In treating of the school of Pietro Perugino, it is necessary to advert to what Taja,[22] and after him the author of the _Lettere Perugine_, notices respecting his scholars, "that they were most scrupulous in adhering to the manner of their master, and as they were very numerous, they have filled the world with pictures, which both by painters and connoisseurs are very commonly considered as his." When his works in Perugia are inspected, he generally rises in the esteem of travellers, of whom many have only seen paintings incorrectly ascribed to him. In Florence there are some of his pictures in the Grand Duke's collection: and in the church of S. Chiara, his beautiful Descent from the Cross, and some other works; but in private collections both here and in other cities of Tuscany, many Holy Families are assigned to him, which are most probably by Gerino da Pistoja, or some of his Tuscan scholars, of whom there is a catalogue in our first book. The Papal states also possessed many of his scholars, who were of higher reputation, nor so wholly attached to his manner as the strangers. Bernardino Pinturicchio, his scholar and assistant in Perugia and in Rome, was a painter little valued by Vasari, who has not allowed him his full share of merit. He has not the style of design of his master, and retains more than consistent with his age, the ornaments of gold in his drapery; but he is magnificent in his edifices, spirited in his countenances, and extremely natural in every thing he introduces into his composition. As he was on the most familiar footing with Raffaello, with whom he painted at Siena, he has emulated his grace in some of his figures, as in his picture of S. Lorenzo in the church of the Francescani di Spello, in which there is a small S. John the Baptist, thought by some to be by Raphael himself. He was very successful in arabesques and perspective; in which way he was the first to represent cities in the ornaments of his fresco paintings, as in an apartment of the Vatican, where in his landscapes he introduced views of the principal cities of Italy. In many of his paintings he retained the ancient custom of making part of his decorations of stucco, as the arches, a custom which was observed in the Milanese school to the time of Gaudenzio. Rome possesses some of his works, particularly in the Vatican, and in Araceli. There is a good picture by him in the duomo of Spello.[23] His best is at Siena, in the magnificent sacristy of which we have already made mention. They consist of ten historical subjects, containing the most memorable passages in the life of Pius II., and on the outside is an eleventh, which represents the Coronation of Pius III., by whom this work was ordered.