Sala Milano.—This room is chiefly occupied with drawings and paintings of the buildings of old Milan, and mementoes of her history. Beneath the ceiling are ranged charming fresco portraits of the Sforza, by Luini, taken from a house in Corso Magenta. They are of course chiefly fancy presentments of those historic personages. The great silken standard of St. Ambrogio, partly needlework, partly painted in tempera, of the sixteenth century, hangs on the wall. A very interesting little painting on wood, much damaged, depicts Galeazzo Maria Sforza, his son Gian Galeazzo, and lastly Lodovico il Moro, following one another in order of rank on horseback, fully armed and accompanied by their pages. Their arms and special devices are painted on the trappings of their horses. It is a work evidently of Galeazzo Maria’s time. Sala VII.—Here we enter the Pinacoteca, which contains a small but very valuable collection of the Lombard and other North Italian Schools. Martyrdom of S. Sebastian by Vincenzo Foppa is an impressive work. The artist’s tendency to dark and grey tones is carried to an extreme, and the effect is gloomy, almost tragic. St. Ursula and her Virgins by Moretto. The saint in her flowing draperies, holding the banners, is a noble figure, and the colour is good, with that opaque quality peculiar to this Brescian artist. Sala II.—Large altarpiece by Borgognone, Madonna with SS. Sebastian and Jerome, is in his usual gentle and devout manner. Buttinone, a series of small scenes from the New Testament, showing all his peculiar mannerisms; the action of the rather grotesque figures is decidedly vigorous. Vincenzo Foppa, a small Madonna picture, has all the painter’s strong characteristics. The string of corals reminds one of his Paduan training. Gianpietrino, a picture of the Magdalen, his favourite subject, is better drawn and modelled than his figures sometimes are, and less morbid in the flesh tones. Sodoma, a very theatrical S. Michael. Boltraffio, Madonna and Child of his usual type, and rather hot colour, and two panels of Saints, with well-painted profile portraits of donors. Correggio, Madonna and Child, with little S. John is a particularly gracious composition. She looks down with a sad half smile at the children, who have the childish charm which Correggio depicts with such subtle mastery. It is a picture to sit down in front of and enjoy. By Carlo Crivelli there are two Saints, S. John with finger on lip, holding a book, and S. Bartholomew holding a knife and book. Antonello da Messina, a fine portrait of a dark man crowned with a green wreath. On the other side of the room there is a splendid portrait by Tintoretto of Doge Jacopo Soranzo, an old man in deep wine-coloured dress. Moroni, a portrait of a man in black with white ruff. Il Bassano, a man in elaborately ornamental armour. Antonio Pordenone, a fine portrait of a man with a small dog, a Titianesque landscape showing through the window.