The splendid altar-piece (No. 10), which alone remains to Perugia of this distinguished pupil of Perugino, is ill lighted and rather difficult to judge from top to bottom, but is interesting as well as beautiful; for the picture remains just as the painter painted it with all its panels in their proper order, unlike the panels of so many of Perugino's finest altar-pieces. The Pietà, the angel of the Annunciation, both the figures of the Virgin and the detail of their dresses, fruit and books, are exquisitely finished. * * * * * There is in the same room an excellent specimen of the work of another of Perugino's scholars--Lo Spagna (No. 7). Giovanni di Pietro was one of the most distinguished of Vannucci's school, and Kugler indeed pronounces him to be _the_ most distinguished after Raphael. It is probable that he studied with Fiorenzo di Lorenzo before going to Vannucci's studio, but it is difficult to discover any details about his private life. His whole career is shrouded in some mystery. His name would make one think he was Spanish by birth. We know that he left Perugia and went to live at Spoleto. Vasari declares that this was because the painters of Perugia were jealous of him and made life in their midst impossible; this fact is however severely denied by our gossip Mariotti, who declares that Lo Spagna was excessively well off in Spoleto, where he not only received the rights of citizenship but also secured a charming wife. Be all this as it may, of this really good artist, who combined in his work the influence of Raphael and of Perugino, only one piece is left in the place where he learned his art. The Madonna and Saints (No. 7) is a fine specimen of his work. The mother and the child are fresh and beautiful in colour and expression, and all the details of the dresses and the landscape infinitely careful. Note St Jerome, his gloves, his book, his hat and splendid gown. One other picture is ascribed to Giovanni in the same room, but it is greatly inferior in treatment. * * * * * We now come to the Adoration of the Magi, which after much dispute was some time ago ascribed to Perugino's scholar Eusebio di San Giorgio, but which is still the subject of endless local discussions, as, owing to further and more minute investigations it is at length declared by excellent judges to be the work of Raphael. One reason given for this is that the young man to the right of the Virgin has on his trousers a strange design, the arms of Raphael. Poor Eusebio must turn in his grave. His former biographers, anxious to seize on any gem of painting which should save the artist from a rather mediocre position in the history of art, always stayed to shout exultant praises when they came to this picture, and now the critic would tear even this glory from his brows and crown another man whose head is already heavy with their laurels.[101]