The Corso was on the left near the Fonte grand range of ancient buildings, in which is the entrance to the chapel of the Cambio; beside this is the Sala, adorned with Perugino's famous frescoes. A little farther on is the richly-sculptured doorway of the Palazzo Pubblico, and within this is the Pinacoteca, containing a very interesting collection of art treasures. Here are marvellous frescoes by Bonfigli; and pictures by him and by Piero della Francesca, Fiorenzo di Lorenzo, and other famous old painters.

It would be difficult to say too much in praise of the Sala del Cambio: the harmony preserved throughout it, in the rich and artistic decoration of its walls and ceiling, is most soothing, and adds greatly to the enjoyment one feels in the beautiful little place. The lower part of the walls is wainscotted with dark wood, inlaid with tarsiatura by Domenico del Tasso; the doors have the date 1483. Near the entrance is the raised throne for the judge; below this are desks and seats for the money-changers, and these are exquisitely carved. One account says that the intarsia designs were furnished by Raffaelle; another tells us that Domenico del Tasso was both designer and executor of this beautiful work. In the record of the agreement between the authorities at Perugia and Pietro Vannucci the painter, he writes, "My intention in the frescoes which cover the upper part of the walls is to recommend the merchants and magistrates therein assembled never to forsake the path of duty, but to remain faithful to the dictates of wisdom, of natural reason, and of religion."

Faith and Love are emphasised by two large frescoes facing the entrance, the Transfiguration and the Adoration of the Magi; Hope of an eternal future, by the prophets and sibyls on the wall to the right.

On the left wall the frescoes depict moral qualities,—Justice and Prudence, illustrated below by the figures of Fabius Maximus, Socrates, Numa, Camillus, Pittacus, and Trajan.

On a lower level still is a portrait in oil of Perugino, painted by himself; while the remaining half of the upper wall has figures representing Courage and Temperance. Below them are Licinius Leonidas and Horatius Cocles; Scipio Africanus, Pericles, and Cincinnatus.

There is not any attempt at grouping in these frescoes: the figures stand severe and stately, as if they were on the look-out to rebuke any cheating or covetous practices going on in the Hall below. It is remarkable that the painter should have been accused of greed in the pursuit of his calling, when he considered it necessary to call up on the walls of the Sala so many witnesses to protest against the love of money in others. The ceiling is divided into bays, on which are the planets. In the centre is the sun, represented by Apollo in his chariot; the spaces between are filled with ornament and figures, some of which are attributed to Raffaelle.

On a bright morning, when the sun is pouring light and warmth into the little Sala, the rich tone of these frescoes is marvellous, and, so far as one can see, they have not greatly suffered by restoration.

In the adjoining Cappella del Cambio are some sibyls and children, said to be Raffaelle's, but the work in these has evidently been much retouched.

Perugino is at his best in the frescoes of the Sala; they form a striking contrast to the monotony of style which, in spite of their individual beauty, wearies one in his Perugian oil pictures. The gallery devoted to his work upstairs in the Pinacoteca is, on the whole, disappointing.

The pictures are calm and sweet and refined, but one longs for variety of feeling; a few, however, show marked superiority over the rest. It is very curious to remember that these peaceful saintly pictures were painted when daily brawls were taking place in the city, even while her chief Piazza streamed with the blood of nobles and Raspanti.

The most interesting Umbrian pictures are those, only a few, by a rare and early painter, Fiorenzo di Lorenzo, who with Piero della Francesca, from Borgo del Sepolcro, and Benedetto Bonfigli, had established a school of art in Perugia. The lovely head of a Madonna by this rarely found painter, Fiorenzo di Lorenzo, is over a doorway in the Palazzo Pubblico, and upstairs in one of the galleries are two very remarkable pictures, the Adoration of the Magi is especially beautiful.

The three kings stand on the left,—one of them is said to be a portrait, when young, of Perugino; on the ground, in the centre, lies the Holy Child; the Blessed Virgin and St. Joseph kneel on either side of Him. Opposite the magi are the ox, and a very wise-looking ass; while a large group of angels fills up the background, and forms the most interesting part of the picture; the angels are so altogether original and graceful.

The painting of detail is marvellously finished, though the similarity of faces and of costume make it probable that the same model was used for most of the angels. They and smaller figures, the shepherds and others, seen at the openings which reveal landscape on either side of the stable, are singularly full of grace and charm. There is admirable colour in all the pictures by this painter.

We find paintings by Niccolo Alunno of Foligno, another contemporary, pictures too by some old Sienese masters; a room is filled with small easel pictures by Fra Angelico. The student of early Italian art will find in these galleries abundant material of a most interesting kind. The pictures were formerly scattered in the various churches of Perugia, for which they had been painted; the government has now collected and placed them in the Pinacoteca.

One of the rooms leads on to a terrace. Here is a beautiful view over the surrounding country. The old cicerone took much interest in showing us where Siena and Orvieto and Rome lay, all three hidden among ranges of blue hills.