The "Crucifixion," now in the Accademia, may, I think, be ascribed to this period. It is an altar picture, and was painted for the Convent of St. Jerome in Florence, and there is definite evidence that in 1498 Perugino did visit Florence and painted a picture in the city. There is much in this work which recalls the Pazzi "Crucifixion." The Christ is from the same model, but is a larger figure in every way and not quite so carefully drawn as in the Pazzi one. Its increased size and more hurried execution gives it a coarser and harsher effect. The Pazzi "Crucifixion" has but one figure at the foot of the cross. The Accademia necessarily has two, as St. Jerome, with his lion and hat, had to be introduced. The Blessed Virgin is the same figure as in the Pazzi fresco, and in the same posture even to the twisting of the fingers in the clasped hands, but her feet are bare in the Pazzi fresco and in the St. Jerome picture are adorned with elaborate sandals. The scene at the back of the cross in the Pazzi fresco is evidently not Florence, and was probably either a typical Umbrian town or one connected in some way with the donor's early life; but in the St. Jerome picture the city that is depicted is clearly Florence, and certain towers and spires can be recognised in the scene. The composition is more crowded than in the Pazzi fresco, and this element and the heavier treatment of the crucified Figure somewhat detract from its beauty; but it is probable that the explanation of the whole circumstance is that the St. Jerome "Crucifixion" was intended to be placed high up above an altar and at the end of a long and somewhat dark church, whereas the Pazzi "Crucifixion" was on a level with the eye, rising up from the ground, and in a small and well-lighted chapter-house. CHAPTER VII THE CAMBIO It has already been shown that the statement of Crowe and Cavalcaselle that Pietro resided entirely in Florence at this time is incorrect, but it is quite open to believe that he had desired to do so. He invested some of his earnings in the purchase of land in the Borgo Pinti in 1498, and in the deed is referred to as "habitator in populo S. Petri Majoris." In January 19th, 1497, he was called in to assist Benozzo Gozzoli, Cosimo Roselli, and Filippino Lippi to value the frescoes of Alesso Baldovinetti in the church of Sta. Trinità in Florence, and in June 1498 he was present at a meeting called to discuss the repairs of the lantern of Sta. Maria del Fiore.