a far more serene classicism is perceived in central Italy, as inside the Dying of Adam (1452–1466) by Piero della Francesca, whose nude figures contain the gravity from the sculpture of Phidias or Polyclitus, or the Apollo and Marsyas (1495) by Perugino, with a clear Praxitelian air. This classicism had its fruits in Raphael's Parnassus (1511),