On the decoration of the Sala del Cambio, or old exchange, Perugino put forth the full force of his genius.
Most of the movable paintings have since 1863 been collected in the Pinacoteca Vannucci, established in the Palazzo del Municipio; besides a considerable number of pieces by Perugino, there are specimens of Niccolo Alunno, Bonfigli, Pinturicchio, &c. A very interesting and important exhibition of Umbrian art was held here in 1907.
San Pietro de' Cassinensi (outside the Porta Romana) is a basilica with nave and aisles, founded in the beginning of the i 1th century by San Pietro Vincioli on the site of a building of the 6th century, and remarkable for its conspicuous spire, its ancient granite and marble columns, its walnut stall-work of 1535 by Stefano de' Zambelli da Bergamo, and its numerous pictures (by Perugino, &c.).
It was the birthplace of the painter Pietro Vannucci (Perugino), and possesses several of his works, but none of the first rank.
Previously the several districts formally recognized were Latium, the Marittima (or sea-board) and Campagna, the patrimony of Saint Peter, the duchy of Castro, the Orvietano, the Sabina, Umbria, the Perugino, the March of Ancona, Romagna, the Bolognese, the Ferrarese, and the duchies of Benevento and of Pontecorvo.
Maria di Provenzano, a vast baroque building of some elegance, designed by Schifardini (1594) Sant' Agostino, rebuilt by Vanvitelli in 1755, containing a Crucifixion and Saints by Perugino, a Massacre of the Innocents by Matteo di Giovanni, the Coming of the Magi by Sodoma, and a St Anthony by Spagnoletto (?); the beautiful church of the Servites (15th century), which contains another Massacre of the Innocents by Matteo di Giovanni and other good examples of the Sienese school; San Francesco, designed by Agostino and Agnolo about 1326, and now restored, which once possessed many fine paintings by Duccio Buoninsegna, Lorenzetti, Sodoma and Beccafumi, some of which perished in the great fire of 1655; San Domenico, a fine 13th-century building with a single nave and transept, containing Sodoma's splendid fresco the Swoon of St Catherine, the Madonna of Guido da Siena, 1281, and a crucifix by Sano di Pietro.
In the Accademia, which is rich in early Tuscan masters, the Botticelli and Perugino rooms deserve special mention.
Francia probably studied likewise the works of Perugino; and he became a friend and ardent admirer of Raphael, to whom he addressed an enthusiastic sonnet.
It has been well observed that his style is a medium between that of Perugino and that of Giovanni Bellini; he has somewhat more of spontaneous naturalism than the former, and of abstract dignity in feature and form than the latter.
The rich background with gold decoration in relief is characteristic. There is also a late altarpiece by Perugino (1521) and a fine early Renaissance canopy by Rocco da Vicenza (1515).