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194 THE FIFTEENTH CENTURY. Chap. VII. Lorenzo di Credi, and might well stir a sympathetic fibre in Fra Bartolommeo. In 1494, Perugino’s ex perience had become still further enlarged. A nobler style than he had as yet gained may be found in the Madonna and saints of S. Agostino at Cremona, on which the stamp of Florentine art, as expressed in the dignity of Ghirlandaio’s creations, is obvious. The finely shaped Virgin on her pedestal is still slender in frame, but she has little Umbrian languor. The child is square in its fullness, yet inspired. The attitudes have more of the Florentine gravity; the draperies are more grandly cast than before; and the oil-colour, of strong tone, is touched with increased mastery and force. 1 A new feature in Pietro is also revealed in this year by a portrait of himself at the Uffizi, which seems the forerunner of two others of Vallombrosan friars in the Academy of Arts at Florence. Perugino was a man of imposing air. He had a plump countenance, with small dark eyes under a fleshy brow, a short but well cut nose, and sensual lips; broad cheeks, and a bull neck. His ample furnishing of bushy but frizzled hair tells of a genuine native strength, but he prides himself on an the villa near the porta Romana; and a copy of it was given to the convent of 8. Giovannino della Calza. It is possible that this copy which has disappeared from Flo rence, should he a so-called re plica described by the annot. of Vas. (VI. 36) as ontTe forming part of the Orleans gallery. In its pre sent condition one hardly realizes the probable beauty of tho origi nal colour. The flesh is of a fair yellow shaded with bluish grey, the whole abraded; half the head of the figure on the right repaint ed; the eyes and forehead of the Virgin retouched, and the back ground thrown out of harmony. Vas. mentions this piece (VI. 36). 1 The picture, on the altar of the Roncadelli family, has kept its place very constantly being men tioned by the Anonimo (ed. Morelli p. 35) who however transcribes the date erroneously as 1492. It was taken to France and afterwards returned. The scene is in front of an arch. The Virgin enthroned, with the child , on a plinth on which one reads; “Petrus Perusi- nus pinxit MCCCCLXXXXIIII”. S. James, on the left, is a fine figure, in type, movement, and co lour. He is contemplated by the child whose head is in his direc tion, whilst the Virgin glances at S. Augustin on the right, who also looks away, though pointing with his left hand towards Christ. The figures are life size. A few worm holes have been carefully stopped and the picture is well preserved.