oreign land.

The next day, after a drive through the city, whose different quarters
present some of the most interesting contrasts to be found in all Italy,
Mr. Sumner took them to the Pinacoteca, or picture-gallery, and before
looking at the pictures, told them in a few words about the early
Umbrian school of painting.

"It grew out of the early Florentine, and is marked by many of the same
characteristics. It was, however, much modified by the Sienese painting.
It has less strength, as it has also, of course, less originality, than
the Florentine. Its color, on the other hand, is better, stronger, and
more harmonious. Its works possess a peculiar simplicity and
devoutness--much tranquillity and gentleness of sentiment. This gallery
is filled with examples of its masters' painting. It just breathes forth
their spirit, and the best way to absorb it would be to come, each one
of us alone, and give ourselves up to its spell. This is no place for
criticism; only for feeling. Study particularly whatever you find of
Francesca's, Perugino's and Bonfiglio's work.

"You all know," he continued, "that Perugino, who lived here and
received his art name because he did so, had an academy of painting, and
that Raphael was for some years one of his pupils. Perugino's influence
on his pupils is strikingly apparent in their work. Raphael's early
painting is exactly after his style. In Perugino's treatment of figures
you will find a mannerism, especially in the way his heads are placed on
the shoulders, and in his faces, which are full of sentiment, the
wistful eyes often being cast upward, but sometimes veiled with heavily
drooping lids.

"Look! here is one of his pictures. The oval faces with the peculiarly
small mouth are characteristic. You will most readily recognize the work
of this master after you have become a bit familiar with it."

He also took them to the Cambio, once a Chamber of Commerce, to see
Perugino's frescoes, which he told them are more important in the world
of art than are his easel pictures. Here they seated themselves against
the wall wainscoted with rare wooden sculptures, on the same bench on
which all lovers of the old painter's art who have visited Perugia
through four centuries have sat.

[Illustration: PERUGINO. UFFIZI GALLERY FLORENCE.

HEAD OF MADONNA. FROM MADONNA AND SAINTS.]

And here they studied long the figures of those old Roman heroes chosen
by Perugino to symbolize the virtues; figures