In 1493 Perugino was balloted, so Orsini says, into the municipal council at his native place, Città della Pieve, for May and June, and is said to have served his time there, but in the same year he was painting at Florence, and, according to Mariotti, had a botega in that city and accepted many commissions. To this period belong two notable pictures, one in Florence and the other in Vienna. The face of the Virgin in each picture is identical, and the infant Christ in each is painted from the same model. The picture in the Uffizi was painted for San Domenico in Fiesole, and was the second altar-piece Perugino did for that church, the first, painted in 1488, having disappeared. It represents the Virgin on a throne bearing the infant Christ on her knees. On one side stands St. Sebastian (to whom reference will be made later on) and on the other, St. John the Baptist. The group stands under the vaulted arching resting on square pillars, of which Perugino was so fond. In the distance is the customary landscape. The picture is signed: PETRVS PERVSINVS PINXIT AN 1493. The other work is at Vienna, and bears an inscription denoting the name of the priest who commissioned its execution. The Blessed Virgin is on a throne in this picture also, but the group is enclosed by high stone walls only open to the sky. On one side stand St. John the Baptist and St. Paul, on the other, St. Jerome and St. Peter. The St. Jerome is the same face as appears in the Albani altar-piece of 1491, and the curious long white beard which he wears, and which hangs in two divisions, will be noticed many times in later works notably at Trevi and Montefalco, and constitutes a mark of Perugino's own handiwork. FOOTNOTES: [G] In 1491 the incomplete picture begun by Galeotto turned up. It had been at his father's house, and quite overlooked; but in that year the heirs of Galeotto's father found it and sent it to the Priori, together with a number of colours that had been prepared for it. For three years the incomplete picture stood in the Priori's room, silently reminding them of Galeotto; but no further progress in the negotiation was made till 1495. CHAPTER III TECHNIQUE : PIGMENTS : VEHICLES We now come to the year 1494; but before dealing _seriatim_ with the pictures painted at that time it will be well to refer briefly to a question of technique. Crowe and Cavalcaselle make a definite statement to which I can give no adherence. They speak of Pietro's work changing from tempera to oil work, and they allude to his inability at this time to use the new medium in all its complexity, and later on to his complete mastery over oil-painting and his constant use of it. Mr. Herbert Horne, on the other hand, states with an equal assurance that "all Perugino's pictures were painted in tempera on a gesso background,"[H] and I find it as difficult to accept this statement as that of Crowe and Cavalcaselle as a sufficient explanation of the question.