by Boltraffio; a drawing by Luini of Tobias and the Angel, and the Marriage of the Virgin by Gaudenzio Ferrari. There are two small profiles of Prospero Colonna and the Marchese di Pescara, and some caricatures. In a case there is a reproduction of the _Codex Atlanticus_ of Leonardo.