early work, a bust of S. Sebastian. By Giovanni Busi of Bergamo, called Cariani, we have in this collection eleven works, of which the Portrait of a Physician (187), Benedetto Caravaggio, is perhaps the most notable. It is here in his native city that this pupil of Giovanni Bellini and Palma, who was influenced by Carpaccio and Giorgione, can best be studied. By the founder of the Milanese school, Foppa, whose Crucifixion, painted in 1456, we have just seen in the Carrara collection, there is here an early work, a S. Jerome (225). By his great pupil Borgognone we have four pictures: a Head of S. Ambrose (53), the picture of a Procession, really S. Ambrose and Theodosius (219), the Madonna giving fruit to her Child (229) and an early Madonna and Child (131). From Borgognone, whose magnificent Polyptych, painted in 1498, in S. Spirito, in the lower city, is one of the greater glories of Bergamo, we pass to Moretto, the Brescian, by whom we find three pictures here: a Samson Sleeping, in a landscape (71); a Christ with the Cross, worshipped by the Donor (177), painted in 1518; and a later picture, a Holy Family, with S. John the Baptist (55). While by Bonsignori of Verona we have a portrait of a Gonzaga (154).

The school of Ferrara is represented by a Madonna and Child (233) by Cosimo Tura, that adamantine master; and the school of Vicenza by a notable work painted in 1487 by Montagna, the Madonna with SS. Roch and Sebastian.

Interesting as these works are for the student, they have not the same attraction for the traveller as those examples of the Venetian school which are here more plentiful than might be expected.

The earliest and most notable Venetian whose work is to be found here is Giovanni Bellini, whose picture of the Madonna and Child (210) is one of his early works. His contemporary, Carlo Crivelli, is also represented by a picture of the Madonna and Child (219). From him we

pass to the true Venetian line, with the Holy Family and S. Catherine (185), by Lotto, painted in 1523, with which it is delightful to compare the Marriage of S. Catherine in the Carrara collection (66), painted just ten years earlier. His three sketches, containing the story of S. Stephen (32-34), are charming and delightful.

A late work by Palma Vecchio, the Madonna with two Saints, and certain Vintage Scenes by Paris Bordone, the pupil and follower of Titian, may be said to bring the great school of the Bellini to an end; but Venice may still be said to speak in the delightful sketch here by Tiepolo (24), and in those pictures of Guardi, which seem to bring the city itself to us from far away.

These two collections, the Carrara and Lochis galleries, would be enough to bring renown to any city half as lovely as Bergamo. But, as it happens, they are but the smaller part of her dowry. In the year 1891, the great art critic and connoisseur, Giovanni Morelli, died at Milan, and bequeathed his magnificent collection of pictures to his native city. These three collections, well arranged by the Director Signor Frizzoni, were, till the year 1911, the delight of every traveller who entered Bergamo. In that year a rearrangement of the three collections was entered upon, and the gallery was closed for a time. What the new arrangement may be we cannot say, but it is to be hoped that the Morelli collection will still be shown as a thing apart; for it is fully characteristic of the wise sympathies and knowledge of the great critic and of his triumphs of connoisseurship.

The strength, if not the delight, of the Carrara and Lochis collections lies in the many pictures they contain of the Bergamesque and North Italian schools, and, after them, in their Venetian pictures. But the Morelli Gallery can boast of many fine Florentine works with a few pictures of the Umbrian school, and, on the principle of serving the best wine first, let us begin with these.

One can expect here, of course, nothing by Giotto or his pupils, nor must we look for anything by the great reviver of that deathless tradition, Fra Angelico. But we have here a beautiful example of the work of his contemporary, Lorenzo Monaco, the follower of Agnolo Gaddi and the Sienese, in that picture of the Dead Christ (10), a small panel in which we seem to find something which prophesies of Fra Lippo Lippi. Nothing by that great and vital master is to be seen here; but we have two pictures by his pupil Pesellino: the delicious and fairy-like panel, the Story of Griselda (9) and the Florentine arraigned before the Podestà (11); the third work attributed to him is according to Mr. Berenson, who has written an illuminating study of this collection,1 a copy of Pesellino's picture at Altenburg by Pier Francesco Fiorentino: it represents S. Francis and S. Jerome (36).

A greater pupil of Fra Lippo, Sandro Botticelli, is to be seen here in a single panel, the Story of Virginia (25). Its companion is now in Boston. The Salvator Mundi attributed to him is only a school piece, but the Giuliano de' Medici is the work of that master Mr. Berenson has called Amico di Sandro. A painter who was in his later life influenced by this master, Francesco Botticini, is represented here by a very lovely picture of Tobias and the Angel (33), and a fellow-pupil of his in Verrocchio's bottega, Lorenzo di Credi, is seen here in a poor Madonna and Child, but a Nativity (42), ascribed to him, is, as Mr. Berenson shows, by his pupil "Tommaso."

Albertinelli is seen here in two panels (32) of S. John and S. Mary Magdalen, and Bacchiacca by a picture of the Death of Abel (62), while by Pontormo and his

1 See B. Berenson, "The Morelli Collection at Bergamo," in The Connoisseur, vol. iv. No. 15 (Nov. 1902), and vol. v. No. 17 (Jan. 1903).

See B. Berenson, The Study and Criticism of Italian Art (Bell, 1901), p. 462, etc.