Galeazzo Alessi was born in Perugia. He cared about his architect training under the leadership of Mr. Giovan Battista Caporali, taking inspiration from him thanks to the discerning study of ancient buildings. Regarding the development of his style, his meeting in Rome with Michelangelo Buonarroti was extremely important.
He took very active part in Perugia affecting intensively for planning a lot of buildings and for giving new light to the old city centre. His actions for Rocca Paolina, for the door of southern façade of Duomo and for the loggia of Priori Palace were considered of great value..
He took active part even in Assisiwhere he helped for carrying out the basilica of Santa Maria degli Angeli, while he realized the residence Palace for Della Corgna family who held him in high esteem. He restored the Castle of Castello di Pieve del Vescovo in Città della Pieve and the summer residence of cardinal Fulvio della Corgna.
In 1548 he left Perugia, moving to Republic Genoa,for carrying out the restoration works of the Harbour, planning several buildings near Strada Nuova and Basilica of Santa Maria in Carignano.
During the same time was in Milan too where afterwards moved definitely working for planning Palazzo Marino(now town hall), for San Barnaba Church, of San Vittore in Corpo and of Santa Maria dei Miracoli Church.

Fra' Bevignate was architect and Benedictine monk of San Silvestro order.Probably he was born in Cingoli, which is a city of Marche and a province of Macerata, but his long activity in the town of Perugia and its environs including his precious help for carrying out city works, made of him a distinguished member of local culture.
Project and design of Fontana Maggiore of Perugia were entrusted to him, and they were realized co-operating with two of the greatest sculptors of the age Nicola Pisano and Arnolfo di Cambio.
Toward the end of XIIIc. he went to Gubbio, for working to build the Church of San Francesco, while between 1295 and 1300 committed himself to direct the works for Duomo di Orvieto, for which planned initial design, nave structure and first order of façade.
Afterwards, Perugia’s town council gave him commission to build the Duomo, which he won’t have the opportunity to finish. His attribution by the town council as director "of every work", which he has already held in past times keeping until to die, is certified in a document of 1305.

Aldo Capitini was born in Perugia, in a family of modest economic power and took care of his humanistic formation as self-taught person, imposing himself demanding rhythms of study. In 1924 obtained a scholarship for attending a scholastic curriculum of Literature and Philosophy at Scuola Normale Superiore of Pisa.
In this period he matured his choice to be vegetarian, as complete expression of a no-violent will. As soon as he became secretary of the school, after have refused to subscribe the card of National Fascist Party, will be sent away.
Main ambit of his reflections is the increase of awareness of no-violence culture intended not as passive choice of acceptance, but as touchable struggle instrument.
After the antifascism years, he devoted himself to pacifist undertakings, as the famous Perugia - AssisiAssisi march which is symbol of Peace and brotherhood between people, organized for the first time by Aldo Capitini on 24th of September of 1961, and current still now every biennium.
Between its greater philosophical works, is reminded Elements of a religious experience (1937), Essay on the history subject (1947), the Techniques of no-violence (1967) and Works about no-violence (1992).

Bernardino di Betto, called the Pintoricchio, was student of Perugino’s school , same school where the greatest member of new painting Raffaello trained himself. His vivid and fanciful way to illustrate and to decorate with refinement, marked a definite return to taste and spirit of late Gothic painting.
Still very young went to Rome with his teacher, for helping him to decorate the frescoes of Sistina Chapel. During his stay in Rome knew Botticelli and Ghirlandaio, enriching his culture of Tuscan elements, supporting the acquirement of a personal style, very appreciated by Roman environments. In 1486-1489 years will be in the chief town in order to paint the frescoes of Bufalini Chapel in Santa Maria Aracoeli, which will remain between his best works, characterized by a youthful sincerity and liveliness of narration, thanks to the perspective-space lesson of Perugino.
During 1492-1495 years still in Rome, nearby the flat of Alessandro VI Borgia in Vaticano, Pintoricchio managed the execution of decorative frescoes, grotesque paintings and rich and fanciful stucco-works. Best parts of the composition, certainly due to Pintoricchio, are San Sebastiano’s martyrdom, Santa Caterina Disputation and Santa Susanna histories.
Another place where it is possible to admire the excellent art of Pinturicchio are the frescoes inside Baglioni Chapel in the Church of Santa Maria Maggiore in Spello executed about the year 1500.

Niccolò di Liberatore, called "l'Alunno", was born in Foligno and his nickname was due to the misinterpretation ascribed by the Vasari to the painter’s signature "alumnus Fulginie". The style of the Alunno is characterized by a sharp and dry brush-stroke.
He received his artistic formation by Angelico and through him by Gozzoliteachers but standing out and raising himself over them thanks to a greater mystic feeling able to express the emotionality and the usual languid sentimentality of Umbrian school in terms of vivid plastic relief and dramatic plastics. This peculiarity is particularly evident in the Polittico of Duomo of Assisi (1470), and in the Church of San Francesco of Gualdo Tadino (1472).

Fiorenzo di Lorenzo was a painter with a very sophisticated culture .
His culture was enriched by many Florentine, Paduan and perhaps Ferrarese experiences.
The National Gallery of Perugia preserves a precious Trittico, still completely connected with the Perugian environment. After some years of absence from his native town, he came up again with totally changed characteristics, as we can note in San Sebastiano, which can be observed inside the National Gallery of Perugia where typical aspects of Mantenga, painting appear clearly, as for instance tumbledown buildings, shattered draping and anatomical dynamism.
However the personality of the artist on the whole remains a kind of mystery because of the almost total lack of information and reliable works except for a Tabernacolo which was painted in 1487.

Gerardo Dottori was a great futurist artist and air-painter over the Italian and Europeean outline. He attended in Perugia the Accademy of fine arts and after a short stay in Milan, came back to his native town, joining in 1912 to Futurist Movement. This choice will definitely mark his artistic career either as painter or as Perugian poet.
In 1920 he set up a magazine, with the intention of propagating in Perugia the ideas and the spirit of Futurism, whereas in Rome was arranging his own exhibition.
Four years later will be exhibiting his own works inside the Biennal exhibition of Venezia, as first futurist artist to reach such a stage, which will see him as main character for ten editions.
Best works of Gerardo Dottori are related to the air-painting, one of the most evocative inflexions of futurist painting, which was codified in 1929 by the Manifesto of the futurist Aeropittura , redacted with Martinetti, Balla and others.
Since 1939 held the chair of the Painting course of the Academy of Perugia, until 1947.
In 1941 he set up the Umbrian manifesto of the Aeropittura, clarifying basic features of his painting and declaring that beauty lay in the representation of setting and landscapes which tend to mysticism.
The aerial Umbrian landscapes are still considered as some of the best works and amongst them the Umbrian Spring and the Fire in the sity which were painted about the first 20s. stand out.

Andrea Fortebracci, was born in Montone by a Perugian aristocracy family, outlawed a few time after his birth, because of incurable rival ships between the factions caused by the territory and government control of Perugia. That episode deeply marked his childhood, making mature the uncontrollable desire to govern the town of Perugia.For that aim he started to collect a numerous army, immediately calling attention on himself as strategist in military ambit. On the 15th of July of 1416 the battle of Sant'Egidio broke out, when it ended Braccio from Montone took possession of the town of Perugia and he was acclaimed master of it.
However the dream of the leader and politic man Fortebraccio was to create a wider state in the central Italy, with Perugia as chief-town. This plan couldn’t pass unnoticed, arousing Martino V Pope's anger and attention, who observed the progressive reducing of Stato della Chiesa possessions.
Braccio da Montone first was excommunicated, then was threatened by a never happened before coalition. Armies went as far as fighting under the walls of Aquila town on the 2nd of June of 1424.Three days after the leader of a troop of mercenaries was mortally wounded and his body buried in a desecrated earth.

Francesco Morlacchi was a Perugian composer even of operas who impressively helped toward the propagation of the Italian taste all over the world. He was a precocious and productive mind and his first opus (Corradino), was represented in the theatre of Parma,then it was reproduced even by theatres of Roma and Milano.
He worked in Germania, where he accepted the engagement of Maestro di Cappella of the Italian Opera in Dresda and after his death that post will be held by Richard Wagner.
His more successful opus was Tebaldo e Isolina, and for the first time was played at the Fenice Theatree of Venice in 1822. This opus achieved great success and diffusion and was reproduced for about ten years in more than 40 cities.

Sandro Penna was born in Perugia, where attended a devious and rather irregular curriculum of study. When he was twenty moved in Rome, where he lived up to die, except for a short while in the city of Milan.
The poet Umberto Saba gave him attention allowing to publish his first poems on "L'Italia Letteraria",in 1932, and he encouraged him to pursue and foster his verses.
His first collections will be issued only during the post-war period. Una strana gioia di vivere in ’56 and Croce e delizia in '58. After them there will be twelve years without any publishing, except for Tutte le poesie of Sandro Penna published by Garzanti , where there was some great unpublished work.
Other writings will be issued only after his death with the title of Stranezze and Confuso sogno.
His isolated and insensitive attitude to the cultural climate of that time, made him alien to the official poetical circles and underestimated or completely ignored by the critics.

Giuseppe Prezzolino was born in Perugia, , but it was just a case, since his family was obliged to travel very much because of the job of his father (Prefect of the Reign). He studied as self-taught person in the well-provided father’s library, dedicating himself to the activity of journalist since he was 21st.
Before he moved in Paris, , then after have participated to the First World War as captain of Italian Army, in 1929 landed in the United States, where he will start teaching at the Columbia University of New York.
As soon as he came back to his homeland, devoted himself to the profession of writer and publicist (Resto del Carlino), ), co-operating with several publishing houses, editing translations and the publishing of his books.

Luca Signorelli was born in Cortona, but lived and studied in the same artistic environment of Perugino. At first painted in the school of Piero della Francesca attending the circle of Verrocchio in Firenze. In opposition to his contemporaries he developed a very differently personal aptitude and opposite language compared with his Umbrian teacher who was characterized by exaltation of dynamism and plastic-volumetrically prominence. He didn’t sympathize with his predecessors, for this reason the critics considered him as a different member from that school.
In 1482 he worked in Rome for decorating the Sistina Chapel, while some year after was in Perugia, where painted the Pala Vagnucci, for the Duomo which completely represents the distinctive characters of Signorelli.
Signorelli definitely deserves an important place in the history of the art thanks to his decoration of the San Brizio Chapel in the Duomo of Orvieto, executed between 1500 and 1502. The grand episodes depicted represent Histories of the Antichrist, the Last Judgement,the Resurrection of the dead, the Damned, the Hell and the Paradise and the Blessed. The scenes are mainly taken from the Apocryphal Gospels,but also from the Apocalypse of San Giovanni and the Gold Legend, narrated with great freedom and fantasy, offering grand and original compositions which put as centre of attention the naked moving human figure, cured with an intensity never seen before. The study of dramatic effect of body, virtuous anatomies of nudes, which often disregard any religious or moral valuation, represent in its whole a magnificent human scenography.
The research of a painting able to express that deep feeling of disquietude and need to go to new inspiration sources, will always remain the more usual aspect of Signorelli’s art.

Enrico Vaime took a degree in law in Naples. In 1960, by means of last public competition of history of Rai, obtained a scholarship which allowed him to attend for two years the Milanese seat of company in viale Mazzini.
Afterwards he chose to devote himself to the free profession of television and theatre author, cooperating to realize several television programmes, adaptations for the stage and fiction. He put his signature to Canzonissima, Tante scuse, Italian Restaurant,and Anche i bancari hanno un'anima, Pardon Monsieur Molière, Un figlio a metà musicals collaborating with the couple ofGarinei and Giovannini.
He published sixteen books, as Amare significa, Tutti possono arricchire tranne i poveri, Le braghe del padrone, even collecting several literary and journalistic prizes.
As from 1980 he hosted a lucky radio transmission named Black Out on air on Radiodue on Saturday morning, whereas from 2002, inside the morning magazine programme Omnibus, on air on LA7, every day, participated with "Traffico & Traffici",feature which was based on ten minutes for giving free rein to his ironical point of view about Italy and its characters, under the pretext of providing road information.
From 2005 still on LA7, he hosted a tradition programme named Anni Luce,which illustrated the Italian society and its changes from the second post-war period up today, by means of interview clips and period movies in association with Luce Institute.

Pietro Vannucci, called Perugino is perhaps the most shining child even if “adoptive” of Perugia city. In fact he was born in Città della Pieve, educated thanks to the direct teaching of Piero della Francesca.
“Il Perugino” established himself as the greatest exponent and first truly Renaissance artist of Umbrian school.
In 1472 testimonies substantiate his presence in Florence, where likelihood he came into contact with Verrocchio’s studio and entered his name for the corporation of Arts Compagnia di San Luca, which assembled every painter of town.
Works as Madonna con Bambino e Angeli (National Gallery, Londra), pertain to this first phase, where aspects of a complex artistic culture are particularly evident, thanks to his training period in the Verrocchio’s studio and his meeting with the greatest exponents of new generation as il Ghirlandaio, il Botticelli and Leonardo. However works of that time are already characterized by the typical art of Perugino, as for instance his space effect, peaceful and meditative harmony, compositional static equilibrium.
The city of Perugia contains many works of Pietro Vannucci, in large part these are collected in the National Gallery of Umbria, where are preserved most of the Pietro Vannucci’s painting existing in Perugia.Pietà del Farneto,Pala di Santa Maria dei Servi,San Sebastiano,Polittico dei Silvestrini are counted as the more famous with others too.
We can find others works in the Collegio del Cambio, as well as superb frescoes executed between 1496 and 1500, which are situated in St. Agnese Monastery, in Baldeschi Palace, nearSt. Pietro Abbey, in St. Severo Church and in St. Lorenzo Cathedral. These last ones were probably realized with the help of young Raphael.