contain the private collection of Count Guadabassi collected by him throughout a life-time and from very different places, and left to the town at his death with the request that their original arrangement should be preserved. Thus the impression of the whole is somewhat distracting to a student. One of the greatest treasures of the Museum is in ROOM VIII. CASE H. A very beautiful Etruscan mirror with Bacchus, or a Bacchante, riding on a panther upon the cover. Two good mirrors in the same case, and a fine Etruscan gold ornament, with figures delicately traced upon it. [Illustration: ETRUSCAN MIRROR IN GUADABASSI COLLECTION] To the right of the door, a white marble _oscillum_ or slab, with the figure of Archimenes on one side, and on the other the portrait of a juggler taming snakes. This was probably put up outside the house or booth of a juggler, and served as his sign. CASE L. Some good bits of Etruscan jewellery. One necklace with a large bit of glass like an opal, set in gold and precious stones; also some very delicate Etruscan earrings, with golden nets of filagree on a gold ground. CASE H. Some specimens of Etruscan money. The pieces were valued according to their weight, and form seemed quite a secondary consideration. CASE P. A collection of _strigils_, or brass scrapers, to be used after the bath. Some of these were evidently used as ornaments (hung from an elegant bracelet or ring), which leads one to imagine that the bath was a rarity with the Etruscans, and the _strigil_ an object of luxury and decoration rather than of frequent use. ROOM IX. CASE G. A fine collection of gems. A little tomb, with pent-roof and tiles in the shape of violet leaves (unnumbered). * * * * * The following rooms of the museum, from Room X., contain various mediæval and renaissance works. The only point we would mention here is the case which holds the bones of the mighty man of Perugia: Braccio Fortebraccio di Montone. There they lie, bare and grim before us. Poor bones, insulted by a Pope, buried and then unburied, and now laid out for any man to look at! There is a note of pathos in the sight, which the inscription does not lessen. HOSPES LEGE ET LUGE. Perusiæ natum Montonium me exulem excepit. Mars patriam Umbriam et Capuam mihi subegit. Roma paruit Italia theatrum spectator orbis fuit. At Aquila cadentem risit quem patria lugens brevi hac urna tegit. Eheu! Mars extulit, Mors substulit. Abi. A portrait of Braccio hangs above his coffin--a strong pugnacious countenance, differing quite from his other portrait in the Confraternità di San Francesco. On the opposite wall is a picture of Niccolò Piccinino.