In the Floreria of the Vatican is still to be seen a large fresco painting, in which the above named pontiff is represented with cardinals and prelates, and there is a degree of truth in the countenances highly interesting. Taja does not assert that it is by Pietro, but says that it is attributed to him.[17] Those which are pointed out in Arezzo doubtless belong to him, and the most remarkable are the histories of the holy cross in the choir of the church of the Conventuals, which shew that the art was already advanced beyond its infancy; there is so much new in the Giotto manner of foreshortening, in the relief, and in many difficulties of the art overcome in his works. If he had possessed the grace of Masaccio he might with justice have been placed at his side. At Città S. Sepolcro there still remain some works attributed to him; a S. Lodovico Vescovo, in the public palace, at S. Chiara a picture of the Assumption, with the apostles in the distance, and a choir of angels at the top, but in the foreground are S. Francis, S. Jerome, and other figures, which injure the unity of the composition. There are, however, still traces in them of the old style; a poverty of design, a hardness in the foldings of the drapery, feet which are well foreshortened, but too far apart. As to the rest, in design, in the air, and in the colouring of the figures, it seems to be a rude sketch of that style which was ameliorated by P. Perugino, and perfected by Raffaello. In the latter part of this century there flourished several good painters at Foligno, but it is not known from whom they derived their instructions. In the twenty-fifth volume of the Antichità Picene we read, that in the church of S. Francesco di Cagli there exists (I know not whether it be now there) a most beautiful composition, painted in 1461, at the price of 115 ducats of gold, by M. Pietro di Mazzaforte and M. Niccolo Deliberatore of Foligno. At S. Venanzio di Camerino is a large altarpiece on a ground of gold, with Christ on the Cross, surrounded by many Saints, with three small evangelical histories added to it. The inscription is _Opus Nicolai Fulginatis_, 1480; it is in the style of the last imitators of Giotto, and there is scarcely a doubt that the artist studied at Florence. I believe him to be the same artist as Niccolo Deliberatore, or di Liberatore; and different from Niccolò Alunno, also of Foligno, whom Vasari mentions as an excellent painter in the time of Pinturicchio. He painted in distemper, as was common before Pietro Perugino, but in tints that have survived uninjured to our own times. In the distribution of his colours he was original; his heads possess expression, though they are common, and sometimes heavy, when they represent the vulgar. There is at S. Niccolò di Foligno a picture by him, composed in the style of the fourteenth century, the Virgin surrounded by saints, and underneath small histories of the Passion,