Some delightful studies for this picture appear in the Uffizi, marked by most careful study. The clenched hands of one of the two persons who stand close to Nicodemus are very noteworthy. The action is so expressive of intense, but restrained sorrow, and the drawing of the fine, delicate, but muscular hands, is particularly excellent. In the studies the richly-ornamented cap of the youth in the group does not appear. The cap in the drawing is quite plain, and the face, which in the picture is very expressive, is hard and uninteresting. Another large pen drawing for this picture exists, and is in Christ Church, Oxford. By some critics it is not accepted as a work of Perugino's. It is ascribed to one of his pupils, or to a later man altogether, especially because several of the faces are hard and unimpressive. Let, however, the drapery be closely examined, and the curious formation with dark hollows and oval curves will be recognised at once. The large projecting great toe, and the manner in which it sets away from the other toes, leaving a clear space between it and them, is noticeable, while the limp flexibility of the bare flesh of the Christ is also an important criterion in deciding on the origin of the drawing. To me it appears as a thoroughly genuine work, marking out the general grouping of the picture. The positions of Nicodemus, Mary Cleophas, and the youth, underwent some slight changes, and the other figures near to Nicodemus were introduced, but the picture preserves very closely the original suggestions of the drawing. The finished picture was executed for the nuns of Santa Chiara, but when they had obtained it, so highly was it admired, that Vasari records that a rich Florentine, Francesco del Pugliese, offered them three times the price that they had paid for it, as well as a replica from the master's own hand, but the tempting offer was declined, as Pietro had told them that he did not think he could equal the one they possessed. FOOTNOTES: [K] _Vide_ Gaye ii. 69; and Morelli [1883], 287. [L] Orsini, "Vita dell' egregio pittore Pietro Perugino," 1804, 140. CHAPTER V THE STORY OF THE PILLAGE There are two noteworthy circumstances that affect the biographer of Perugino. On the one hand is the fact that so many of his pictures are dated, and hence along the story of his life stand out clearly defined certain pieces of definite evidence, marking his progress and his years. On the other hand is the opposing circumstance that most of his altar-pieces have been taken to pieces, removed from their original home, and scattered in all directions throughout Europe, so much so that the task of reconstructing the most important, that of S. Agostino, is one of serious difficulty.