UMBRIAN AND PERUGIAN SCHOOLS: At the beginning of the fifteenth century the old Siennese school founded by Duccio and the Lorenzetti was in a state of decline. It had been remarkable for intense sentiment, and just what effect this sentiment of the old Siennese school had upon the painters of the neighboring Umbrian school of the early fifteenth century is a matter of speculation with historians. It must have had some, though the early painters, like Ottaviano Nelli, do not show it. That which afterward became known as the Umbrian sentiment probably first appeared in the work of Niccolo da Foligno (1430?-1502), who was probably a pupil of Benozzo Gozzoli, who was, in turn, a pupil of Fra Angelico. That would indicate Florentine influence, but there were many influences at work in this upper-valley country. Sentiment had been prevalent enough all through Central Italian painting during the Gothic age--more so at Sienna than elsewhere. With the Renaissance Florence rather forsook sentiment for precision of forms and equilibrium of groups; but the Umbrian towns being more provincial, held fast to their sentiment, their detail, and their gold ornamentation. Their influence upon Florence was slight, but the influence of Florence upon them was considerable. The larger city drew the provincials its way to learn the new methods. The result was a group of Umbro-Florentine painters, combining some up-country sentiment with Florentine technic. Gentile da Fabriano, Niccolo da Foligno, Bonfiglio (1425?-1496?), and Fiorenzo di Lorenzo (1444?-1520) were of this mixed character. [Illustration: FIG. 30.--SIGNORELLI. THE CURSE (DETAIL). ORVIETO.] The most positive in methods among the early men was Piero della Francesca (1420?-1492). Umbrian born, but Florentine trained, he became more scientific than sentimental, and excelled as a craftsman. He knew drawing, perspective, atmosphere, light-and-shade in a way that rather foreshadowed Leonardo da Vinci. From working in the Umbrian country his influence upon his fellow-Umbrians was large. It showed directly in Signorelli (1441?-1523), whose master he was, and whose style he probably formed. Signorelli was Umbrian born, like Piero, but there was not much of the Umbrian sentiment about him. He was a draughtsman and threw his strength in line, producing athletic, square-shouldered figures in violent action, with complicated foreshortenings quite astonishing. The most daring man of his time, he was a master in anatomy, composition, motion. There was nothing select about his type, and nothing charming about his painting. His color was hot and coarse, his lights lurid, his shadows brick red. He was, however, a master-draughtsman, and a man of large conceptions and great strength. 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.