The Pinacoteca has many of Bonfigli's works, and no one who once has realised the fashion in which this early Umbrian master crowned his women and his angels will ever be able to forget it. How thin and exquisite the veils upon the pale, calm heads of his Madonnas; how fair and neat the wreaths of roses on the yellow hair of his young angels! Bonfigli was, indeed, a pleasant painter, and it is strange to think that his home relations were of a tempestuous order: "Certainly he had a wife," says Mariotti, "and he had her of such a sort that she caused him nothing but anxiety; moreover, he was in constant strife with her." But Bonfigli was not always calm in his painting. He could be humorous, he could have a touch of Carpaccio in him, as will be seen in his frescoes for the Magistrates' Chapel; but he could also be passionate and dramatic. To understand him fully one must study him in his _gonfaloni_, or banners. Perugia has five of these--one of S. Bernardino, now in the Pinacoteca, another in the sacristy of S. Francesco al Prato; another in S. Fiorenzo (see p. 232); the fourth in S. Maria Nuova; and the fifth in S. Lorenzo.[96] All have suffered from exposure and from restoration, but they are unique and individual forms of art. The Christ in them is inexorable and revengeful, Death strives with man, saints and the Madonna try to interfere, and sad and supplicating groups of citizens kneel by their city walls and pray for grace. Nothing is definitely known about the early life of Bonfigli. There seems to be no record of his birth. He was probably born about 1420, and died about 1496. The first authentic mention of his work is in 1454, when he undertook a commission from the priors and their chaplain to paint the walls of the Magistrates' Chapel in the Palazzo Pubblico. That Bonfigli was well known and very highly appreciated in his native city before that date is evident. Mariotti tells us that he was called in by the citizens as one of the judges to pronounce judgment on Agostino Duccio's façade at S. Bernardino. It is probable that he even had a school of painting--that school to which Vasari somewhat slightingly alludes in his life of Perugino. SALA II. _Cappella di Bonfigli_ (_formerly the chapel of the Magistrates' Guild_).