A very similar training produces more ambitious but hardly more pleasing results in Niccolò Liberatore of Foligno, (1430 to 1502). Early influenced by Gozzoli, he later aped the intensity of the Venetian, Carlo Crivelli. Niccolò thus chafes within the modest bounds proper to art in Umbria. He essays tragedy and too often achieves burlesque. He paints, like most of the Umbrians, processional banners, and also the most complicated altar-pieces, in which cusps, carving and pinnacles almost efface the Madonna and saints, who show a peasantlike uneasiness amid so much splendor. Such is the character of the triptych in the Vatican, which is dated 1466. It represents rather favorably Niccolò’s at once slender and ambitious talent. [Illustration: FIG. 173. Melozzo da Forlì. Pope Sixtus IV and his Court. Fresco.—_Vatican._ ] Such obscure artists as we have been considering[63] could maintain the idealism out of which a Perugino should grow, could provide his spiritual background. They could do little to nurture him on the positive side. That task fell to men of greater power, who had saturated themselves with Florentine realism—Melozzo da Forlì[64] and Luca Signorelli. Both were pupils of that giant among Umbro-Florentines, Piero della Francesca. Melozzo was born in 1438 and early employed by the Dukes of Urbino. He practices an energetic draughtsmanship both in decoration and portraiture, indulges the boldest foreshortening, adds a positive athleticism to that pride of life which we have noted in more static form in his master. Thus his frescoes for the domes of the sacristy of the Santa Casa at Loreto, and the justly famous fragments of playing angels from the demolished sacristy of old St. Peter’s at Rome reveal a strength and measured audacity which at once rival the contemporary effort of Mantegna at Mantua and forecast the more pagan exuberance of Mantegna’s greatest pupil, Correggio. This robust and masculine manner appears in a more restrained and traditional form in the superb fresco portraits of Pope Sixtus IV and his Court, Figure 173, in the Vatican. Such work transcends Umbrian standards. [Illustration: FIG. 174. Luca Signorelli. Pan, God of Music.—_Berlin._ ]