As the twilight fell we left the church. Early the following morning we turned our faces northward on Perugia, but took a last long look at Perugino's altar-piece in the church of the Disciplinati. Faint golds, faint greens, a quiet landscape, with low hills falling peacefully on a low stretch of valley. No harsh shadows, no high lights, the shepherds crossing down the paths behind their browsing sheep. The Virgin, a type of purest girlhood with just enough of the woman in the way she holds the Child to show it is her own; young men, for kings, with angel faces, and the smile of saints; no touch of passion, no glimmer of pain ... that was the sense of the picture. As we looked at it the people from the town came in to see it too, the baker and the smith, the driver and the local painter. "You see," said the smith, "it is a very beautiful thing this picture of ours; and when we hear it is uncovered we come to see it too. We particularly like that white dog in the background, and the shepherds are exactly like the life. We often come to look at it--how should we do otherwise?" The smith was tall and slim and very gentle. His face was like that of the youthful king who holds the chalice in Pietro's fresco, it merely lacked the affectation, and his perfectly simple comments seemed to us more genuine and impressive than many books of critics. We listened to them gladly, but as we turned our faces homewards, we remembered certain other subtle and delightful phrases written by Alinda Brunamonti upon a work of Perugino. With these calm words we close a book which opened with the clash of swords and the conflicts of the Umbrian people: "Sorrow does not disturb serenity; pain is at enmity with joy but not with peace. This Christian law is incarnated within our art. Peace and not joy is in her idylls; peace in the landscapes which are so utterly our own, and so serenely beautiful. How often--even whilst my vision wandered into the infinitude of sky behind our blue green hills, and further again beyond the outposts of the Apennines, and further still away into the depths of the azure-laden air--have I not said unto myself; 'This vision surely is of an insuperable loveliness! How therefore could our artists fail to be above all things _ideal_ when Nature of herself had trained them in schools of such an exquisite perfection?'" [Illustration: PLAN OF PERUGIA] INDEX A ABBOT, of S. Pietro (Guidalotti), 38; treacherously assassinates B. Michelotti, 39; flies from Perugia, 40. ADONE DONI, picture by, 119; 181. AGILULF, King of the Lombards, recaptures Perugia, 15. ALBANO, bishop of, (Cardinal Angelico), Urban VI.'s Vicar General in Perugia, 30, 184. ALBORNOZ, Cardinal, attempts to recover States of the Church, 30. ALEXANDER VI., Pope, enmity with Baglioni, (note) 55; 263. ALFANI, Domenico and Orazio, 234; 264; 265. ALUNNO, Niccolò, 235; 251; 295. ANGELICO, Fra Beato, 235; his pictures at Perugia, 256, 257, 258.