Another confraternity in this street is _San Crispino_, which once possessed a picture by Niccolò Alunno, but that has long since disappeared, and only faint patches of colour remain above its gateway. There are many other confraternities, but as they do not all possess pictures of interest, we only mention three others; and first of these, the _Oratory of St. Anthony the Abbot_, or _Chiesa dei Pellegrini_, which every visitor to Assisi ought to visit.[108] After the Church of San Francesco it is by far the most important sight of the town; a Lombard façade, a Roman temple, or a mediæval castle, delightful and beautiful as they are, may be seen elsewhere, but we know nothing with such individual charm as the little chapel of St. Anthony, in the Via Superba. So often a hundred vicissitudes arrested the adornment of a building during those troubled times of the middle ages, but here we find a small and perfectly proportioned oratory decorated with frescoes upon the ceiling and upon every wall, by two Umbrian masters who have sought to make it a complete and perfect sanctuary of Umbrian art. Built in 1431 by the piety of the brotherhood of St. Anthony the Abbot, it served as a private chapel to the adjoining hospital, where pilgrims coming to pray at the shrine of St. Francis found food and shelter for three days. The liberal donations given by Guidantonio, Duke of Urbino and sometime Lord of Assisi, whose devotion to the saint was great, may have enabled the confraternity to adorn it with its many frescoes. Outside, in the arched niche above the door, are the patrons of the chapel, St. Anthony and St. James of Campostello, that great saint of pilgrims, with a frieze of small angels above them playing upon various instruments, also by Matteo da Gualdo. To him we owe the fair Madonna over the altar who gazes so dreamily before her, and sits so straight upon her throne. Angels gather round bending towards their instruments with earnest faces; Matteo's angels can never only calmly pray, they must sing or else play on tambourines, viole d'amore, cymbals and organs. Less pleasing are the large figures of St. James and St. Anthony, while in contrast to them are the slender winged figures on either side bearing tall candelabra, and moving forward with such stately step, their white garments sweeping in long folds behind them, their fair curls just ruffled by the air. Surely Matteo must have been thinking of a group of babies at play in the cornfields, or under the hedges near his own Umbrian town, when he painted that frieze of laughing children, with little caps fitting so closely round their heads, who are tossing the branches of red and white roses up into the air. Each one is different, and all are full of graceful movement. They divide the frescoes below from that of the Annunciation, which recalls the manner of Boccatis da Camerino, the master of Matteo. He paints a swallow, the bird of returning spring,