There are no angels in this picture, which, for Perugino, is most unusual; but Moses and Elias, fine, well-drawn, powerful figures, take the place of the usual singing angels who float in the sky. The half-startled look of the disciples is very cleverly presented, and the glow of the ethereal light upon their faces, partially warded off by St. John with his upraised hand, is beautifully depicted. The transfigured Christ is an imposing figure, full of dignity and peace, and demanding reverence from those around. There is a sense of space, of distance, and of mystery in this fine fresco, which Perugino seldom, if ever, exceeded. When, at the very close of his life, Perugino painted for Sta. Maria Nuova his other fresco of the "Transfiguration," he used the same cartoon as he adopted for the Cambio, reversing the three figures on the ground. The result is, however, far different, and but little of the fresco is really the work of Perugino. In place of a mandorla of rays of burning light, there is the usual one of cherubs, cut across by an awkward cloud, and almost all the figures have lost their dignity and power. His fellow-citizens paid him the compliment of desiring that his portrait should be identified with his important work, and probably Maturanzio composed the complimentary verses which are written beneath it, and which Perugino himself could certainly not have selected. The inscription runs: Perdita si fuerat pingendi his retulit artem; Si nunquam inventa est hactenus ipse dedit, which Rev. H. R. Ware has thus rendered: If we had lost the painter's art, 'tis here restored in better part; If it had always been unknown, he's given it as his very own. The portrait of the artist may well be compared with the one in the Uffizi, which was so long believed to be his, but which has now been removed from its old position and hung in the Tribuna as the portrait of Francesco delle Opere, according to the inscription on its back. With the knowledge that the one in the Cambio is genuine, it is surprising that the Uffizi portrait should for so long have been called Perugino's, and a whole story spun to account for the words "Timete Deum" which occur in the man's hand. In not one feature do the two portraits, however, resemble one another, and the one of Perugino in the Cambio reveals him as a man of strong, healthy appearance, of unusual determination and great power. The features reveal strong sense of ideality, good knowledge of form and of colour, and some dry, lurking humour of a cynical and malicious type. To a certain extent the face is sensual, but not lascivious or voluptuous; but its main characteristic is its determination, the ability to conquer difficulties, to labour hard and long, and to produce a vast amount of work in a short time. It is also the face of a thoughtful man, not so much of a loveable one, as of one who was masterful and resolute.