le history down to
fables of AEsop and allegories of the several months. Facing the same
piazza is the Sala del Cambio, a mediaeval Bourse, with its tribunal
for the settlement of mercantile disputes, and its exquisite carved
woodwork and frescoes, the masterpiece of Perugino's school. Hard by
is the University, once crowded with native and foreign students,
where the eloquence of Greek Demetrius in the first dawn of the
Renaissance withdrew the gallants of Perugia--those slim youths with
shocks of nut-brown hair beneath their tiny red caps, whose comely
legs, encased in tight-fitting hose of two different colours, looked
so strange to modern eyes upon the canvas of Signorelli--from their
dice and wine-cups, and amours and daggers, to grave studies in the
lore of Greece and Rome.

This piazza, the scene of all the bloodiest tragedies in Perugian
annals, is closed at the north end by the Cathedral, with the open
pulpit in its wall from which S. Bernardino of Siena preached peace
in vain. The citizens wept to hear his words: a bonfire of vanities
was lighted on the flags beside Pisano's fountain: foe kissed foe:
and the same cowl of S. Francis was set in token of repentance on
heads that long had schemed destruction, each for each. But a few
days passed, and the penitents returned to cut each other's throat.
Often and often have those steps of the Duomo run with blood of
Baglioni, Oddi, Arcipreti, and La Staffa. Once the whole church had
to be washed with wine and blessed anew before the rites of
Christianity could be resumed in its desecrated aisles. It was here
that within the space of two days, in 1500, the catafalque was
raised for the murdered Astorre, and for his traitorous cousin
Grifonetto Baglioni. Here, too, if more ancient tradition does not
err, were stretched the corpses of twenty-seven members of the same
great house at the end of one of their grim combats.

No Italian city illustrates more forcibly than Perugia the violent
contrasts of the earlier Renaissance. This is perhaps its most
essential characteristic--that which constitutes its chief aesthetic
interest. To many travellers the name of Perugia suggests at once
the painter who, more than any other, gave expression to devout
emotions in consummate works of pietistic art. They remember how
Raphael, when a boy, with Pinturicchio, Lo Spagna, and Adone Doni,
in the workshop of Pietro Perugino, learned the secret of that style
to which he gave sublimity