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Melozzo da Forli (1438-1494), of whom little is known,
was another pupil of Piero, and Giovanni Santi (1435?-1494), the
father of Raphael, was probably influenced by both of these last
named.
The true descent of the Umbrian sentiment was through Foligno and
Bonfiglio to Perugino (1446-1524). Signorelli and Perugino seem
opposed to each other in their art. The first was the forerunner of
Michael Angelo, the second was the master of Raphael; and the
difference between Michael Angelo and Raphael was, in a less varied
degree, the difference between Signorelli and Perugino. The one showed
Florentine line, the other Umbrian sentiment and color. It is in
Perugino that we find the old religious feeling. Fervor, tenderness,
and devotion, with soft eyes, delicate features, and pathetic looks
characterized his art. The figure was slight, graceful, and in pose
sentimentally inclined to one side. The head was almost affectedly
placed on the shoulders, and the round olive face was full of wistful
tenderness.


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