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At this same time there was a painter in the city of Foligno, Niccolò Alunno, who was held to be excellent, for it was little the custom before Pietro Perugino's day to paint in oil, and many were held to be able men who did not afterwards justify this opinion. Niccolò therefore gave no little satisfaction with his works, since, although he only painted in distemper, he portrayed the heads of his figures from life, so that they appeared alive, and his manner won considerable praise. In S. Agostino at Foligno there is a panel by his hand with a Nativity of Christ, and a predella with little figures. At Assisi he painted a banner that is borne in processions, besides the panel of the high-altar in the Duomo, and another panel in S. Francesco. But the best painting that Niccolò ever did was in a chapel in the Duomo, where, among other things, there is a Piet
For, observe, Savonarola lost his head and his life, good soul! where the Florentines did not. The cobbler went beyond his last when the Frate essayed politics. He suffered accordingly. But in Perugia, in Siena, in Gubbio and Orvieto, the great revivalists Bernardine, Catherine, Fra Roberto, held absolute rule over body and soul. And how Niccolo Alunno would have painted the Salvation Army!
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