refusal of Perugino to decorate the Cappella di S. Brizio,
the Orvietans entrusted that work to Signorelli.

[221] Uffizzi and Sala del Cambio.

[222] "Fu Pietro persona di assai poca religione, e non se gli pote mai
far credere l'immortalita dell' anima: anzi, con parole, accomodate al
suo cervello di porfido, ostinatissimamente ricuso ogni buona vita. Aveva
ogni sua speranza ne' beni della fortuna, e per danari arebbe fatto ogni
male contratto." Vasari, vol. vi. p. 50. The local tradition alluded to
above relates to the difficulties raised by the Church against the
Christian burial of Perugino: but if he died of plague, as it is believed
(see C. and C., vol. iii. p. 244), these difficulties were probably
caused by panic rather than belief in his impiety. For Gasparo Celio's
note on Perugino's refusal to confess upon his death-bed, saying that he
preferred to see how an impenitent soul would fare in the other world,
the reader may consult Rio's _L'Art Chretien_, vol. ii. p. 269. The
record of Perugino's arming himself in Dec. 1486, together with a
notorious assassin, Aulista di Angelo of Perugia, in order to waylay and
beat a private enemy of his near S. Pietro Maggiore at Florence is quoted
by Crowe and Cavalcaselle, vol. iii. p. 183.

[223] "Guadagno molte ricchezze; e in Fiorenza muro e compro case; ed in
Perugia ed a Castello della Pieve acquisto molti beni stahili." Vasari,
vol. vi. p. 50.

[224] "Goffo nell arte." See Vasari, vol. vi. p. 46. See too above, p.
196.

[225] I select these for comment rather than the frescoes at Spello,
beautiful as these are, because they have more interest in relation to
the style of the Renaissance.

[226] The "Assumption" in S. Frediano at Lucca should also be mentioned
as one of Francia's masterpieces.

[227] His father was a muleteer of Suffignano, who settled at Florence,
in a house and garden near the gate of S. Piero Gattolino. He was born in
1475, and he died in 1517.

[228] In S. Domenico at Prato in 1500. He afterwards resided in S. Marco
at Florence.

[229] May 23, 1498.

[230] In addition to the pictures mentioned above, I may call attention
to the adoring figure of S. Catherine of Siena, in three large
paintings--now severally in the Pitti, at Lucca, and in the Louvre.

[231] In the Uffizzi. As a composition, it is the Frate's masterpiece.

[232] See Vol. I., _Age of the Despots_, p. 487, for this consequence of
the sack of Prato.

[233] _L'Art Chretie