Niccolò’s most illustrious contemporary in this school was Pietro Perugino (1446-1523). Over fifty of the religious pictures of this influential and accomplished master were carried off from Central Italy by Napoleon. He is well represented in this Gallery. The contemplative and deeply impressive pictures of his less mannered style are among the best pictures which Umbria has given us, but there is a tendency, notably towards the end of his career, to repeat his compositions, only altering the attitude of a single figure, and so exhibiting a marked lack of originality. His early _Holy Family with St. Rose and St. Catherine_ (No. 1564), painted about 1491, is a little cramped; the tondo hardly provides sufficient space to contain the rather stiff figures, and the treatment is unpleasantly conventional. It also recalls the art of Fiorenzo di Lorenzo. The _St. Sebastian_ (No. 1566A, Plate VI.), which is inscribed: SAGITTÆ TVÆ INFIXÆ SVNT MICHI, is a favourite subject with this master, who painted it at least eight times on a large scale, as well as in a miniature now lent to the National Gallery by Mr. H. Yates Thompson. The _Holy Family with St. Catherine_ (No. 1565) is said to bear the characteristic signature: PETRUS PERVSINUS PINXIT. The _Combat of Love and Chastity_ (No. 1567) was commissioned by Isabella d’Este, Duchess of Mantua, in 1505, and removed at the sack of that city in 1630 to the Château of Richelieu, where it remained down to the Revolution. The _St. Paul_ (No. 1566) is a very late and not very attractive work. In his best pictures Perugino loved to paint a purist landscape with its buoyant spaciousness of view, but too frequently his figures are insufficiently dramatic and have a tendency towards sentimentality. A very late _St. Sebastian_ (No. 1668A), which is on a much smaller scale than the subject of our illustration (Plate VI.), is officially catalogued as being by an Unknown Umbrian painter. The _Apollo and Marsyas_ (No. 1509), which was purchased at Christie’s in 1850 for £70 by Morris Moore, with an ascription to Mantegna, was in 1883 sold to the Louvre for £8000. It long hung in the Salon Carré as a Raphael, but is now only attributed to him by the cataloguer. This gem of Umbrian art has successively been ascribed by critics to Pintoricchio, Timoteo Viti, Francesco Francia, and others, but is to-day generally regarded as a very fine example of the art of Perugino. Two pictures (No. 1573 and No. 1573A) of the _Madonna and Child_ are by unidentifiable pupils of Perugino.