Very few treasures of art are left in the town itself, and these are as bruised, as scattered, and unsatisfactory as those of any city whose history is one of fighting and perpetual sieges rather than of artists or of fame. Lo Spagna lived at Spoleto, and worked there largely; but the gentle style of his colouring, the peace and often affectation of his figures seems out of place on the altars of half barbaric or barocco churches. Everywhere there are bits of Roman building picked up and stuck about on pavements and façades: a painful mixture, lacking care and order. Several of the churches have good Lombard fronts; the Chiesa del Crocifisso is built from the ruins of a Roman temple, but the place is only a pain to see in its dilapidation. The Duomo is a really impressive building, with a splendid Lombard front--a broad balcony supported by columns, and eight rose windows above it. The roof of the choir is painted by Filippo Lippi. Filippo Lippi died at Spoleto in 1489. He was poisoned, some say, this Florentine monk, because of his loves with an Umbrian lady. Lorenzo de' Medici tried to get his body back that they might bury it in Florence, but the Spoletans refused, pleading that they possessed so few objects of interest of their own that they must needs keep the bones of this great painter for an ornament. So Lorenzo caused his tomb to be built in the cathedral of Spoleto. As we turned from the long Latin inscription written above it we felt that Browning's lines would have served the purpose just as well, and much more shortly: "_Flower o' the clove,_ _All the Latin I construe is, 'amo' I love!_" NARNI. Leaving Trevi and its cataracts to the left we passed in the train to Narni. We came there for an hour, we stayed a whole day and a night, fascinated by the marvellous view which met us from the windows of the inn.[123] Part of the city of Narni is built immediately upon the steep crags which overhang the gorge of the Nar. From this side the position of the city may be practically called inaccessible, and over it our windows looked. We had seen the Umbrian plains and valleys, we had seen Spoleto; Narni again was a fresh surprise, it seemed to represent to us the Umbrian Alps. The place has a tempestuous history. There is a certain beaten look about its walls which reminded us of Perugia, and, indeed, the cities are alike in many ways. Both were practically in the power of the Popes whilst considering themselves as independent republics, both fostering perpetual feuds between the neighbouring cities.[124] But whereas Perugia has kept an ample record of her past, that of Narni is almost obliterated. Through a piece of misguided policy she laid herself open to a horrible siege in 1527 (see pamphlet by Giuseppe Terrenzi). The Bourbons entered the town, sacked the houses, butchered her inhabitants, destroyed her considerable treasures of art, and finally, made an end of nearly all her archives.