Thus fell Perugia. Our learned author goes on to describe how S. Ercolano was conducted to the ramparts and after his skin had been torn off in strips from the neck downwards, he was beheaded and his body thrown into the ditch. Some faithful adherents gave it secret burial, and finding the body of the foolish young acolyte near by, laid it in the same grave. Later, Uliphus, governor of the city, allowed the Perugians to give their beloved pastor proper burial. To the astonishment of all beholders the Saint's head was found joined to his body, which seemed like that of a man asleep. This miracle converted many of the Arian Goths to the Roman faith, and "with rejoicings and hymns of praise the body of S. Ercolano was borne through the streets to the church of S. Lorenzo." The next picture gives the burial of S. Ercolano. It is only a fragment, and we can hardly piece the scattered groups together. There is a lovely little group of ladies to the left--a set of typical Bonfigli women with exquisite white headgear. The curving front of the Palazzo Pubblico upon the Corso is painted with accurate care, the loggia of Fortebraccio too, is clearly seen and understood. But the picture is only a shadow; the part we most wish to see, namely, the north front of the Palazzo, is wholly obliterated, and the restoration spoils it terribly. In the next fresco the body of S. Ercolano is being carried from S. Pietro to S. Lorenzo, and Bonfigli has seized this excellent opportunity to paint a fresh portrait of his native city. In the foreground the basilica of S. Pietro with a colonnaded front and unfinished campanile is faithfully depicted, and behind the funeral procession (which by the way is moving in quite the wrong direction) the town towers up into the sky like a pack of yellow cards, broken only by its towers and campaniles.[97] ROOMS VI. AND VII. _Sala di Bonfigli and Sala di Bernardino di Mariotto._