Of these Cecco and Puccio were employed, probably as mosaicists, in 1321, upon the cathedral of Orvieto, whence they may have brought back to Umbria enlarged principles of art. But, abandoning conjectural grounds, let us notice the earliest Eugubinean painter whose works have survived to our own time. GUIDO PALMERUCCI is said to have been born about the time of Oderigi's death, while others consider him as his pupil. Assuredly the observation of Lanzi, which appears to rank him with the Giottists, is not borne out by the frescoes in his native town attributed to him, for these have nothing of the dramatic action which Giotto introduced, and their details, as well as their general manner, resemble colossal miniatures. This is especially the case in a figure of S. Antonio, the only remains of some mural paintings which covered the exterior of a chapel[*131] belonging to the college of painters, founded at Gubbio in the thirteenth century. The character of the saint is grand, the attitude solemn, the expression spiritualised; and an Ecce Homo still in the Church of S. Maria Nuova there, exhibits a similar style. Among the few fragments of mouldering frescoes to be seen at Gubbio, I have found no others ascribed to Palmerucci, but Passavant tells us he wrought in the town-hall about 1345. At Cagli two interesting frescoes in the church of S. Francesco have been lately brought to light from behind a great altar picture, and successfully moved to the adjoining wall. They represent two miracles of St. Anthony of Padua, and I am inclined to ascribe them to Palmerucci, or some able contemporary. The actors and bystanders are equally remarkable for heads of staid devout composure, which under Giottesque treatment would have been in a far higher degree animated and dramatic. In the beautiful art of pictorial glass, Gubbio has also a notable name in ANGIOLETTO, who embellished the chapel-window of St. Louis at Assisi, and enriched the cathedrals of Orvieto and Siena with his gem-like decorations. [Footnote *131: He refers to S. Antonio Abate, I suppose. There is nothing by Palmerucci in S. Maria Nuova, but a Madonna and Saints and Gonfaloniere kneeling are attributed to him in the Prefettura.] To the same city belongs the little we know of the Nelli family,[*132] yet that little is well calculated to call forth our regrets for their lost works. MARTINO NELLI was a junior contemporary of Palmerucci. In his fresco over the gate of S. Antonio, representing the Madonna enthroned, with elaborate architectural accessories, there may be traced an approach to the mild devotional abstraction with which the purist Christian artists tempered the "Maternal lady with the virgin grace."