It is the student of art who profits by the present arrangement, for the pictures at Perugia are not difficult to find. With the exception of the Duomo and S. Pietro, most of the churches have been ransacked, and their canvasses and panels neatly stored in perfect order of dates and names on the walls of the Pinacoteca, and it is an easy matter, even in a quiet morning's stroll, to follow here the rise and fall of Umbrian art. In the limited space before us it will not be possible to give anything but a skeleton sketch of the school of Perugino. Larger works contain abundant store of facts about this particular centre of Italian art; but if one only shuts one's eyes and dreams of it, the three great names start up before one: Pietro Vannucci, Raphael, and Pinturicchio. Close upon these follow other names; some, and these perhaps the fairest and most charming, rise like the dawn behind them: Ottaviano Nelli, Bonfigli, and Fiorenzo di Lorenzo. The pupils follow after Manni, Lo Spagna, Eusebio di S. Giorgio, l'Ingegno, Sinibaldo Ibi, Tiberio d'Assisi and a host of others, who die at last, feeble, but not utterly degraded, in the works of the two Alfanis. * * * * * An easy-going historian of Perugia summed up the earliest stages of her art in the following sentence: "I have not been able to discover that Perugia had any painters before the time of Bonfigli, but even if she had them, they will not have been worthy of mention." The assertion was sweeping, and later writers have taken pains to contradict it, but for those who have only time for a superficial and general study of Perugian pictures it yet holds a good deal of truth. No great original work (with the exception of the missal workers, in which style of art Perugia is very rich) is left to us from the hand of a Perugian artist before the time of Bonfigli, and the early history of her art may be said to have been a great deal that of outside influences, for from very early times the best and greatest masters appear, like foreign tribes before them, to have climbed the hill and left some subtle marks upon her churches and her palaces.[94]