where the perspicuity is more to be praised than the disposition. In the same style some of his pieces in Foligno are painted after 1500. Vasari thinks they are all surpassed by his Pietà in a chapel of the Duomo, in which are represented two angels, "whose grief is so vividly expressed, that any other artist, however ambitious he might be, would find it difficult to surpass it." Perugia, from whence the art derived no common lustre, abounded in painters beyond any other city. The celebrated Mariotti formed a long catalogue of the painters of the fourteenth century, and among the most conspicuous are Fiorenzo di Lorenzo, and Bartolommeo Caporali, of whom we have pictures of the date of 1487. Some strangers were also to be found amongst them, as that Lello da Velletri, the author of an altarpiece, and its lower compartments, noticed by Signor Orsini. Benedetto Bonfigli was distinguished above all others, and was the most eminent artist of Perugia in his day. I have seen by him, besides the picture in fresco in the Palazzo Publico, mentioned by Vasari, a picture of the Magi, in S. Domenico, in a style similar to Gentile, and with a large proportion of gold; and another in a more modern style, an Annunciation, in the church of the Orfanelli. The angel in it is most beautiful, and the whole picture would bear comparison with the works of the best artists of this period, if the drawing were more correct.[18] What I have already adduced sufficiently proves that the art was not neglected in the Papal States, even in the ruder ages; and that men of genius from time to time appeared there, who, without leaving their native places, still gave an impulse to art. Florence, however, has ever been the great capital of design, the leading academy, and the Athens of Italy. It would be idle to question her indisputable claim to this high honour; and Sixtus IV., who, as we have before mentioned, sought through all Italy for artists to ornament the Sistine chapel, procured the greatest number from Tuscany; nor were there to be found amongst them any who were his own subjects, except Pietro Perugino, and he too had risen to notice and celebrity in Florence. These then are the first mature fruits of the Roman school, for until this period they had been crude and tasteless. Pietro is her Masaccio, her Ghirlandajo, her all. We will here take a short view of him and his scholars, reserving, however, the divine Raffaello to the next epoch, which indeed is designated by his illustrious name.