Galleria Tosio. BRESCIA. 33. Route. 193
ancient edifice are built into the wall of the house No. 285 in the
S. Clemente (PI. 20 ; E, 4) is a small church containing the tomb
of Moretto (p. 190 ; immediately to the left) and five of his works.
On the right, 2nd altar, *SS. Cecilia, Barbara, Agnes, Agatha, and
Lucia: a charming composition, in which the repellant attributes of
martyrdom are handled with such marvellous naivete as almost to assume
an attractive air (C. & G). On the left, 1st altar, *St. Ursula; 2nd altar,
Madonna with SS. Catharine of Alexandria, Catharine of Siena, Paul, and
Jerome; 3rd altar, Abraham and Melchisedech, both retouched. *High altar-
piece, Madonna with St. Clement and other saints, peculiarly arranged.
A little to the S.E. of this point is the church of S. Maria Cal-
chera (PI. F, 4), which contains a Magdalene by Moretto (1st chapel
to the left) and a St. Apollonius by Romanino (3rd chapel to the
The *6alleria Tosio (or Pinacoteca Municipale, PI. 21; E, 4),
situated a little to the S. of S. Clemente, in the Contrada Tosio,
Quartiere VIII., No. 596 (admission same as to the Museo Patrio,
see above), bequeathed with the palace to the town by Count Tosio,
contains a number of ancient and modern pictures , drawings , en¬
gravings, modern sculptures, etc. The most valuable of its con¬
tents are a number of paintings by Moretto (p. 190).
In a room on the Ground-Floor, the Laocoon, a group in marble by Fer¬
rari; bust of Galileo by Monti; copies of Canova's colossal busts of himself
and Napoleon, by Gandolfi; "Moretto (Buonvicino), Virgin enthroned and
Saints, from the church of St. Eufemia.
First Floor. In the ante-chamber a bust of Count Tosio by Monti,
drawings, and frescoes by Romanino. Handsome inlaid reading-desk by
Fra Raffaello da Brescia (16th cent.).
I. Room (immediately to the left of the entrance): 2. Fra Bartolommeo
(more probably Sogliani), Holy Family; 3. Moretto, Annunciation; 5. Ci-
verchio, St. Nicholas; 6. Moretto, Portrait; 12. Fr. Francia, Portrait; 13.
Caravaggio, Flute-player; 16. Portrait in the style of Giorgione; minia¬
tures and drawings.
II. Room: 1. Mombello, Presentation in the Temple; 2. Giov. Bait.
Moroni (a pupil of Moretto), Portrait (1560); 8. Romanino, Descent from
the Cross; *12. Lor. Lotto, Nativity, 'a scene, the pleasing nature of which
is dignified by the nobleness of the angelic forms1; 14. Moroni, Portrait;
15. Fr. Francia, Madonna; 16. Moretto, Herodias. — *18. Moretto, The
Disciples at Emmaus: — "The picture is of a deep warm tone and rich
substantial handling with types in which form is less striking for selection
than earnestness. A very decided realistic feeling prevails in the out¬
spoken nature of the movements and expressions, which have the strong
and straightforward bluntness of middle or poor class life. . . . Moretto
strives to give the Saviour, whose face is really not above the common,
a calm and settled air. . . . He comes exceptionally near Titian here by
vigorous realism and a happy introduction of varied incident and motive
thought1. — C. & G.
HI. Room : 2. Ferramola, Bearing of the Cross; 5. Moretto, Passion
scene; 10. Gambara, Apollo; 20. Moretto, Descent of the Holy Ghost; *24.
Raphael, Christ with the crown of thorns and stigmata, teaching (1505);
22. Cesare da Sesto (?), Youthful Christ. — The cabinets contain inter¬
esting engravings, old woodcuts, and drawings (A. Diirer). — In the Passage
a bust of Eleonora d'Este, by Canova; drawings; in the adjacent cabinet,
a boy treading out grapes, by Bartolini. — Corridor with engravings. —
IV. Room : Modern pictures. — V. Room : Baruzzi, Silvia, statue in marble,
from Tasso. — VI. Room : 11,19. Mass. d'Azeglio, Landscapes. — VIII. Room :
*1. Night, "2. Day, by Thorvaldsen. — IX. Room. Sculptures: Gandolfi
Baede-- Tt"1- T »"• ™" 13