¿12 Route 34. BERGAMO. Aceaaemia Carrara.
the high-altar, a Madonna, an excellent late work of Giov. Bellini
(1512; generally covered).
A little to the E. of the Piazza Garibaldi, in the Via Colleoni,
is the Luógo Pió Colleoni (Pl. B, C, 1), once the dwelling of Bart.
Colleoni, who bequeathed it to the city for an orphanage in 1466.
On the groundfloor are some frescoes by Paxino da Nova and other
masters of the 15th cent.; among them is an equestrian portrait of
Colleoni (fee 1/2 ?*•)•
"We now return to the station of the cable-tramway and proceed
thence, to the left, throngh the Strada Porta Dipinta, passing the
church of Sant' Andrea (Pl. C, 2), which contains a Madonna en¬
throned with four saints, by Moretto (altar to the right; covered).
Fine view. The street leads to a small sloping piazza with the
church of San Michele al Pozzo Bianco (Pl. D, 1; key at Sant' Andrea),
which contains good frescoes by Lor. Lotto, representing the An¬
nunciation and the Nativity and Marriage of the Virgin (ca. 1523;
chapel to the left of the choir; partly concealed by the altar-piece).
— We may proceed to the right through the Via Osmano to the
ramparts (p. 211), or continué to follow the Strada Porta Dipinta
to the left to the Porta Sant' Agostino (Pl. D, 1), near which is the
oíd Gothic church of the same ñame (now a barrack). — Just below
the gate a footpath, lined with acacias, leads to the —
Accademia Carrara (Pl. E, 1), situated a short way outside
the Porta Santa Caterina (tramway, p. 209), a school of art with a
*Picture Gallery (Galleria Carrara, Gal. Morelli, and Gal. Lochis;
open daily, 10-4, adm. l¡2 fr- i on ^st an^ ^rd Sun. of each month,
and daily from 30th Aug. to 30th Sept., 10-3, free; at other times,
1 fr.). Catalogue of the Gal. Carrara and the Gal. Lochis 1 fr., of
the Gal. Morelli 60 c.
First Floor. Unimportant paintings; coins, medals, etc. — On the
staircase are fragmentary frescoes.
Second Floor. Straight in front is the Gallería Carrara. I. Room.
To the right, 49. Belotto, Arch of Tifus. — II. Room. To the left on enter¬
ing, "66. Lotto, Bctrothal of St. Catharine (1523; landscape cut out); 68.
Previtali, Madonna and saints; 67. Cariani, Invention of the Cross; 75-83.
Moroni, Portraits (80, *82, 83, best; 81, an early work). Then, beyond a
series of portraits (91 the best) by Fra Vittore Ghislandi (1655-1743), the
Bergamasque Titian; 98. Gaudenzio Ferrari, Madonna; 100. Moroni, St. Jerome
(in Moretto's manner). Also, on the side-walls, 74, 89, 114. Al. Varotari,
Copies of Titian's famous Bacchanalia. — III. Room. To the left, 137. Carolo,
Massacre of the Innoeents; 188. Moroni, Madonna and saints; 159. P.
Brueghel the Eider, The Woman taken in adultery (1565); Lor. Lotto, 356.
Martyrdom of St. Stephen, 357. Entombment, 358. Miracle of St. Dominic;
Borgognone, 363. Louis IX., 362. St. Agatha, 360. St. Lucy, 359. St. Stephen,
361. Pieta; "354. Lor. Lotto, Portrait of a lady, with fine moonlight land¬
scape ; 355. Moroni, Portrait; 154. V. Foppa, Crucifixión (1456); '153. Mantegna,
Madonna (in tempera). — To the right of R. II. is the —
Gallería Morelli, bequeathed in 1891 by the well-known art-critic. —
I. Room. To the left, 3. Vine. Civerchio, Annunciation; 7. Bern. Luini, Ma¬
donna ; Franc. Pesellino, 9. A judgment, '11. Marriage of Griselda to the
Lord of Saluzzo (after Boccaccio's Decameron); 17. Vitt. Pisano, Lionello
d'Este, Duke of Ferrara; 20. Luca Signorelli, Madonna; 22. Boltraffio,
Christ, a half-fieure (an early work); 23. Baldovinetti, Portrait of him-