well deserved to be richly rewarded by Luigi Bacci, whom he portrayed there in the scene of the beheading of a King, together with Carlo and others of his brothers and many Aretines who were then distinguished in letters; and to be loved and revered ever afterwards, as he was, in that city, which he had made so illustrious with his works. [Illustration: THE RESURRECTION (_After the fresco by =Piero della Francesca=. Borgo San Sepolchro_) _Alinari_] In the Vescovado of the same city, also, he made a S. Mary Magdalene in fresco beside the door of the sacristy; and for the Company of the Nunziata he painted the banner that is carried in processions. At the head of a cloister at S. Maria delle Grazie, without that district, he painted S. Donatus in his robes, seated in a chair drawn in perspective, together with certain boys; and in a niche high up on a wall of S. Bernardo, for the Monks of Monte Oliveto, he made a S. Vincent, which is much esteemed by craftsmen. In a chapel at Sargiano, a seat of the Frati Zoccolanti di S. Francesco, without Arezzo, he painted a very beautiful Christ praying by night in the Garden. In Perugia, also, he wrought many works that are still to be seen in that city; as, for example, a panel in distemper in the Church of the Nuns of S. Anthony of Padua, containing a Madonna with the Child in her lap, S. Francis, S. Elizabeth, S. John the Baptist, and S. Anthony of Padua. Above these is a most beautiful Annunciation, with an Angel that seems truly to have come out of Heaven; and, what is more, a row of columns diminishing in perspective, which is indeed beautiful. In the predella there are scenes with little figures, representing S. Anthony restoring a boy to life; S. Elizabeth saving a child that has fallen into a well; and S. Francis receiving the Stigmata. In S. Ciriaco at Ancona, on the altar of S. Giuseppe, he painted a most beautiful scene of the Marriage of Our Lady. Piero, as it has been said, was a very zealous student of art, and gave no little attention to perspective; and he had a very good knowledge of Euclid, insomuch that he understood all the best curves drawn in regular bodies better than any other geometrician, and the clearest elucidations of these matters that we have are from his hand. Now Maestro Luca dal Borgo, a friar of S. Francis, who wrote about the regular geometrical bodies, was his pupil; and when Piero, after having written many books, grew old and finally died, the said Maestro Luca, claiming the authorship of these books, had them printed as his own, for they had fallen into his hands after the death of Piero. Piero was much given to making models in clay, on which he spread wet draperies with an infinity of folds, in order to make use of them for drawing.