those in the cathedral at Gubbio, where he painted a fine picture in 1505, and a gonfalon still more beautiful, which would rank him among the first artists of the ancient school. To the above painters Pascoli adds a female artist of the name of Teodora Danti, who painted cabinet pictures in the style of Perugino and his scholars. From tradition, as well as conjecture, we may notice in Città di Castello a Francesco of that city, a scholar of Perugino, who, in an altarpiece in the church of the Conventuals, left an Annunciation with a fine landscape. He is named in the Guida di Roma, in the account of the chapel of S. Bernardino in Ara Caeli, where he is supposed to have worked with Pinturicchio and Signorelli. There is a conjecture, though no decided proof, that a Giacomo di Guglielmo was a pupil of Pietro, who, at Castel della Pieve, his native place, painted a gonfalon, estimated by good judges in Perugia at sixty-five florins; and also a Tiberio di Assisi, who, in many of the coloured lunettes in the convent degli Angeli, containing the history of the Life of S. Francis, shews clearly that Perugino was his prototype, though he had not talent enough to imitate him. Besides Tiberio, some have assigned to the instructions of Perugino, the most eminent painter of Assisi, Adone (or Dono) Doni, not unknown to Vasari, who often mentions him, and particularly in his life of Gherardi (vol. v. p. 142). He is there called of Ascoli, an opinion which Bottari maintains against Orlandi, who, on the best grounds, changed it to Assisi. In Ascoli he is not at all known, but he is well known in Perugia by a large picture of the Last Judgment in the church of S. Francis, and still better in Assisi, where he painted in fresco, in the church of the Angeli, the life of the founder, and of S. Stephen, and many other pieces, which, for a long period, served as a school for youth. He had very little of the ancient manner; the truth of his portraits is occasionally wonderful; his colouring is that of the latest of the scholars of Perugino; and he appears to be an artist of more correctness than spirit. I find also a Lattanzio della Marca, of the school of Perugino, commemorated by Vasari in the above mentioned life. He is thought to be the same as Lattanzio da Rimino, of whom Ridolfi makes mention, among the scholars of Giovanni Bellino, as painting a picture in Venice in rivalship with Conegliano.[24] We are enabled more correctly to ascertain this from a document in the possession of Mariotti, of which we shall shortly speak, from which we not only learn to a certainty his native place, but further, that he was the son of Vincenzo Pagani, a celebrated painter, as will hereafter be seen, and that both were living in the year 1553. It appears, therefore, very probable that Lattanzio was instructed by his father, and that we may doubt of his being under Bellini, who died about 1516, or under Perugino, among whose disciples he is not enumerated by the very