By Bernardino Licinio is a beautiful portrait of a fair, golden-haired woman, in rich black velvet dress embroidered in gold. She holds a picture of a man, and a lovely landscape of water and hills and sky shows through the window. This work has all the warmth and glow of the best period of Venetian painting. Cariani, a realistic portrait of a stout woman painted in a masterly manner. In interesting contrast to these splendid, generous, if decidedly sensuous paintings, is the small portrait by Lorenzo Lotto of a young man. It is not only the great subtlety and delicacy of treatment, the arrangement of cool flesh tones, grey dress and blue background, but the individuality of facial expression that most distinguishes it from contemporary painting. The artist has analysed the character of this youth and given us a psychological study. Mr. Berenson calls this picture ‘artistic’ in the French sense of the word and unexpected as a work of the Renaissance.[26] Footnote 26: B. Berenson, _Lorenzo Lotto_. On the walls are placed frescoes by Foppa and the early Milanese school, removed from demolished churches. Some beautiful miniatured books, Corali, Missals, Lives of the Saints, Bibles, etc., are ranged down the middle of the room on screens. A small door at the end of this room opens into a way which leads by narrow staircases and passages and by a sort of drawbridge through the Torre di Bona into the Rocchetta. It was across here, by ways very strongly defended and almost impossible to force, that the little Duke Gian Galeazzo was hurried into the keep when he was stolen from his mother by the emissaries of Lodovico il Moro. The great rooms of the Rocchetta, once sacred to the fortunate existence of Lodovico and Beatrice, and now completely restored, contain the collections of Modern Art and the Museum of the Risorgimento, which is filled with deeply interesting memorials of that great recent moment of Milan’s history, when she showed herself splendidly true to her grand traditions as the leader of the Lombard League seven hundred years earlier. There is something curiously suggestive in the presence of these memorials here in the old home of Lodovico il Moro, who represents the height of the tyranny to which the city succumbed in the intervening centuries. As we glance round these renovated rooms we realise how victoriously she has at last swept that tyranny and all its sins and evil memories away, sacrificing with it inevitably the artistic and decorative beauty which partly redeemed it. [Illustration: MILAN] 1 Duomo 2 Palazzo della Ragione 3 S. Satiro 4 S. Sepolcro 5 Ambrosiana 6 Palazzo Borromeo 7 Monastero Maggiore 8 S. M. delle Grazie 9 S. Ambrogio 10 S. Vincenzo in Prato 11 S. Giorgio in Palazzo 12 S. Lorenzo 13 S. Eustorgio 14 S. Celso 15 S. Calimero 16 S. Nazaro 17 S. Stefano 18 S. Pietro in Gessate 19 S. M. della Passione 20 S. Babila 21 Palazzo Marino 22 Museo Poldi-Pezzoli