"Now Judith Marchesana of Tuscany, having a great love of jewellery (a thing not contrary to the nature of woman), despatched a certain Raneiro of Chiusi to Rome to make diligent search for jewels in that city. There he chanced to meet with a jeweller who had just returned from Jerusalem, and from him he bought many gems which he thought would be to the liking of his mistress. After abiding three days with the jeweller he decided to return to his home, and the Levantine, hearing of this, offered again to show him more gems till at last Raneiro grew angered and spoke bitter words to his host. 'Nay,' said the jeweller, 'I have treated thee in all good faith, but now I know not whether by a spirit I am moved, or by the love I bear to thee, but certain it is that I feel driven to give thee this Ring;' and he drew a small hoop from out the urn where the jewels lay. Raneiro, thinking it was an amethyst, an onyx or white agate, which stones are of but very slight importance in the history of gems, laughingly told his friend to keep his precious gift--'Do not esteem my offering so vile,' said the Levantine, 'but, believe me, it is the most priceless treasure I possess; for be it known to you that this is the wedding-ring of the blessed Virgin Mary. Receive it therefore with all reverence, and see that the sacred relic fall not into the hands of the profane.'" * * * * * There is a fine "miraculous"[60] picture on the third column to the right as one passes up the aisle of the cathedral. A great many myths centre around it both as a work of art and as a healing relic. Some say that it is the earliest painting in Perugia, transferred to its present place from the column of a Pagan temple where an early Christian painted it, others that it is the work of Giannicola Manni. Concerning the miracles performed by it, the strings of silver hearts and offerings bear ample testimony. The painting is very charming, and we hear that Perugino loved it as a boy and drew his earliest inspirations from it(?). Our Lady stands against a crimson arras, her hands are opened out as though to bless, her gown is of a faded pink, her mantle blue and lined with the green of early spring. She is so calm, so young, and smiling, that one does not wonder at the crowds of worshippers which linger always round her shrine. The chapel of the baptistery has some good Lombard stone work; and there are one or two interesting things in the sacristy; splendid _intarsia_ over the presses where the priests of Perugia store their gorgeous gowns of cloth of gold and silver, and a wonderful bit of early _gesso_ work in the inner chapel. * * * * *