are also by him; and so too are Nos. 306 and 308. No. 329 is a pleasant portrait by Domenico Brusasorci of himself as a musician. No. 330, the Trinity by Francesco Morone. No. 333, a Madonna and Child with St Andrew and St Peter, by Girolamo dai Libri. No. 334, a very fine Madonna and Child with two saints by Cima da Conegliano. No. 339 is again by Girolamo dai Libri, showing a lovely landscape with an enthroned Madonna, the Child, St Joseph, Tobias, and the angel all in rich glowing colour, and altogether delightful. There are also three pictures by Caroto in this room: one of the three archangels with Tobias over the door is particularly good. It is signed and is very worthy of notice. On the wall coming into this room is a collection of fragments of miniatures from liturgical books by Liberale, and Girolamo dai Libri. They are all framed, and form as choice and rich a collection of such works of art as exists anywhere. Room VI. (No. 351), a fine picture of the Madonna and cherubs by Carlo Crivelli showing the influence of the Paduan school. No. 355 is a painting on wood in several compartments by one Turone in a frame of the same date (fourteenth century) and representing divers saints. This picture, dated 1360, is cited by Crowe and Cavalcaselle as a proof of how the Veronese school held aloof from all Giottesque influence. Such independence does not meet with the approval of the two art critics, who refuse to see in this course of action an individuality which declined to borrow even from a superior source--an attitude of originality that was indulged in at a possible loss of increased technique and drawing, but that is worthy all the same of respect. No. 359 is a painting on wood by Stefano da Zevio: a youthful work, signed and dated 1363, of the Madonna and St Catherine in a garden of roses. No. 362, the Crucifixion by Jacopo Bellini, a grand solemn picture even if somewhat retouched. Nos. 368 and 369 are small altar-pieces by Girolamo Benaglio, in frames characteristic of the period (fifteenth century) and in good taste. No. 376, the Resurrection, attributed to Squarcione, and possibly containing some of his work. No. 377, a Deposition by Liberale, but hung too high to be seen well. Nos. 390, 392, 394, are far and away the gems of this room, and are all fine works by Cavazzola. They represent Gethsemane, the Deposition, the Bearing of the Cross. The Deposition is the most famous of this series, which, as shown by the inscription, was painted in 1517, and in it is to be seen the artist’s portrait to the left of the cross, while in the background stand out the heights of Verona with the castle of San Pietro and the Adige below.