But time would fail us to tell of the Baglioni, or Pope Paul the Borghese, or Fortebraccio, the chivalric _condottiere_ who led the Perugians to war against their neighbors of Todi, or even the still burning memories of the sack of Perugia by command of the present pope. We can no longer turn our thoughts from the treasures of art which make Perugia rich above all cities of the Tiber, save Rome alone. We cannot tarry before the cathedral, noble despite its incompleteness and the unsightly alterations of later times, and full of fine paintings and matchless wood-carving and wrought metal and precious sculptures; nor before the Palazzo Communale, another grand Gothic wreck, equally dignified and degraded; nor even beside the great fountain erected six hundred years ago by Nicolo and Giovanni da Pisa, the chiefs and founders of the Tuscan school of sculpture; nor beneath the statue of Pope Julius III., which Hawthorne has made known to all; for there are a score of churches and palaces, each with its priceless Perugino, and drawings and designs by his pupil Raphael in his lovely "first manner," which has so much of the Eden-like innocence of his master; and the Academy of Fine Arts, where one may study the Umbrian school at leisure; and last, but not least, the Sala del Cambio, or Hall of Exchange, where Perugino may be seen in his glory. It is not a hall of imposing size, so that nothing interferes with the impression of the frescoes which gaze upon you from every side as you enter. Or no; they do not gaze upon you nor return your glance, but look sweetly and serenely forth, as if with eyes never bent on earthly things. The right-hand wall is dedicated to the sibyls and prophets, the left to the greatest sages and heroes of antiquity. There is something capricious or else enigmatical in the mode of presenting many of them--the dress, attitude and general appearance often suggest a very different person from the one intended--but the grace and loveliness of some, the dignity and elevation of others, the expression of wisdom in this face, of celestial courage in that, the calm and purity and beauty of all, give them an indescribable charm and potency. At the end of the room facing the door are the "Nativity" and "Transfiguration," the latter, infinitely beautiful and religious, full of quiet concentrated feeling. We were none of us critics: none of us had got beyond the stage when the sentiment of a work of art is what most affects our enjoyment of it; and we all confessed how much more impressive to us was this Transfiguration, with its three quiet spectators, than the world-famous one at the Vatican. Although there are masterpieces of Perugino's in nearly every great European collection, I cannot but think one must go to Perugia to appreciate fully the limpid clearness, the pensive, tranquil suavity, which reigns throughout his pictures in the countenances, the landscape, the atmosphere. [Illustration: TODI.]