most grand picture, often attributed to Raffaelle, also to Ghirlandajo, and to Fiorenzo di Lorenzo. From S. Agostino.

9. Perugino. An Angel. From S. Agostino.

12. Baccio d' Agnolo, from a drawing of Perugino.

13. Fiorenzo di Lorenzo (1472). Madonna with saints and angels,

in five compartments.

14. Benedetto Bonfigli.

Madonna with angels, and SS. Thomas Aquinas, Jerome, Francis and Bernardino (the faces of the two latter are destroyed).

16. Berto di S. Giovanni. S. John the Evangelist, as an old man, writing in Patmos, God the Father in the lunette above. This is very Raffaelesque, and the drawing for it is shown in Stockholm as a Raffaelle. The landscape is painted in great detail. From S. Giuliana.

18. Bonfigli. The Adoration of the Magi-full of character. 21. Boccati da Camerino. Madonna and angels.

23.* Perugino. Nativity. This is one of the most beautiful and scriptural specimens of the Master. Nothing can exceed the simple assurance and trust of the Virgin, the holy surprise of Joseph, and the earnest adoration of the shepherds. From S. Agostino.

25. Lo Spagna (Giovanni di Pietro). Madonna with SS. Jerome, Antony of Padua, Francis, and the Baptist.

26.* Giannicola Manni. Christ in glory between the Virgin and the Baptist. Beneath, 14 saints. The Baptist especially beautiful. From the Baglioni Chapel in S. Domenico.

27. Perugino. The Coronation of the Virgin, with 12 Apostles. This picture turns round. On the other side is a crucifix, with the Madonna, S. Francis, an exquisite S. John, and S. Mary Magdalene painted behind it. From S. Francesco del Monte.

29. Fiorenzo di Lorenzo (1487). S. Peter, S. Paul, and a lunette of the Madonna. From S. Francesco de' Conventuali.

30. (Standing alone in the Choir) Pinturicchio, 1498. An immense altar-piece. Madonna with the Child holding a pomegranate, and the infant S. John with a long cross. Left, S. Augustine. Right, S. Jerome. Above, an Annunciation, and over that, a Pietà. In the Predella, the four Evangelists, S. Augustine and S. Jerome. From S. Maria de' Fossi.

'This work is one of Pinturicchio's finest paintings, and displays, perhaps more than any other of the Umbrian school, the deep and pure feeling of Niccolò Alunno, united with a better knowledge of form and a more beautiful manner; in the heads especially, the character and expression are conceived and rendered with the deepest feeling.'Kugler.

(Behind this, unnumbered) Lalanzo della Marca. A great altarpiece. A scene during the plague at Perugia; the patron-saints, Ercolano and Lorenzo, are interceding with the Virgin for the people. From S. Maria del Popolo.

31. Perugino. Madonna in glory, with S. Francis, and S. Bernardino presenting a religious confraternity. From S. Bernardino. 33.* Perugino. The Saviour between S. Francis, S. Jerome, S. Sebastian, and S. Antony of Padua. From S. Francesco de' Conventuali.

34. Perugino. God the Father. From S. Agostino.

35.* Perugino (1488). Madonna and Child with a kneeling crowd of penitents. From S. Pietro Martire.

37.* Eusebio di S. Giorgio. Madonna and Child with two saints. 39. Domenico Ghirlandajo? The Adoration of the Magi. From S. Maria Nuova.

41.* Perugino. The Baptism of Christ. A perfectly lovely picture. The figures stand supported by the water. The adoration of the Baptist is quite indescribable-' He must increase, but I must decrease; ' above are two angels and six winged seraphims. Agostino.

42. Perugino. Daniel. A medallion.

43. Domenico Alfani (1536). The Nativity.

From S.

47. Piero della Francesca (1469). Madonna and Child. In the niches at the sides, SS. Francis, Chiara, J. Baptist, and Antony. Above, the Annunciation, between SS. Agata and Chiara.

49. Lo Spagna. God the Father with angels-a lunette.

50. Fiorenzo di Lorenzo. The Nativity. From S. Maria di MonteThe local botany is curiously portrayed, even to the dandelions

Luco.

in seed.

51. Bonfigli. The Annunciation, with the figure of S. Luke, quaintly introduced, noting down the fact.

52, 54, 55, 57. Berto di Giovanni (1525). The Birth, Presentation, Marriage, and Death of the Virgin. A predella to the Coronation of the Virgin, now in the Vatican, which belonged to the nuns of Monte-Luco.

56. Perugino. S. Jerome and S. Mary Magdalene. From S. Agostino.

59. Dom. Alfani.

Madonna with SS. Joseph, John Baptist, Joachim, and Anna. S. Joseph gives a pomegranate to the Holy

Child-Divae Annae dicatum.'

61. Bonfigli. S. Catherine and S. Peter. From S. Domenico. 63. Duccio da Siena. Madonna.

64. Fiorenzo di Lorenzo. S. Sebastian.

65. Bernardino da Perugia. Madonna with S. Andrew and S. Giuliano.

Madonna and saints.

67. Taddeo Gaddi. A Tabernacle. della with four scenes from the life of Christ.

68. Lello da Velletri.

Agata, and Liberatore.

A pre

Madonna between SS. J. Baptist, Augustine, From S. Agostino.

70.* Boccati da Camerino. Madonna with angels. 73. Ben. Bonfigli. S. Paul and S. Peter Martyr. 75. Niccolò Aiunnɔ (1456). Annunciation with S. Philip and S. Giuliana praying for a kneeling brotherhood. Above is God the Father. From S. Maria Nuova.

'The form of the heads of Gabriel and the Madonna is wonderful; the devotion of the angels thoroughly naïve.'--Burckhardt.

In the middle of the church is an altar-baldacchino, with a pyramidal top, of the 9th century, from the church of S. Prospero. In the right transept is the tomb of S. Egidius, a rich sarcophagus of the 4th century, from S. Francesco.

Passing a passage full of the works of Sinibaldo Ibi and Meo and Guido da Siena, we reach another room filled with mutilated frescoes; here also is—

Margheritone. A great crucifix.

In the room within this are:

Perugino. The Nativity-an exquisitely beautiful fresco, removed from S. Francesco del Monte.

A series of exquisitely

164. Perugino. Martyrdom of S. Sebastian. 206. Benozzo Gozzoli. Madonna and saints. 209, 210, 213, 214, 227, 228, 233, 234. finished pictures from the life of S. Bernardino of Siena, by an unknown painter of 1473.

236. Raffaelle? A Madonna and Child (reading). From S. Maria della Misericordia.

The collection of illuminated choir books is part of the spoils of S. Domenico.

The Etruscan Museum, on the first floor, has a good collection of vases and small articles found in the neighbourhood, but the discoveries here have not been so productive as those of Cortona and other places. As the Etruscans of Perugia generally burned their dead, very few sarcophagi have been found.

There is a striking view of the town from hence. The pile of buildings on the opposite hill is the Convent of S. Francesco dei Conventuali, sometimes called S. Francesco del Prato. A winding road, lined with trees, leads thither. The

church is a Gothic building of 1230, modernised in 1748. In the 1st chapel on the left of the church is a copy of Raffaelle's Entombment, by the Cav. d'Arpino, substituted for the original when Paul V. carried it off. In the sacristy are preserved the bones of the famous Condottiere, Braccio Fortebraccio, killed June 5, 1424, at the siege of Aquila.

In the little green square close to the convent is the Oratory of S. Bernardino ('La Giustizia'), a beautiful specimen of Renaissance decoration. Its marble front is inscribed 'Opus Augustini Fiorentini Lapidica, 1461,' and is the work of Agostino della Robbia. In the niches are statues of S. Ercolano, S. Costanzo, the Virgin, and the angel Gabriel.

'This façade, with its terra cottas and parti-coloured marbles, forms one of the most charming examples of polychromatic architecture in Italy. An infinite variety of reliefs, arabesques, and ornaments cover its architraves, flat-spaces, and the side posts of its doors; above rises an arch, the principal architectural feature of the façade, in the lunette of which San Bernardino appears in a glory of flaming tongues, attended by angels playing upon musical instruments. Among the figures in relief upon the pilasters of this arch, is a group of two angels, one of whom is playing upon a lute, and a lovely figure of Chastity with a lily branch in her hand, whose draperies, arranged in subtle and delicate folds, fall with consummate grace. The reliefs over the door, representing scenes from the life of San Bernardino, are notably realistic in style, and eminently naïve in sentiment. In treatment, they are quite unlike Luca della Robbia, whose surfaces are always rounded, whereas these are flat, like Donatello, resembling also his style in careful rendering of nature, irrespective of beauty; while in plastic power, and facility of invention, they surpass any of the terra-cotta works of Luca della Robbia or his scholars.'-Perkins's Tuscan Sculptors.'

Hence, passing the Madonna di Monte Luco, a beautiful little church designed by Galeazzo Alessi, and under the tall towers called Torre degli Sciri, or degli Scalzi, we re-enter the town by the Via dei Priori. On the right (by the Via della Cupa), nearly opposite the Chiesa Nuova, is, at 18 Via Deliziosa, on the steep of a hill, the two-storied House of Pietro Perugino (Pietro Vannucci), whither, in 1495, the

twelve-year-old Raffaelle went to his lessons. And so we return to the Corso.

It

From the Piazza Vittorio Emanuele, by the Porta Marzia, a winding road, fringed with trees, descends to the lower town, which leads to the Porta Romana. At the bottom of the descent, on the left, is the picturesque octangular Gothic Church of S. Ercolano, built in 1325 by Fra Berignate. is covered inside with frescoes. S. Ercolano was Bishop of Perugia c. 546, and encouraged and assisted the people under the siege of the city by Totila, by whom, when it was taken, he was beheaded on the ramparts. His effigy appears on the ancient coinage.

On the opposite side of the way (No. 13) is the Palazzo della Penna, which contains, amongst other pictures, a beautiful Perugino, of the Madonna between S. Jerome and S. Francis, 1507.

On the left of the Corso di Porta Romana is the great grey Church of S. Domenico, a fine Gothic building designed by Giovanni Pisano in 1304, but altered by Carlo Maderno in 1632. Its stained east window, one of the most beautiful in Italy, was executed in 1411 by Bartolommeo di Pietro da Perugia.

In the left transept is the glorious monument of Pope Benedict XI., General of the Dominicans, who was murdered 1304, by poisoned figs, by order of Philippe le Bel. The tomb is one of the best works of Giovanni da Pisa. A Gothic canopy, supported by spiral columns, encrusted with mosaic, covers the whole. Beneath, two exquisitely lovely female figures draw aside curtains to display the figure of the murdered Pope, which lies on a richly-decorated sarcophagus. A second and inner canopy, supports figures of the Virgin and saints. It is a tomb which has been often imitated, but never surpassed.

'Rien de plus charmant que ce premier élan de la vive invention et de la pensée moderne à demi engagées dans la tradition gothique. Le pape est couché sur un lit, dans une alcove de marbre dont deux petits