Sant'Agostino Altarpiece 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. Sant'Agostino Altarpiece The Sant'Agostino Altarpiece is a painting by Perugino, produced in two stages between around
St John Altarpiece (Memling) it presents a narrative, meant to emulate a vision the donors or viewers would experience when viewing the inside panels. Unlike most altarpieces of these types, Memling's fails to present a single unifying iconographical focus and is quite generalized with themes that seem unsuited for its specific location, according to Blum. She speculates the donors may have chosen the specific iconography, which "celebrated intercessory saints on the interior". It is an unusual painting in that it seems to "have served a double function: that of personal propitiation and that of public altarpiece, which portrayed the role of the religious community