Describe the characteristics of the Second phase in Sant'Agostino Altarpiece's Phases.
The other side of the altarpiece faced the church's choir and work on its panels began in 1513, delivered at irregular intervals right up to Perugino's death. The cymatium panels on both sides were produced during this phase, with God the Father facing the nave and a Pietà towards the choir - the latter formed a single panel with the flanking tondi of David and Daniel, but was later split up. Apart from these two purely decorative tempera tondi, the rest of the panels show a lack of underdrawing and near-transparent colour to show the contours of the figures - the speed of their execution dates them to Perugino's late period. The rural backgrounds are very simple, with almost no flowers in the foreground to increase focus on the classically-influenced figures, in which Perugino seems to have assimilated the style of his old pupil Raphael.
Adoration of the Shepherds, 263 × 147 cm, Galleria Nazionale dell'Umbria, Perugia.
St Sebastian and St Irene or Apollina, Museum of Grenoble, Grenoble.
St Jerome and St Mary Magdalene, 174 × 95 cm, Galleria Nazionale dell'Umbria, Perugia.
Young Saint with a Sword, 102 cm in diameter, Musée du Louvre, Paris
St Bartholomew, 89.5 × 74.8 cm, Birmingham Museum and Art Gallery, Birmingham
Pietà, 144 × 152 cm, Galleria Nazionale dell'Umbria, Perugia.
David and Daniel, two tondi, each 61 cm in diameter, Galleria Nazionale dell'Umbria, Perugia.
Musée du Louvre Raphael Birmingham tempera Museum of Grenoble Perugia Grenoble Galleria Nazionale dell'Umbria Perugino Louvre cymatium Paris Birmingham Museum and Art Gallery