We return to the L. wall and note 1526, Signorelli's Adoration of the Magi; further on are 1154, an excellent Fra Bartolomeo, The Holy Family, and 1153, The Annunciation, a graceful and suave composition, original in treatment, by the same master. We pass to some more Andrea del Sartos: 1515, according to Vasari, a _Nostra Donna bellissima_, was painted in quick time for Francis I., and 1514, Charity, was executed in Paris for the _gran re_ and highly esteemed by him. This picture has much suffered by transference from the worm-eaten original panel to canvas, in 1750, and by a later restoration in 1799. We are soon arrested by some masterpieces of the Milanese school, and first by the Da Vincis: 1599 is the famous Virgin of the Rocks, whose genuineness is warmly championed by French critics as against the similar picture in the National Gallery stoutly defended as the original by English authorities. Professor Legros with impartial judgment assures us that both are copies of a lost original; 1597, a doubtful attribution, is a rather effeminate John the Baptist, by some critics believed to be a second Gioconda portrait; 1600, the supposed portrait of Lucrezia Crivelli, mistress of Ludovico il Moro, is also ascribed by the official catalogue to Da Vinci. It would, however, be hard to persuade us that Leonardo had any hand in this portrait, excellent though it be, which seems rather by Beltraffio, Solario, or another of the Milanese masters; 1602, Bacchus, is another doubtful Leonardo. 1488, L. of 1597, is an admirable work by Sacchi: Four Doctors of the Church with symbols of the Evangelists. By Solario, a younger contemporary of Da Vinci, are 1532, a Crucifixion; 1530, a masterpiece, the much admired Virgin of the Green Cushion; and 1533, Head of the Baptist.