The story of Buffalmacco, the saint, and the crown of fishes is comic enough, but the square in which the scene described above was acted witnessed the deepest human tragedy that the annals of Perugia have preserved for us. It was just outside the church of S. Ercolano that Grifonetto Baglioni got his death-wound. Driven back from Porta S. Pietro with only a few men, he prepared to keep the gate of "Sancto Ercolano" and there, hopeless of anything save death, he awaited the assault of Gianpaolo. It was here in this place that he fell. Did Raphael come down the street along with the other terror-stricken people after the fight was over? Did he, with the quiet eyes of the artist, look on this passionate scene of love and death? Was it Grifonetto that he painted later in his picture--"Grifonetto gracious in his person." We cannot tell; we only know as a fact that the "Entombment," now in the Borghese villa at Rome, was ordered by Atalanta Baglioni, and in a letter from Raphael concerning it we see that he was acquainted with her personally. It has been suggested to us by a Perugian who is wise in art and history, that Raphael painted a portrait of Grifonetto not in the figure of Christ as one might naturally suppose, but in the more prominent figure of the vigorous young man who supports the feet of the dead Saviour. The whole attitude of this figure is one of dauntless energy and courage such as one would expect to see in the son of two such cousins as Atalanta and Grifone Baglioni. * * * * *