There are other artists of less celebrity in Perugia, though not omitted by Vasari. Eusebio da S. Giorgio painted in the church of S. Francesco di Matelica, a picture with several saints, and on the grado, part of the history of S. Anthony, with his name, and the year 1512. We may recognize in it the drawing of Perugino, but the colouring is feeble. His picture of the Magi at S. Agostino is better coloured, and in this he followed Paris. The works of Giannicola da Perugia, a good colourist, and therefore willingly received by Pietro to assist him in his labours, however inferior to that artist in design and perspective, are recognized in the Cappella del Cambio, which is near the celebrated sala of Perugino, and was painted by him with the life of John the Baptist. In the church of S. Thomas, is his picture of that Apostle about to touch the wounds of our Saviour, and excepting a degree of sameness in the heads, it possesses much of the character of Perugino. Giambatista Caporali, erroneously called Benedetto by Vasari, Baldinucci, and others, holds likewise a moderate rank in this school, and is more celebrated among the architects. Giulio, his natural son, afterwards legitimatized, also cultivated the same profession. The succeeding names belonging to this school are not mentioned by Vasari; a circumstance which does not prove the impropriety of their admission, as there are many deserving of notice. Mariotti, our guide in the chronology of this age, and a correct judge of the conformity of style, notices Mariano di Ser Eusterio, whom Vasari calls Mariano da Perugia (tom. iv. p. 162), referring to a picture in the church of S. Agostino in Ancona, which is "not of much interest." In opposition to this opinion of Vasari, however, Mariotti adduces another picture, of a respectable class, by Mariano, to be found in S. Domenico di Perugia; whence we may conclude that this painting is deserving of a place in the history of art. He also mentions Berto di Giovanni, whom Raffaello engaged as his assistant to paint a picture for the monks of Monteluci (of which we shall speak in our notice of Penni) and who was appointed in this contract by Raphael himself to paint the grado. This grado is in the sacristy, and is so entirely in the manner of Raffaello, in the history of the virgin which it represents, that we may conclude either that Raffaello made the design, or that it was painted by one of his school. If it was by Berto, it proves him to have been one of those who exchanged the school of Perugino for that of Raffaello; and if he did not paint it, he must always be held in consideration for the regard he received from the master of the art. Of this artist more information may be obtained from Bianconi, in the Antologia Romana, vol. iii. p. 121. Mariotti enumerates also Sinibaldo da Perugia, who must be esteemed an excellent painter from his works in his native place, and more so from