Nicolo Alunno of Foligno, advanced the art still farther; this is evident on comparing a picture of his painted 1480, with another at S. Nicolo of Foligno, dated 1492. The tone of his colour, even in distemper, has novelty and vigour; his heads have vivacity, though with trivial and sometimes caricatured characters: and in gilding he is moderate. Vasari, who places him in the time of Pinturicchio, praises above all a Pietà in a chapel of the Domo, in which, he says, "there are two angels who weep with such expression of grief, that, in my opinion, no other painter, however excellent, could have done much more." Nor was Urbino without painters at this period: Fiorillo names Lorenzo da San Severino. At Urbino some pictures still remain of Giovanni Sanzio, the father of Raphael, who by the Duchess Giovanna della Rovere is called a very ingenious artist: a foreshortened figure of St. Sebastian, painted by him for the church of that saint, has been imitated by Raphael in an early picture of Our Lady's Wedding, at Città di Castello. He subscribed himself Io. Sanctis Urbi.; viz. Urbinas. Such at least is the inscription on his Annunciation at Sinigaglia, a work of high finish, but unequal in its parts, and in the best, though less genial, approaching the style of Pietro Perugino, with whom he had for some time co-operated. But the most distinguished Urbinese artist was Bartolommeo Corradini, a Dominican, commonly called Frà Carnevale: at the Osservanza there is a picture of his, defective in perspective, with draperies frittered into the usual tatters of the time, but with faces that breathe and speak, and airs of dignity and ease: he was one of the first who introduced portrait into historic composition, a method adopted and often practised by Raphael, who at Urbino had studied his works. Perugia laid an early claim to Art, at least as a craft. Mariotti tells of one Tullio a Perugine painter about 1219, and in a long file of quattrocentists, allots the most conspicuous places to Lorenzo di Lorenzo, Bartolommeo Caporali, whose works are dated about 1487, but above all to Benedetto Bonfigli. Yet with this abundance of home-bred artists, Perugia employed in its public works the hands of strangers, and chiefly Tuscans; it was to Florence, States and Princes looked for that master-style which could give splendour to a great commission. When Sisto IV. planned the decorations of the Sistina, the greater number of conscripts for the work were Tuscans, and Pietro Perugino the only artist drawn from his subjects among them.