It may be well finally to review briefly the characteristics of the artist, and of his work. Perugino appears to have been a man of great determination, Lupatelli says of iron will. He had known poverty in his early days, and had faced it. He was determined to push his way and make a living, and, if possible, a great name; and he succeeded in his purpose. Brunamonti speaks several times of his desire to go ahead, and it is quite clear that he was ambitious and energetic, and hence his success. There is no proof whatever that he was irreligious, or, as Vasari implies, atheistic, but his face betokens a mind that would not ordinarily be satisfied without argument and examination, and it was perhaps his controversial habits that obtained for him the character that Vasari has recorded. His employment by the Church, not only by the Chief Pontiff but by numerous dignitaries and by many religious orders, and the arrangement just mentioned and entered into by his sons as to his burial, sufficiently refute Vasari's statements; but beyond this, it is inconceivable that such pictures as the Pazzi "Crucifixion," the San Severo "Deposition," the Vallambrosan "Assumption," to name but three typical ones, could be painted by an irreligious man. I am disposed to consider his portraits as his finest works, and to me the portraits of the two monks of Vallombrosa reveal him as a great master, very skilful, and possessed of wonderful power. His more popular compositions are many of them of striking beauty, especially in the delineation of faces, in the landscape, and in the colouring, and, above all, in that wondrous genius for representing open limitless space to which attention was given in Chapter I. Perugino is never dramatic, he is always lyric, and the poetical charm of the Umbrian school is at its very zenith in his hands. He is not passionate, as is Botticelli, nor strong, moving, and forceful as is Signorelli.