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. This Perugino type, used in all his paintings, is well described by Taine as a "body belonging to the Renaissance containing a soul that belonged to the Middle Ages." The sentiment was more purely human, however, than in such a painter, for instance, as Fra Angelico. Religion still held with Perugino and the Umbrians, but even with them it was becoming materialized by the beauty of the world about them. [Illustration: FIG. 31.--PERUGINO. MADONNA, SAINTS, AND ANGELS. LOUVRE.] As a technician Perugino was excellent. There was no dramatic fire and fury about him. The composition was simple, with graceful figures in repose. The coloring was rich, and there were many brilliant effects obtained by the use of oils. He was among the first of his school to use that medium. His friend and fellow-worker, Pinturricchio (1454-1513), did not use oils, but was a superior man in fresco. In type and sentiment he was rather like Perugino, in composition a little extravagant and huddled, in landscape backgrounds quite original and inventive. He never was a serious rival of Perugino, though a more varied and interesting painter. Perugino's best pupil, after Raphael, was Lo Spagna (?-1530?), who followed his master's style until the High Renaissance, when he became a follower of Raphael.