The chief one is a votive picture commissioned by one Boto da Maraglia who had been taken prisoner by the French but released. The picture represents a gigantic figure of St. Anthony, calm and almost expressionless, and then a curious dwarfish figure of Boto, kneeling at his feet, in full armour, gazing up into the face of his patron saint to whom he renders his thanks. The other one is a Madonna, who is also of abnormal size, gathering under her ample cloak kneeling figures of San Manno and San Girolamo, together with much smaller figures of the man and his wife who commissioned the picture. These pictures are in very bad condition, but distinctly interesting, as they differ so much from Perugino's ordinary work. Still journeying around Perugia, we find our artist visiting in 1512 and in 1513 his native town of Città della Pieve.[O] How long he stayed there is not clear, nor whether he went again and again to the town or remained there for a year or two. There are two pictures at Città dated 1513, another done in 1514, and a fourth in 1517, and a fifth without date. The "Virgin and Child with four saints," St. Protasius, St. Peter, St. Paul, and St. Gervasius, painted for the cathedral of St. Gervasius, is marked by that formal, and, although sweet, yet sickly sentimentality that distinguished much of Perugino's later work. It is terribly formal and stiff, and only detached parts of it, such as the faces of Our Lady, the Child, and St. Peter, are really beautiful. It was ordered by the Prior, and is signed and dated. The other one in the Duomo, bearing the same date, is of the "Virgin and Child with four saints," and then in a chapel is one of the "Baptism," which clearly belongs to the same period and is as formal and superficial as the other two.