We have so little knowledge of any work of Pintoricchio's before his Roman period, that it is difficult to certainly assign paintings to this time. The "Crucifixion" shows no trace of Perugino, but the boy's head at Dresden, which Morelli believes to be an early work, has the solid character and realism which distinguish Perugino's portraits. His influence comes out fully developed in the Sixtine frescoes. That the two men had been working together for some time is obvious, not only by the importance of the share with which the younger was entrusted, but also by the number of drawings which he prepared for Perugino's own frescoes. The elder painter's guiding hand is apparent in the draping, simpler and larger than that of Fiorenzo, the more careful drawing and calmer dignity. These frescoes might possibly be taken for Perugino's, but scarcely for Fiorenzo's; and though Pintoricchio still adheres to the traditions of the latter in his treatment of the details of landscape, he begins to formulate his own scheme of colour and composition. In his angels flying forward from above, on either side of a group of sacred persons, Perugino is copied almost stroke for stroke (allowing for Pintoricchio's heavier touch) in the assimilation of _motifs_ drawn from older masters. The fold of drapery falling between the knees and narrowing to a point, the over-sleeve flying out in a sweeping curve, the draped tunic and the fluttering ribbons, all become a formula of Perugino's manner--adopted by all his followers--Lo Spagna, Tiberio d'Assisi, and the rest. Yet, where the treatment approaches most nearly, there remains a constantly differing type. Perugino, in a half-profile, almost invariably inclines the head one way or another, giving to the eye a peculiar ecstatic upward gaze. Pintoricchio rarely uses this attitude. In his drawing of St. John, for Perugino's fresco, of the giving of the keys, this is just the change the older master, on adopting it, has made to suit his fancy. Pintoricchio has an ineradicable tendency to bring the knees of his figures together. They sway with a peculiar, knock-kneed grace. If we contrast the central group in the "Baptism of Christ" in the Sixtine, with those of Perugino at Rouen, or that at Foligno, painted many years later, we note the sweep inward from the hips, and outward from the knees in the first, while the inclined head and upward gaze in Perugino's St. John gives place to a more simple and direct expression in that of his pupil. We are always conscious, too, of a less strong, less confident spirit--one more nervous, more personally reflective of moods and idiosyncrasies.