For the whole work he was to have one hundred florins. This time the Priori kept their eye on the artist; there was no time to lose. Shortly they would go out of office, and then the chance of having their portraits forever adorning their chapel walls would be gone, and so the poor Celandro had to paint the eleven portraits within fifteen days, under pain of a very heavy fine. Somehow or other he accomplished the work; the portraits were done, and temporarily remained in the chapel standing against the wall waiting for the completion of the rest of the pictures. But, having accomplished this part of the work, Celandro took no further heed of the contract, and the Priori having obtained their desire, troubled no further as to the Madonna and saints, or were powerless to force Celandro to complete the work. Twelve years actually passed away, and the chapel still lacked its altar-piece, and Celandro, like Galeotto, died.[G] In 1495 Perugino was again at Perugia, full of honour and fame; and once more the decoration of the Capella was resolved on. The Priori--quite a new body to the one which had originally planned the picture, entered into another contract with Perugino, dated 6th March 1495--for him to paint the altar-piece on the same scheme as before, but with far higher remuneration. Perugino was to do the work in six months, was to receive one hundred gold ducats in three payments, and, in lieu of the Mother of Mercy in the lunette, was to paint a Pietà, and for that purpose--alas for the poor Priori--the portraits in fresco by Celandro which filled the space allotted to the Pietà were to be removed, broken up, and carted away. All, therefore, that remains concerning these notable Priori of 1483 whose portraits were to have been handed down to perpetuity, are their ten names recorded by Mariotti, and the name of Rubino di Giacomo, their notary; but of their portraits nothing is left. [Illustration: _Alinari photo_] [_Vatican, Rome_ THE MADONNA ENTHRONED, WITH FOUR SAINTS] Perugino at last set to work, and the beautiful altar-piece now in the Vatican is the result. There is the Madonna and Child on the throne, and near by there are the four great saints. The picture is exquisitely beautiful, full of Perugino's special charm, and bearing marks of the Piero della Francesca influence in the arches that support the canopy, while below the feet of the Madonna, to make quite clear as to who painted the picture, is the signature in somewhat remarkable form: HOC PETRUS DE CHASTRO PLEBIS PINXIT. Inasmuch as consideration of this finished picture brings our chronological survey up to 1495, it will be desirable for us to retrace our steps to the time that Perugino spent in Florence. Vasari records many works executed in that city, but his chronology is so perplexing that it is difficult to say whether they were all executed at the time to which we refer, or later in the artist's career.