There is a record of a visit from Perugino to the town _en route_ for Trevi in this very year, and with him came two at least of these pupils, but no pupil ever painted this Presepio, although it is most probable that the lunette above it is by Tiberio d' Assisi. The lower picture, however, glows with golden sunshine, and the landscape is full of beauty, and represents, as was so often the case, the view to be seen from the very walls of this wonderful old city. Some of the faces are formal, the draperies are coarse and stiff, and show signs of hurried work, but the sense of distance proclaims the author of the fresco, and the faces of St. Joseph and of the Virgin and the dainty decoration of the columns are with the landscape really good pieces of work, and a wonderful improvement upon the pictures at Spello, Bettona, or in the Duomo at Città della Pieve. [Illustration: _Alinari photo_] [_Sta. Maria, Trevi_ THE ADORATION OF THE MAGI, 1521] Outside Montefalco is San Fortunato, where Tiberio d' Assisi painted the cloisters, and here probably Perugino stopped, and one figure in the ceiling is certainly his work, perhaps done to show Tiberio a suggestion as to the decoration, or put in at the pupil's own request. Then he journeyed on to Trevi, another delightful hill town, full of charm and beauty, and there, an old man of seventy-five, in the church of Sta. Maria della Lacrime, outside the town, he painted his "Adoration of the Magi." It is the old, old design. There is the wooden erection, the enthroned Madonna and Child, the kneeling Magi, the crowd of attendants. In the distance are the servants with horses and camels, and away beyond are the blue hills, the river, and the sky. Certainly it is degenerate work; but which of the men of his time could do such work? No one else could so present the continuous space of nature, the spaciousness and vastness of the distance, or bathe his pictures in the dreamy sunlight of summer. I lingered long before this fresco, loth to leave it, its tranquillity is so marked, its airiness is so impressive. It was while completing this picture that the message as to the San Agostino ancona reached Pietro. Back he came to Perugia in 1522, painted the "Transfiguration" for Sta. Maria Nuova, and its three predella panels now in the Perugia Gallery, and the frescoes in the Nunnery of S. Agnese (where he had relations), which I have not been able to see, as the Nunnery is now strictly cloistered.