The figure of the Saviour is inaccurate and badly drawn, the face is quite unsatisfactory, the mandorla clumsy and rigid, the angels poor and lacking in expression, and their draperies feeble. The colouring of the picture, the landscape, the faces and hands, the wonderful detail, the composition, the balance, and, above all, the technique, speak to me strongly of the master, to whom I ascribe the picture unhesitatingly. I can see no hand of Raphael in it, and while I see no special reason for our crediting the story that gives the sleeping soldier on the right the face of Raphael, yet even that statement but renders it less likely that Raphael had a hand in the picture itself, while I believe that a close comparison of the Cambio portrait with that of the flying soldier on the left will dispose of the theory that in his face we have delineated the countenance of the master himself. [Illustration: _Alinari photo_] [_Vatican, Rome_ THE RESURRECTION] We must now retrace our steps and look at the artist at Perugia. Mariotti records that in 1501 Perugino was one of the Priori of the City, and, being salaried officers, the Priori were obliged, according to Marchesi, to reside in the Palazzo Communale, and give daily attendance for magisterial business. This involved a good deal of civic duty, and doubtless consumed a great deal of time, and probably during 1501 Perugino did little painting. He was concerned also in domestic matters, as Orsini states that in two deeds, dated December 11th, 1501, and February 24th, 1502, he divided up certain property that had belonged to his uncle, Giovanni, and which devolved to himself and his two nephews, Agnolo and Giacomo di Giovanni. However, if he was at the moment unable to paint, he was prepared to make contracts for future work, and Mariotti records several of his interesting engagements. One dated September 10th, 1502, is for some saints and angels around a large crucifix carved in wood, belonging to the convent of San Francesco al Monte, and for a "Coronation of the Virgin" to form the reverse side of this altar-piece. For that he was to have 120 florins. In the same year he agreed to supply to Baccio d' Agnolo designs for the intarsia work in the stalls of St. Agostino, which Baccio was to make in one year for 1120 florins, and for the due performance of his task Perugino became surety. He was also to paint a double altar-piece for St. Agostino, and was to design a frame for it which Tomaso was to carry out. By another contract he agreed to paint a "Sposalizio" for the Duomo. This latter part of the contract I do not believe he ever carried out, and the St. Agostino altar-piece was not finished for nearly twenty years, as there is a record of its completion in a letter dated September 1521, written to the Podesta of Trevi, advising him that the Prior of St. Agostino had appointed a valuer for the picture, and begging him to apprise Perugino, who was then at Trevi, of the fact.