WE have seen that during the early Umbrian period (up to about 1450) most of the interesting Umbrian movements came from the Marches. During the second period ( 1450 to about 1525) the scene shifts, and Foligno and Perugia take the lead.
The notable artists are Niccolò da Foligno, Fiorenzo di Lorenzo, Perugino, Pintorricchio, and their following. Until about 1450 there is no painting of importance in Umbria proper outside of Gubbio, and the Gubbian school practically died with Nelli. At Perugia there was nothing before the advent of Boccatis from the Marches in 1447, and even he is of only provincial interest. The local needs were supplied by Sienese and Florentine painters, as Taddeo Bartolo, in 1403, Domenico di Bartolo, in 1438, and Sano di Pietro. Fra Angelico painted an Altarpiece for S. Domenico, probably before 1418. Domenico Veneziano was in the city in 1438. Filippo Lippi appraised Bonfigli's frescoes there in 1461. What first aroused the school was the presence of these Florentine artists, who brought a Florentine influence which is constant in the Umbrian art of the second period, making the school more than a provincial offshoot of Siena, and tending to correct its narrowness and emotionalism. The especial impulse was given by Benozzo Gozzoli, who was working in the hill-town of Montefalco, beyond Assisi, in 1 4 50) and 1452.1
Niccolò da Foligno, c. 1430-1502.2--The same conditions existed in the school of Foligno. Gozzoli's influence is evident, and especially so in Niccolò da Foligno, whose vigorous talents____________________