There is an immense wealth of fourteenth, fifteenth and sixteenth century Umbrian art to be seen in Perugia, besides some of the most interesting extant remains of Etruscan antiquity. But I am not going to trespass on the domain of the guidebooks, though, truth to say, the best of them are very defective in completeness as well as accuracy of information. Nor are the professional local _ciceroni_ much more to be trusted. They will indeed probably show the traveler all or almost all that there is to be seen. But he must guard himself against accepting their statements in the matter of names and dates, and such like archaeological particulars. If the stranger can have the good fortune to make the acquaintance of Signor Adamo Rossi, the accomplished and learned archivist and librarian of the municipal library, he will hardly fail to bring away with him from this centre of the old Umbrian art-world a considerably larger stock of ideas and information upon the subject than he carried thither with him. But now for the special experience which it is my present object to share with the reader. We went as a matter of course into the Duomo or cathedral. We did not enter the huge old church in the hope of seeing its special and much-boasted treasure, "the marriage-ring of the Virgin Mary." And if such had been our object, it would have been baffled, for the ring in its casket of mediaeval jeweler's work (which really is worth seeing, as far as may be judged from engravings of it) is only shown on St. Joseph's Day; and being locked up under Heaven knows how many different keys, all in the custody of an equal number of ecclesiastical bigwigs, no human power short, I suppose, of that of the pope in person, can get at the relic on any other occasion. But what we did see--what instantly arrested and riveted our attention--was a modern painted window which has been put up for the adornment of the chapel where the ring is kept. It is by far the finest specimen of modern painted glass which I have seen in any country; and I have seen a great deal of all the manufactures, English, Belgian and Bavarian, which have recently been competing for the approval of the artistic world. The window in question in the cathedral at Perugia fills a plain Gothic arch seven metres in height by one metre eighty-five centimetres in width, and it is divided into two parts by a slender column of stone eighteen centimetres broad. The window which fills this space is occupied by a representation of one subject only, the Virgin and Child in--or rather sitting in front of--the stable; Saint Joseph leaning on his staff and gazing at the Divine Infant; a knot of shepherds in adoration, some bringing gifts and others playing on bagpipes, exactly similar to the instruments still used in the Neapolitan Apennines; other figures in the middle distance; beyond these a delicious bit of mountain-landscape; "a glory" above; and in the arch of the window a half-figure representation