122 TIIE FIFTEENTH CENTURY. Chap. Y. of the infant, the square forms, wrinkled flesh, and small features of the saints equally prove the tenacity with which the old Siennese types were preserved in the smaller cities of this part of Italy. The dim grey tones, resulting from time and neglect, preclude criticism, but the whole piece is marked enough to serve as a test of the authorship in others; and we are thus enabled to ascribe to Bartolommeo the Flight into Egypt, on the front of S. Salvadore, near the portal, a mutilated Vir gin, child and saints in S. Domenico, 1 and a rude fresco illustrating an incident in the life of S. Barbara in S. Caterina, of Foligno. 2 * In the meanwhile, Benozzo Gozzoli had settled at Mon- tefalco, and his dexterity soon roused the spirit and ex cited the rivalry of men following his profession in Um bria. In 1452, a chapel was built by a pious gentleman of Foligno, at a short distance on the road to Spoleto, and it afterwards bore the name of S. M- in Campis. 11 Its walls were covered with frescos, of which large por tions remain; an Annunciation, with' two saints beneath it; Peter rescued from the waves, with a kneeling patron by its right-hand corner; and a large Cruci fixion, with attendant groups, on the face behind the altar. 4 They are hardly of respectable talent; possibly by 1 The infant holds a bird and a scroll towards which the Virgin points; the whole under a feigned arch. Remains of the nimbuses of saints lower down on the wall are visible. What still meets the eye, is injured. Since the above was written, the fresco has been de tached and placed in the municipio of Foligno. 2 A long inscription closes with the date of 1449, but does not give the painter’s name. The persons who ordered this fresco, were the nuns of the convent who did so in J remembrance of one of their num ber. Beneath the scene from the legend of S. Barbara is a Virgin and child, with two angels leaning against the pillars that support the niche; and further on, a S. An thony with a nun in prayer before him. 3 This is proved by an inscription outside the chapel, op a stone near the door which has been walled up since the place ceased to be used for worship. On this stone one reads: “Pietri de Cola dalle Casse la fe fare questa cappella. MCCCCLII.” 4 Amongst the subjects on the remaining wall is a S. Christopher and four figures almost gone. The ceiling was originally blue and be- starred. The Christ of the Cruci-