inscribed, _Allegrettus Nutii de Fabriano hoc opus fecit 136_.... The art in these parts was not a little advanced by their proximity to Assisi, where Giotto's scholars were employed after his death, particularly Puccio Capanna of Florence. This artist, who is esteemed one of the most successful followers of Giotto, after painting in Florence, in Pistoia, Rimino, and Bologna, is conjectured by Vasari to have settled in Assisi, where he left many works behind him. We shall find the succeeding century more fruitful in art, as the Popes at that time forsook Avignon, and, re-establishing themselves in Rome, began to decorate the palace of the Vatican, and to employ painters of celebrity both there and in the churches. There does not appear any person of distinction amongst them as a native of Rome. From the Roman State we find Gentile da Fabriano, Piero della Francesca, Bonfigli, Vannucci, and Melozzo, who first practised the art of _sotto in su_; and amongst the strangers are Pisanello, Masaccio, Beato Angelico, Botticelli and his colleagues. Amongst these too, it is said, was to be found Mantegna, and there still remains the chapel painted by him for Innocent VIII. although since converted to another purpose. Each of these artists I shall notice in their respective schools, and shall here only mention such as were found in the country from the Ufente to the Tronto, and from thence to the Metauro, which are the confines of our present class. The names of many others may be collected from books; as an Andrea, and a Bartolommeo, both of Orvieto, and a Mariotto da Viterbo, and others who worked at Orvieto from 1405 to 1457; and some who painted in Rome itself, a Giovenale and a Salli di Celano, and others now forgotten. But without pausing on these, we will advert to the artists of Piceno, of the State of Urbino, and the remaining parts of Umbria: where we shall meet with the traces of schools which remained for many years.