A door festooned with splendid garlands of fruit, carved deep in creamy marbles, leads from the courtyard into the church. The interior is heavily decorated, but though some of the pictures are far from good, the impression given by the whole is beautiful and pleasing; and the choir, which was added in 1400, is one of the loveliest things of its kind in Italy. The columns of the nave are some of the remains of the only pagan temple which was left in Perugia after the siege of Augustus (see S. Angelo, chapter vii.). With the exception of Perugino's great altar-piece, S. Pietro has preserved nearly all the pictures which were painted for it. Amongst these is a good _Pietà_ by Perugino (perhaps one of the panels out of the big picture at S. Agostino). There are three large canvases by Vasari in the chapel of the Holy Sacrament, a painting by Eusebio di S. Giorgio of the Adoration of the Magi on the wall outside and a picture by Guido Reni in the chapel of the Annunciation.[68] At the end of the left transept is a _Pietà_ by Bonfigli. "Cette Piété incorrecte et pieuse," as M. Broussole describes it. The picture hangs in a bad light between the Vibi chapel and the door, and at first only the white naked figure of Christ shines out on the dark blue gown of the virgin; but looking a little longer we find ourselves in the study of S. Jerome: one of those enchanting rooms which this particular saint inevitably inhabits, neat and exquisite in the arrangement of its benches and its lectern. Our Lady of Pity is sitting there, holding the dead figure of her son and kissing his head upon her shoulder. To her right is a figure of S. Leonard, to the left, and wholly unconscious of the tragedy, S. Jerome sits, smiling a little slyly. There is beautiful intarsia work (older than that in the choir) on the walls of the sacristy, and some fine illuminated books; lower down the church in the right transept, a beautiful bit of work by Salimbene of Siena, and on the last wall a fine picture of the school of Perugino, very rich and bright in colour. The two Alfanis have left ample specimens of their art in S. Pietro, and there are several of Sassoferrato's copies of great masterpieces. But the greatest treasure of the church, like those of S. Lorenzo and S. Agostino, did not escape the terrible eye of Napoleon Bonaparte. Perugino's great Assumption, which formed the glory of the high altar, is gone to France. Only six of the saints, battered and cut from their frames, linger like unhappy ghosts on the walls of the sacristy.