Three more frescoes only remain for mention. A harsh and hurried one in the cathedral of Perugia, in which the Magdalen's face is the redeeming feature, a faded but lovely "Nativity" in the Alfani Rooms (Room 13) in the Perugia Gallery, which is full of exquisite feeling and tender, reverent grace, and finally, the last and unfinished work which now hangs in the National Gallery. This is a huge fresco transferred to canvas, and measures 19 ft. 6 in. long. It was executed at Fontignano in 1523, and is said to have been the last work of the artist. The hand had not lost its cunning, and there is much of the early sweetness in this huge fresco. There is the charm of its faded blues and purples, the haze of its shimmering sunshine, and the tender reverence of the kneeling figures. There are just the same accessories as were adopted by Perugino in earlier "Adorations," very much the same grouping, and almost identical figures, and in these respects the two last pictures that the artist painted are almost copies, one of the other, differing only in proportions. The Perugia fresco is small, the London one very large; but both are really lovely compositions, full of mysterious charm, and it is pleasant to know that the artist's last works were not the queer, quaint ones of Spello and Bettona, but the wonderful, scenes of the "Adoration," painted with much of his old vigour and with all his earlier charm. Mariotti tells us that Perugino died at the Ospedale of Fontignano, and Orsini suggests that it was of plague. There were various traditions as to his burial; even in Mariotti's time, Vasari states, he was honourably buried at Città della Pieve, but there is absolutely nothing to support this statement. The artist was, according to local account hurriedly buried in a field, as at that time all town funerals were forbidden on account of the violence of the epidemic. In the following year, his sons, desirous of affording him an honourable burial, according to the rites of Holy Church, tried to make arrangement for the removal of the body. On December 30th, 1524, they entered into a contract with the monks of San Agostino, who were still in their father's debt 50 scudi, that they should remove his body from Fontignano and bury him in their church, and the sons agreed to pay for the Mass. Mariotti says that there was in his time no proof that that ever was done, but the very fact of the contract proves that nothing could be said to the discredit of Perugino's life or character, and refutes idle rumour as to his atheism.