We have a very similar effect with the addition of a stately and simple architecture in the enthroned Madonna of the Vatican. Figure 179. Again the formality of the pyramidal pattern is relieved by varied dispositions of the figures which individually considered may seem affected, but which are essential to the composition. More overtly emotional but still restrained is the Deposition, Figure 180a, of the Uffizi Gallery. It is arranged as an oval with catenary internal curves, anticipating much more complicated patterns of Raphael. At this moment, 1494, no living artist but Leonardo could have woven this group together with such certainty of taste, and he could have hardly equalled its broad and serene landscape. In the first years of the new century Perugino decorated the merchants’ exchange of Perugia, the Cambio, with frescoes partly religious, partly moral and symbolical. The most famous represent the Virtues, Figure 180, in pairs, hovering in the heavens with their representatives below. For example, Prudence and Justice with the great law-givers. So Fortitude and Temperance are represented respectively by the venerable forms of brave Horatius, and Leonidas; of Cato and Cincinnatus. It seems that Perugino executed most of this latter decoration through assistants, and it has been suggested that Raphael is responsible both for the design and painting of the beautiful Sibyls.[67] [Illustration: FIG. 180. Perugino. Prudence and Justice with their Representatives. Fresco.—_Cambio, Perugia._ ] Like most of his contemporaries Perugino outlived his fame. He was insulted by Michelangelo, criticized for repeating his figures, thrust out of the Vatican in 1508 and superseded by his former helper, Raphael. And his exquisite art in his later years shows a certain relaxation. He died of the plague in 1524 and was denied Christian burial, although in his day he had painted plague banners to protect the faithful.