[92] The Cambio is in the same block of buildings as the Palazzo Pubblico, though separated from these by the Via dei Priori. It is the hall in which the members of the Exchange met in old days to settle their affairs. For full account of the history of the Exchange at Perugia, and of its meeting-room, see Storia Artistica del Cambio di Perugia—Adamo Rossi.
[93] The pictures of Perugia were formerly stored in the museum of the University. In 1871 they were removed to the top storey of the Palazzo Pubblico, and here, since they may never again return to church or convent, they have found a permanent and fitting home.
[94] Two fine portraits in the Palazzo Baldeschi are attributed to Velasquez, but there is no proof that the Spanish painter really came to paint them. Another beautiful picture—the property of Count Meniconi Braceschi, at Perugia—is attributed to Filippo Lippi, but is more probably the work of Neri di Bicci.
[95] The frieze round the top of the same room clashes hopelessly with the calm pre-Raphaelite figures beneath it. It was painted by Tommaso d’Arcangelo, a pupil of Giulio Romano, and represents some of the events in the life of Braccio Fortebraccio.
[96] There is another picture of exactly the same type in the Church of the Carmine. It has hitherto been given an earlier date than Bonfigli—1130—and it is one of the so-called miraculous Madonnas. We have made careful search, both in the documents of the church and in other books upon the pictures of Perugia, but can get no certain information about it; yet we feel nearly convinced that it is the work of Bonfigli. Some of the gonfaloni—those in S. Francesco al Prato and S. Lorenzo—are covered with a thin gauze veil. The one of the Carmine was also thus covered originally, but the veil caught fire and burnt to cinders. Not a flame even so much as touched the faces of our Lady and her angels.
[97] The picture is a curious record of the times. Two excommunicated women kneel in the right hand corner; one of them is huddled in a veil, but the other, fair and soulless as Greek Helen, turns aside and smiles.
[98] The four panels of saints and angels round the Madonna are attributed to Caporali.
[99] In Matarazzo’s chronicles of the sixteenth century we find an accurate account of the different costumes worn by the nobles of Perugia (see p. [99]). It has been suggested to us by a learned gentleman of Perugia, that Fiorenzo was simply copying the costumes of his period, and that in his group of young men in the miracles of S. Bernardino he did but portray the most important actors of the day, whose armorial bearings were shown in their apparel, namely, the “most magnificent gentlemen, Oddi and Baglioni.”
[100] The hole it filled may still be seen in No. 16, Room XIII., but the big picture is torn from its frame and its place filled up with a good bit of Eusebio’s work.
[101] Eusebio was a favourite pupil of Perugino. There is something pathetic in his life. Men seemed better friends to him than fortune. Pinturicchio loved him and took him with him to Siena to help him with his work there. He was a great friend of Manni, too, and a passionate admirer of Raphael, whose work he imitated. When very young he married a beautiful girl of Perugia whom he loved deeply. By her he had many children and his life became a struggle to support them, so that he was often hampered and distracted in his work and died early and in misery.