Before leaving the subject of Bonfigli it will be well to look at some other pieces of his work which are painted in quite a different manner. Amongst these is a Madonna and Child (No. 13). It is a beautiful specimen of the master's purely pietistic painting.[98] Tradition says that Fra Filippo Lippi ordered this picture. It has suffered terribly, for in old days it was hung in the lavatory of S. Domenico, and as the friars washed their hands they must have splashed the water up against the panels. No. 10, the Adoration of the Magi, is also by Bonfigli. The picture as a whole is perhaps more interesting than beautiful, inasmuch as it is one of the very few religious pictures of the Umbrian School where the portraits of living people have been introduced. Orsini tells us that the Madonna is a portrait of Bonfigli's sister, the Child a picture of his nephew, and the youngest of the three kings that of his brother. The loveliest point in the picture is the group of angels up in the roof. Bonfigli must, we think, have seen the swallows flitting at springtime in and out of some low breezy barn, and put their movements into angels' forms. The predella, too, is a perfect gem in itself, notably the panel of the Baptism where the wilderness is painted dark and brown, but the sunrise is full upon the figures of three angels who stand with crowns of roses on their heads and watch the scene among the rocks. There is an Annunciation in the same room by Bonfigli; and it again is chiefly charming because of the treatment of the angels. They come fluttering up behind a group of cypress trees, all in the flush of dawn. But the foreground figure is strange indeed. What did Bonfigli mean when he painted S. Luke and his ox, and planted them there in the midst of the picture so as quite to distract one's attention from the principal figures of the piece? In the next room (Sala VII.) Bonfigli's angels can be studied with ease. There are in all eight panels of them, and it is interesting to see how the early painter strove between realism and idealism in the faces. He loved his smiling angels best; what care he took to crown them with pink roses; what baskets too of roses he gave to them to carry! yet to his angels of the Passion he gave no roses, only the symbols of the Crucifixion, its anguish and its thorns.