Santo Spirito (Pl. E, 3). The aisleless *Interior, in the earlyRenaissance style, is due partly to Pietro Isabello (ca. 1521).

Left, 1st chapel: Previtali, John the Baptist, surrounded by SS. Bartholomew, Nicholas of Bari, Joseph, and Dominic, the painter's masterpiece (1515). Left, 2nd chapel: Borgognone, Descent of the Holy Ghost, God the Father, Annunciation; on the left, John the Baptist and St. Jerome; on the right, SS. Augustine and Francis (1508). Left, 5th chapel and in the sacristy Tombs of the Tasso family (see below), of the 17th century. Right, 4th chapel: Lotto, *Madonna and four saints; above, angels in a glory (1521). Right, 5th chapel: Previtali, Madonna and four saints (1525), Resurrection (finished by Ag. da Caversegno).

A little to the N., in the quaint Via Pignolo, which ascends sharply, is the little church of San Bernardino in Pignolo (Pl. E, 3); in the choir is a *Holy Family with SS. Anthony Abbas, Joachim, John the Baptist, and Bernardino, by Lor. Lotto (1521). Higher up are several palaces with fine courtyards in the early-Renaissance style, including the Casa Grataroli (No. 72; now the Circolo Artistico), the Casa Casotti (No. 76; now the Casa Rathgeb), and the Casa Eredi Terzi (No. 108). The Casa Tasso (No. 80; now the Casa Baldini) partly belonged to the Tasso family (p. 255) in the 16-17th centuries. Close by is the church of

Sant'Alessandro della Croce (Pl. D, 2), restored in the 17th cent. and containing a Coronation of the Virgin by G. B. Moroni and, in the sacristy, a portrait by Moroni and a Crucifixion by Previtali (1514). To the right the Via San Tommaso descends to the Porta Santa Caterina (tramway, see p. 248), before reaching which we come to the

Accadémia Carrara (Pl. E, 1), a school of art founded by Count Giac. Carrara in 1795, with a valuable *Picture Gallery (Galleria Carrara, Gal. Morelli, and Gal. Lochis; open daily, 10-4. adm. 1 fr.; on 1st and 3rd Sun. of each month from March to Nov., free). Director, Sig. Valentino Bernardi. No catalogue.

GROUND FLOOR. Rooms I-V. Art-industrial Museum. VI. Room. Historical and topographical collection of Bergamo.

UPPER FLOOR. GALLERIA CARRARA AND LOCHIS. VII. Room. Miniatures, designs, and engravings. VIII. Room. Pictures by less wellknown Bergamasque masters. IX. Room. Portraits by Fra Vittore Ghislandi (surnamed Frate di Galgario). X. Room. Lorenzo Lotto, *53. Holy Family and St. Catharine; *55. Betrothal of St. Catharine (1533); 54. Portrait of a lady; 56-50. Three panels of the predella of Santo Stefano at Fortino; *63. Iac. Palma Vecchio, Madonna and saints; G. B. Moroni, *68. Portrait of Bernardo Spino, 69. Pace Rivola Spino, 71. Portrait of a child; Giov. Cariani, 73. The slave, *74. Portrait of G. B. da Caravaggio; 82, 87, 93. Moroni, Portraits. XI. Room. Paintings by Francesco di Simone da Santacroce, Girolamo da Santacroce, Andrea Cordegliaghi (108), Andrea Previtali (109, 110, 113, etc.), etc. XII. and XIII. Rooms: Modern artists. XIV. Room. Frescoes. XV. Room (Venetian School of the 15th cent.). 153. Bart. Montagna, Madonna and saints; Carpaccio, 155. Nativity of the Virgin, 162. St. Rocco and a devotee; 164. Iac. Bellini, Madonna; *167. Giov. Bellini, Madonna; *168. Antonello da Messina, St. Sebastian; 169. Lazzaro Bastiani, Holy Trinity; *170. Andrea Mantegna, Madonna; 172. Carlo Crivelli, 175. Bartol. Vivarini, Madonnas; 182. Iacobello del Fiore, Madonna and

XVI. Room. Venetian

Childs, with six panels of the life of Christ. Masters of the 16-18th centuries. 185. Romanino, Adoration of the Shepherds; 186. G. F. Caroto, Massacre of the Innocents; 187. Dom. Teotocopuli, surnamed Il Greco, St. Francis receiving the stigmata; 191. Bonifacio Veronese, Adoration of the Magi; Aless. Bonvicino, surnamed Il Moretto, *192. The Redeemer with a devotee, 202. Holy Family; 203, 204. Paris Bordone, Vintage; 205. Giorgione (?), Orpheus and Eurydice; 211-218. Franc. Zuccarelli, Landscapes and two portraits of children; 223-225. Pietro Longhi, Venetian scenes; *228-238. Franc. Guardi, Eleven views; 240. Bern. Bellotto, Arch of Titus at Rome; *241-245. G. B. Tiepolo, Sacred subjects. XVII. Room. Emilian, Lombard, Tuscan, and Umbrian Painters. 263. Cosimo Tura, Madonna; *267. Franc. Francia, Christ with the cross; 279. Vinc. Foppa, Mount Calvary with the three Crucified; 288-292. Ambr. da Fossano, surnamed П Bergognone, Sacred subjects; 293-296. Gaud. Ferrari, Putti; 297. Boltraffio, Madonna; 312. Perugino, Infant Christ in the manger; *Raphael, St. Sebastian; *324. Fra Beato Angelico, Madonna with angels. XVIII. Room. Large paintings of various schools. 329. Iacopo di Antonello da Messina, Madonna; 332-336. Borgognone, Saints; 338. Vinc. Civerchio, St. Francis; 342. Girol. Giovenone, Madonna and saints; 343. Gaud. Ferrari, Madonna; 368. Giulio Campi, Portrait of Cesare Borgia (?). XIX. Room. Large Venetian pictures of the 16-18th centuries. 379-383. Bart. Vivarini, Saints; 390. Vinc. Catena, Christ at Emmaus; 394. Marco Basaiti, Portrait; 395. Marco Marziale, Madonna; 399. Franc. Bonsignori, Portrait of G. F. Gonzaga; 400. Vittore Belluinano, Crucifixion; 416. Tintoretto, Portrait of an old man; 435. Padovanino, Triumph of Venus. XX. Room. Foreign painters. 444. Simon Vouet, Armed youth; 455, 456. Gasp. Dughet, surnamed Poussin, Landscapes; 468. Dürer (?), Christ on the way to Mt. Calvary; 475. P. Brueghel the Elder, the Adultress; *477. François Clouet, Portrait; 490. J. van Ruysdael, Landscape.

GALLERIA MORELLI, bequeathed in 1891 by the well-known art-critic. I. Room. To the left, 7. Bern. Luini, Madonna; Franc. Pesellino, 9. A judgment, *11. Marriage of Griselda to the Lord of Saluzzo (from Boccaccio's Decameron); 16. Master of the Pellegrini Chapel (p. 302), Madonna (group in clay); 17. Pisanello, Lionello d'Este, Duke of Ferrara; 22. Boltraffio, Christ, a half-figure (an early work); 23. Baldovinetti, Portrait of himself; 26. Ambrogio de Predis, Portrait of a page; *27. Giov. Bellini, Madonna; 30. Tim. Viti, St. Margaret; 31. Ercole Grandi, St. John; 35. Benedetto da Maiano, Angel (figure in clay), belonging to the Madonna dell' Olivo at Prato (p. 543); 41. Giov. Bellini, Madonna; 44. Bart. Montagna, St. Jerome. II. Room. To the left, *61. Basaiti, Portrait (1521); 62. Bacchiacca, Cain and Abel; 66. Sodoma, Monster (l'uomo fantastico'); 77. B. Fabritius, Satyr and peasant; 80. Gov. Flinck (not Rembrandt), Portrait (1635); 90. Lenbach, Portrait of Morelli; 101. Moretto, Christ and the Woman of Samaria; 91. Empress Frederick of Germany, Transitoriness (1882).

The Via della Noca, a footpath planted with acacias, ascends from the Accademia to the Porta Sant' Agostino (p. 253).

b. Upper Town.

A pretty avenue of chestnut-trees, the Viale Vitt. Emanuele Secondo (cable-tramway, p. 248), connects the Piazza Cavour (p. 249) with the UPPER TOWN, the ramparts of which have been converted into promenades and afford fine views of the plain of Lombardy and the Bergamasque Alps.

From the upper terminus of the cable-tramway, in the Mercato delle Scarpe, we may proceed to the left through the Via Gaetano

Donizetti (Pl. C, B, 2), with the former Palazzo Fogaccia (No. 11; now the Casa dell'Arciprete) to Santa Maria Maggiore (see below); or we may bear to the right to the Rocca (Pl. C, 1), or castle (now a prison), which was re-erected in the 12-15th cent. on the Colle di Sant'Eufemia (1235 ft.), probably on the site of the Roman capitol; or, finally, we may go straight on by the Via Gombito, past the Torre di Gombito (ca. 1100; left), the only patrician tower left in the town, to (3 min.) the

PIAZZA GARIBALDI (Pl. B, 1), the picturesque old market-place. Here, on the right, is the Palazzo Nuovo, designed by Scamozzi (1611) in the late-Renaissance style, but unfinished. The palace is now the Reale Istituto Tecnico Vitt. Emanuele and contains the Museo di Storia Naturale (adm. on application to the custodian).

Opposite is the Gothic Palazzo della Ragione (p. 172), or Pal. Vecchio, which was almost entirely rebuilt ca. 1513; on the groundfloor, an open colonnade, is a statue of Torquato Tasso (p. 255). The palace contains the Biblioteca Civica (1764), with 150,000 vols., including 2000 incunabula (open Sun. & Frid. 10-1, on other days 10-3). On the right rises the huge Torre Comunale, a clock-tower and campanile since the 15th century.

In the PIAZZA DEL DUOMO, behind the Palazzo Vecchio, lies *Santa Maria Maggiore (Pl. B, 2), begun in the Romanesque style in 1137, with a picturesque choir; at the side-entrances are Gothic lion-portals (that to the S. by Giov. da Campione, 1360). To the right of the N. portal is the Cappella Colleoni.

The INTERIOR (usual entrance on the S. side) has been restored in a rich baroque style. The nave contains wall-paintings by Paxino da Nova (much injured), under Florentine tapestry (from designs by Al. Allori, 1582-86). The right aisle contains the partly restored tomb of Card. Longo degli Alessandri (d. at Avignon, 1319), by Ugo da Campione, and the tomb of Donizetti (p. 249), by Vinc. Vela (1855). — In the right transept is a fresco, representing the tree of St. Bonaventura, by a follower of Giotto (1317). The choir contains a large painting by Luca Giordano,

the Israelites crossing the Red Sea. The Renaissance *Choir Stalls are by F. Capodiferro (1522-32) and other artists (behind) and by Giov. Belli (1540-77; in front). The fine intarsia work in the central panels (covered) was partly designed by Lor. Lotto. - In the treasury (above the sacristy) are a large Crucifix (13th cent. ?) and several works in niello.

*

The adjoining Cappella Colleoni (shown by the sagrestano), erected by G. A. Amadeo in 1470-76 in the early-Renaissance style, has a façade lavishly covered with marble, which, however, was much altered and adorned with sculptures from the interior when the building was modernized in the 18th century.

The interior contains the tomb of the founder Bart. Colleoni (d. 1475; p. 391), begun by G. Ant. Amadeo (the upper parts later), with reliefs from the life of Christ. On the top is the gilded equestrian statue of Colleoni by Sixtus Siry of Nuremberg (1501). To the left is the smaller, but beautiful monument of his daughter Medea (d. 1470), also by Amadeo, and originally in the church of Basella. Above the altar on the right are good sculptures; to the left, a Holy Family by Angelica Kauffmann (covered). Fine intarsia-work by G. B. Caniana (ca. 1735). The frescoes

in the vaulting, by G. B. Tiepolo (1732), represent scenes from the life of John the Baptist and allegorical figures of Faith, Love, and Hope.

The adjacent Baptistery (on the right), by Giov. da Campione (1340; thoroughly renovated in 1660), originally in Santa Maria Maggiore, was re-erected here in 1898. In the interior are reliefs of the Passion (key in the sacristy of the cathedral; fee 30-50 c.).

Opposite is the Cathedral (Pl. B, 2; Sant'Alessandro), on the site of the Lombardic church of San Vincenzo. The present edifice was begun in 1459, partly by Filarete (p. 158); the choir was added in 1650 from a design by Carlo Fontana; the dome (1830-53) and façade (1887) are modern.

INTERIOR. 1st altar to the left: Madonna and saints by G. B. Moroni (1576); 5th altar to the right: Martyrdom of the Bishop St. John by G. B. Tiepolo (an early work); behind the high-altar, à Madonna, an excellent late work of Giov. Bellini (1512; covered).

At No. 9 in the neighbouring Via dell' Arena (Pl. A, B, 1, 2) is the Pio Istituto Musicale Gaetano Donizetti, with the small Donizetti Museum (Museo Donizettiano).

A little to the W. of the Piazza Garibaldi, at No. 9 Via Bartolomeo Colleoni, is the Luogo Pio Colleoni (Pl. B, 1), the dwelling of Bart. Colleoni, who left it to the city for an orphanage in 1466. The former reception-room is richly adorned with frescoes, allegorical figures, etc. (after 1475); in an adjoining room is an equestrian portrait of Colleoni (fresco) by Moroni (fee 1/2 fr.).

We now return to the station of the cable-tramway and proceed thence, to the left, through the Via di Porta Dipinta, passing the church of Sant'Andrea (Pl. C, 2), which contains a Madonna enthroned with four saints, by Moretto (altar to the right; covered). Fine view. The street leads to the church of San Michele al Pozzo Bianco (Pl. D, 1; key at Sant' Andrea), which contains *Frescoes by Lor. Lotto, representing the Annunciation and the Nativity and Marriage of the Virgin (ca. 1523; chapel to the left of the choir; partly concealed by the altar-piece). Farther on in the same street is the Gothic church of Sant'Agostino (1444), now part of a barrack, near which is the Porta Sant' Agostino (Pl. D, 1).

A more extensive view than that from the ramparts (p. 251) is obtained from the tower of the old Castello, an outer fortress rebuilt in 1167 and in 1343-45, and blown up by the command of Napoleon I.; it lies about 3/4 M. to the N.W. of the Porta Sant' Alessandro (Pl. A, 1), on the Monte San Vigilio (1630 ft.; inn; cable-tramway, see p. 248).

About 114 M. to the W. of the Castello is the Pasco dei Tedeschi, commanding a good view of the Valle Brembana.

STEAM TRAMWAYS from Bergamo. 1. From the rail. station in the Via Paleocapa (Pl. D, 5, 6) to Trezzo and Monza, see p. 194. 2. From the Viale della Stazione (Pl. E, 6) to Soncino (p. 259; 26 M.). Intermediate stations: 3 M. Seriate (p. 258); 72 M. Cavernago (660 ft.), the station for (1 M.) the château of Malpaga, the home of Bart. Colleoni's old age, with fine but neglected frescoes by Romanino (Visit of King Christian of Denmark to Malpaga, 1474); 15, M. Romano (p. 259). RAILWAY Viâ Ponte San Pietro (p. 258) to Seregno,, see p. 18. From Seregno to Saronno, Busto Arsizio, and Novara, see p. 85.

41. The Bergamasque Alps.

1. VALLE BREMBANA.

LIGHT RAILWAY (electric) from Bergamo (station, Pl. E, 6) to San Giovanni Bianco, 191/2 M. in ca. 11/4 hr. (fares 2 fr. 50, 1 fr. 60 c.). DILIGENCE from San Giovanni Bianco to Olmo, twice daily in ca. 13/4 hr., and from Ambria to Serina, twice daily in 2 hrs.

Bergamo, see p. 248. The LIGHT RAILWAY makes a bend towards the N. to the station of (11/4 M.) Borgo Santa Caterina (Pl. F, 1), then, near (211⁄2 M.) Valtesse (925 ft.), it crosses the hilly country to the N. of the town, and reaches the Valle Brembana, or valley of the Brembo, near (7 M.) Villa d'Almè (980 ft.), an unimportant village with a cotton-factory, situated near the mouth of the Imagna Valley, which in old times was well known for its armourers. A diligence runs hence viâ Capizzone, the station for the small sulphur-baths of Sant' Omobono (Alb. Centrale), to Valsecca. 8 M. Clenezzo (960 ft.), with an old castle (10th cent.), is commanded by the Monte Ubione (2935 ft.), once also crowned with a castle. Close by the Imagna is spanned by a bridge dating from the early middle ages.

Farther on the train runs high above the Brembo and passes below the ancient village of Botta (on the right); on the river below are the Bergamo electric-power works. Beyond (10 M.) Sedrina (1065 ft.), the Gothic church of which (ca. 1400) possesses an altarpiece by Lor. Lotto, the train traverses a picturesque gorge to (1012 M.) Brembilla-Sedrina, beside the Ponti di Sedrina, two old bridges (1570) and a new double bridge crossing the Brembo and its affluent the Brembilla.

From the Ponti di Sedrina a road ascends the Brembilla valley to the N.W. to (3 M.) the small sulphur-baths of Brembilla, its chief village, then crosses the ridge known as the Foppa Calda and leads viâ (812 M.) Gerosa (2495 ft.), the Forcella di Bura (2975 ft.), and Peghera (2675 ft.), the church of which possesses a fine high-altar-piece by Palma Vecchio, to (181/2 M.) Taleggio (2495 ft.), the largest village in the Valle Taleggio, 5 M. to the W. of San Giovanni Bianco (p. 255).

We cross the Brembo to (1212 M.) Zogno (1095 ft.; Alb. Italia), the quaint capital of the lower Valle Brembana, situated in a broad, fertile valley. The parish-church of San Lorenzo contains valuable art-treasures. The Monte Canto Alto (3760 ft.), to the S., commands a wide view of the plains of Lombardy.

131⁄2 M. Ambria (1065 ft.), at the mouth of the Val Serina. From Ambria a road (diligence, see above) leads to the N.E., first through a gorge (Gola d'Ambria) and then past the little Lago d'Algua, recently formed by a landslide, to (7 M.) Serina (2690 ft.; Alb. della Posta; Alb. del Giardinetto), at the W. base of the jagged Monte Alben (6325 ft.). Serina was the birthplace of Palma Vecchio (p. 351), parts of a large altar-piece by whom are in the parish-church. Through the Valle Antea to San Giovanni Bianco, see p. 255. The road goes on to the N.E. viâ Valpiana (3520 ft.) to the little mineral bath of Oltre il Colle