The church had been struck by lightning, and the question of the repair of the injured lantern was submitted to a meeting of architects, sculptors, and painters, and at this meeting Filippino Lippi, Lorenzo di Credi, and Perugino all tendered their advice. At about this time came an invitation from the Priori of Perugia for him to undertake the entire decoration of their Cambio or Bourse; and this invitation seems to have finally disposed of the Orvieto contract. He wrote to the Orvietans stating that he could not come as he was otherwise engaged; and there is no trace of his ever visiting their city during his life. The flattering request of his adopted townsmen was well pleasing to Perugino; the terms offered him were satisfactory; and early in 1499 he left Florence and commenced in Perugia what I consider to be the most important work of his life. The scenes in the decoration of what is still called in Perugia the "Noble Cambio," are not the most beautiful that Pietro painted, nor are they the finest of his works in the way of drawing, composition, or colouring. They, however, form part of a complete scheme of decoration, carried out, it is true, under certain definite restrictions laid down by the Priori, but, subject to these restrictions, designed throughout by the master, and mainly executed by his own hand. It has already been said that to understand Perugino it is absolutely necessary to visit Umbria. The dictum can be made even more definite. It is needful to see not only Umbria but Perugia, and not only Perugia but the Cambio, in order to have an adequate idea of the artist's power. The quaint little room must be visited again and again if the student is to really understand its beauty. When at first one steps from the brilliant sunshine of the street into this dark chamber, it is not easy to realise the rich decoration which covers its walls. Gradually, however, as the eye becomes accustomed to the more subdued light, it reveals itself, but part only of the room can be studied at a time. The room is very much as Pietro left it, and in its way is one of the most beautiful in all Italy. The lower part of the walls is wainscotted with dark wood inlaid in tarsiature. Near the entrance is the throne for the judge, and below it the desks and seats for the money-changers, all exquisitely carved, and then all around the room, above the wainscotting, is Perugino's fresco decoration, and above it the vaulted ceiling painted from his designs by his pupils. There is unity about the whole which is perfect. Perugino is at his best, straining his utmost to give honour to the town of his adoption, stimulated by the very nature of his commission, exercising all the fertility of his talent in design, and labouring with intense sympathy and determination, convinced that in Perugia he can execute a work that will perpetuate his name for ever and ever.