The head of the Umbrian school in the latter decades of the century, Pietro Perugino, made repeated and long visits to Florence, and was considerably influenced by Florentine art, though with an admixture of other elements. Thus was formed a style which, opposed on the one hand to the naturalism of most of the Florentines, on the other to the enthusiastic tendencies of some among them, gave expression to the religious element which long remained dominant in the master’s own country and beyond it. It is ascertained that Perugino was in Florence in 1482 and in the beginning of 1491, but nothing is known of what he did then. His chief works in Florence are of later date, as are those of his school, first among which is the ‘Last Supper,’ in Sant’ Onofrio, probably by Bernardino Pinturicchio. In 1496, Perugino had thoughts of building a house in Florence, and in 1515—when his talent was on the wane—he purchased a future resting-place in the Annunziata; such tokens did he give of his attachment to the city which, spite of the superhuman activity of Rome, was yet the focus of all artist-life and work. Of paintings by Perugino for the Medici nothing is known. Miniature painting[221] rapidly approached its highest development. Great illuminated church-books, antiphonaries, psalters, hours, breviaries, &c., had come forth from Benedictine, Camaldulensian, Dominican, and other convents, and were lodged in cathedrals and churches. The art of illumination was extended by Dante’s contemporaries, Oderigi of Gubbio and Franco of Bologna, to prayer-books for private use and to works of profane literature, when men of rank and citizens took to forming libraries and beautiful manuscripts became objects of luxury. The field for representation was correspondingly enlarged, and from figures of angels and saints the artists of the fifteenth century passed to scenes from the classic poets or the ‘Divine Comedy.’ In this century the Florentine churches were filled with the finest works of this kind, most of which are now in the National Library or that of San Marco. The Dominican order were especially rich in miniature painters after Giovanni Dominici had given an impulse to this branch of art. In Cosimo’s time, Fra Angelico and Fra Benedetto worked in San Marco under the eyes of St. Antonine. Don Bartolommeo della Gatta, Attavante degli Attavanti, Gherardo and Monti di Giovanni, Zanobi Strozzi, Francesco Rosselli, brother of Cosimo, and many others, distinguished themselves in this art, in which they were emulated by foreigners connected with Florence: Liberale of Verona, Girolamo of Cremona, several Sienese, and others. From the middle of the century miniature painting underwent the influence of the Van Eyck school. Many beautiful works found their way into the Medici collections. Lorenzo’s tastes and traditions were inherited by his son Giovanni, whom Raphael’s famous portrait represents with a book adorned with miniatures, and a glass for looking at them lying