pupil Bronzino we have, from the first, a Portrait of Baccio Bandinelli (59), whom Cellini hated so devoutly, and, by the second, a Portrait of Alessandro de' Medici (65).

Of the Umbrian school we have several pictures, notably three small paintings by Luca Signorelli of S. Roch (19), the Blessed Virgin (20) and S. Sebastian (24). Signorelli is, however, as much a Tuscan as an Umbrian master; but we come upon the true Umbrian in a rare work by Niccolò da Foligno, the Head of a Saint (6). By Fiorenzo di Lorenzo of Perugia we have a S. Jerome in the Desert (37), and by Matteo Balducci a panel, the Flight of Clelia (46), while the school, if school it can be called, closes with Bernardino Marriotto's Pietà (55).

Turning now to the Venetians, we find two fine pictures by Giovanni Bellini, the first painted about 1478, a Madonna and Child (27); the second, also a Madonna, is dated 1495, and in it we find a delicious landscape. Cima too is found here in an early work, a Madonna and Child in a beautiful landscape with far-away mountains (57), and Marco Basaiti with a good halflength Portrait of a Man (61), painted in 1521. The school as represented here is fortunately closed by the masterpiece of Pietro Longhi, an astonishing picture, the Portrait of a Girl (94).

From Venice we pass to Verona, and of this school there are some fine examples, beginning with the noble portrait of Leonello d' Este (17), by that very rare master, Pisanello. Here also is a late picture, the Widow's Son (45), by Francesco Bonsignori, the pupil of Bartolommeo and Alvise Vivarini, who was in his later life so much under the influence of Mantegna and Liberale of Verona. By a pupil of that last master, Francesco Caroto, we have a Judgment of Solomon (2), which should be compared with the Massacre of the Innocents (137), painted in 1527, in the Carrara Collec

tion, and the Adoration of the Magi (170), in the Lochis Collection here. By another pupil of Liberale, Niccolò Giolfino, we have a Madonna and Child (105), and by his contemporary, Francesco Morone, again a Madonna and Child (52), which should be compared with the Madonna and four Saints (188), painted by the same master in 1520, in the Carrara Collection. By another pupil of Domenico Morone, the father of Francesco, Girolamo dai Libri, we have a wonderfully haggard vision of S. John reading (50), and by his contemporary and fellow-pupil, Cavazzola, a fine Portrait of a Lady (64).

From Verona we pass to Brescia. The Morelli Collection boasts of five fine works of this school: a Shrine with the Annunciation (3), by Civerchio, the founder of the school; a Portrait of an insolent Young Man (98), by Romanino; two works by Moretto, a Christ and the Woman of Samaria (101), in a lovely cool landscape, an early work by the master, and a Madonna and Child with S. Jerome (96); and a good Portrait (85) by Moroni.

By the Bergamo masters we have two works by Cariani, a life-size Bust of a Man (99) and a Santa Conversazione in a delicious landscape. While the school of Cremona is represented by a Holy Family (104), by Sofonisba Anguissola; this is an early work, signed and painted in 1559.

So we pass to the Milanese, and first to Borgognone, the greatest master of the school, in a fine work of his middle period, a S. Margaret (43), and in a S. John (40). Borgognone had been the pupil of Foppa, and had come only very slightly under the influence of Leonardo at the end of his life. Ambrogio de Predis, however, who has here a fine picture, the Head of a Young Page (26), and perhaps another picture, the Portrait of a Man (28), was altogether formed under the influence of Foppa and the disastrous great Florentine. Luini, whose

charming picture of the Madonna with the Child and the little S. John is a delight, was even more at the mercy of his understanding of Leonardo's mighty art, though he had passed through Borgognone's hands. And in Boltraffio we find indeed a mere imitation of Leonardo, yet his bust of Christ, crowned with ivy, is one of the most astonishing pictures in North Italy and one which compels our respect. To end the Milanese we have two pictures by the Sienese, Sodoma, whose art—and he was a very great craftsman-was also overwhelmed by Leonardo. His fantastic Portrait of a Man (66) Mr. Berenson takes to be Sodoma's portrait of himself: it certainly reminds one of Vasari's account of him; while his Madonna and Child (60) is what we might expect.

Beside the pictures of which I have spoken, Morelli possessed several good works of the Ferrara-Bologna school and two masterpieces by northern painters, a Portrait of a Woman, by Rembrandt, and a Portrait of a Young Man, by Franz Hals, which should not be missed. Nor should one by any means fail to see the three splendid terra-cottas by Quercia, Donatello and Benedetto da Maiano, which are alone sufficient to make the Accademia Carrara famous.

When all is said, however, the true delight of Bergamo will always be found in Bergamo herself: in her winding, steep streets, her narrow ways, her windy piazzas, her shady ramparts and marvellous views of blue, far-away mountains, so often covered with snow, and of the valleys and the plain, green and silver and gold, and the glory of the setting sun.

CHAPTER XI

BRESCIA

TH

HERE is no more delightful and consoling road in all North Italy, south of the mountains, than that which leads at last from Bergamo to Brescia. This book does not propose to deal with the mountains, the Bergamesque and Brescian Alps, for they deserve and shall have a book to themselves; therefore I say nothing of such places as Alzano and its Lottos; it is the plain with which we are concerned, the true Cisalpine Gaul and the true Lombardy, and I know not where in all that vast country you will better the thirty miles that lie between Bergamo and Brescia. For the way is by no means a monotony of flatness, but is broken by low hills and downs, and little passes and valleys about the feet of the mountains, and there, on the hilltops or beside the rivers, stands many a fair town worthy of remembrance, to say nothing of the castles, shrines and churches which are often worthy of Tuscany, and of Tuscany at its best. And this is especially the reward of him who will go slowly, loitering by the way. There is nothing at all, for instance, to see in Seriate, some three miles out of Bergamo, but it is the key to a fine country away to the south, where, by tramway, you may reach in no time the great Castle of Malpaga which Bartolommeo Colleoni, the condottiere, built, and which the Martinenghi inherited from him and held until the middle of the nineteenth century. I said there were castles on the way. Indeed, no castle to be

found in all Italy is more splendid than this, or less spoiled by the hands of fools. It is worth almost any trouble to see, and since it may be had in a single day there and back from Bergamo, it is amazing that it is not better known.

The ten miles between Seriate and Gorlago are, I confess it, nothing to boast of; but they are, as it were, the threshold to the rest, which will well repay the walker. For at Gorlago the scenery begins to be fine, to be uplifted with hills terraced with vines and broken by little valleys. As for Gorlago itself, it is a treasure that none even take the trouble to see. Yet in its Parish Church are two pictures by Giovanni Battista Moroni, the pupil of Moretto, an Adoration of the Magi and a picture of Three Saints, S. Gottardo, S. Lorenzo and S. Caterina. And then, scarcely two miles away, to the south stands the Castello Costa di Mezzate, where are three portraits by the same master, and a Lorenzo Lotto, a Marriage of S. Catherine, painted in 1522, to say nothing of the fine armoury, with its memories of the great days of Brescia, and the marvellous view to be had thence over mountain and plain.

From Gorlago, too, Trescore may easily be reached, a place in the hills celebrated from of old for its hot springs, and there in the Suardi Chapel of S. Barbara are some fine frescoes by Lotto, painted in 1524, of the life of that Saint. Then we come under Monte del Castello to Chiudino, a very pretty small town with a fine tower, the hills as a near background, and all to the south the immensity of the plain; and so to Grumello with its great square battlemented tower, and Caleppio beyond it, and then to Palazzuolo, happy places.

Palazzuolo sull' Oglio, which stands on both sides of the river which forks about its citadel, was the great disputed fortress of the Bergamaschi and the Brescians. And here perhaps the traveller will be wise to take the tram into Brescia, for all before him is only the large