In the works of this artist we are at once struck by the aloofness that distinguished Perugino. Single figures stand apart one from the other, each slightly connected as by a thread of thought, and similarly each with the central feature of the picture, but in every other way self-contained. Here again are the placid Umbrian landscapes with which later on we shall become so familiar, and the tall slender youths and sweet women full of tender grace, that make their first appearance in Umbrian art. There is a grace and charm in the work of Fiorenzo di Lorenzo, that is far removed both from the fierce truth of the Folignate's pictures and from the crowded stress of Bonfigli, and those panels that tell the story of Bernardino in the Accademia at Perugia, and which represent the artist at his very best, are possessed of a fascination both in line, in colouring, and in movement that are impressive to the highest degree. Occasionally the artist was able to attach two or more of his figures to one another by a gesture or a movement that formed a distinct and noticeable link; but it was left for Perugino to still further develop this power and to link his figures one by one into a single group when he so desired, or at his will to keep them aloof one from the other, and to the successors of Perugino to complete this power which Fiorenzo so slightly commenced and which Perugino so greatly improved. In another way can be seen the influence of Fiorenzo di Lorenzo. The typical Umbrian landscapes which are so important a feature in Perugino's pictures first make their appearance in the works of this artist. The special treatment of the landscape will be referred to in fuller detail later on; but we may here mention that those expansive broad landscapes, with distant hills bathed in a blue mist and revealing long stretches of level fertile land on either side, with single trees, standing silhouetted against the sky, which, like a vast arch of blue, frames in the lovely scene, are noteworthy in Fiorenzo's pictures. Finally, there is the pale golden sunlight to be seen in his works, a sunlight which bathes all purely Umbrian art, but which does not appear to any marked extent in the works of the Foligno school. Having now briefly glanced at the leading characteristics of these artists, it will be well to examine the work of one who was far greater than either of those already named, and whose influence on Perugino is very marked. I allude to Piero della Francesca. Whether, as Morelli suggests, Perugino journeyed to Arezzo, where Piero was at work, and aided him in his work, or placed himself under his tuition, or whether Perugino met Piero at Borgo San Sepolcro or in Perugia, is immaterial. It will suffice to understand that, somewhere near at home, and in the early days of his training before Perugino journeyed to Florence, the two men must have met, and Perugino learned much from the Tuscan-Umbrian master and profited largely by his instruction.