The four figures in the ceiling, Pope Leo III, St. Bonaventure, St. Isidor of Seville and St. Augustine, and the angels with shield-shaped wings, are also by Mezzastris. A graceful piece of his work is the Christ above the door, in a glory of angels who form a wreath around Him with their wings like sheaves of yellow wheat. Delightful, but very different from Matteo's, are the cupid-angels flying across the sky on clouds, and the two seated playing with a shield upon which is painted the pilgrim's scallop-shell. [Illustration: MONTE FRUMENTARIO IN THE VIA PRINCIPE DI NAPOLI] The figure of St. James near the door is of small interest, being a much restored work of a pupil of Perugino; but in the dark corner on the other side is, says Mr Berenson, a youthful work of Fiorenzo di Lorenzo. It is the young St. Ansano holding his lungs suspended daintily from one finger as in the fresco of S. Paolo, and looking so charming in his page's dress, his fair curls falling about his shoulders. He stands at the entrance of a cave with pointed rocks above, and saxifrage and ferns delicately drawn are growing in their crevices. Would that Mezzastris had given his pupil a larger space of wall to work on, so that we might have had more saints and landscapes like these. We leave the chapel with regret, giving one last look at Matteo's Madonna and his frieze of child-angels, and then go out into the long broad Via Principe di Napole. Its fine palaces, once the abode of some of the richest nobles of the town, have now been turned into schools and hospitals, and our thoughts once more revert to the past days of prosperity and magnificence as we walk along this grand but silent street where the grass grows unmolested between the stones. A little way further on to the right is the fine _loggia_ of the _Monte Frumentario_ which in olden times was an agricultural Monte di Pietà, where the peasants who had no other possessions than the produce of the fields would come to pawn their grain in time of need. The door is finely sculptured, and the delicate chiselling of the capitals of the pillars of the _loggia_ mark it as a work of the fourteenth century. Not far from the Chiesa dei Pellegrini, but to the left, stands one of the oldest Assisan houses which does not seem to have suffered much alteration since it was built. It was the lodge of the Comacine guild of workers, who have left their sign of the rose between the compass over the entrance, and two pieces of sculpture, showing that those to whom the house belonged were people who worked at some trade. It does not appear to have been a dwelling-house, but only a place where the members of the guild, employed in building the different civil and religious buildings for the Assisans, could meet together to discuss their interests, draw out their plans and execute different pieces of their work. They probably did not build the house, but perhaps in the year 1485, which is the date above the door,