Santa Maria degli Angeli is home to the magnificent Basilica of the same name, built between 1569 and 1679 based on a design by the Perugian architect Galeazzo Alessi. Commissioned by Pope Pius V, the Basilica was intended to preserve the Porziuncola—the small church where Saint Francis established his dwelling, restoring it and founding the Franciscan Order in 1208.

On the outer rear wall of the Porziuncola, one can find Perugino’s fragmented yet fascinating Crucifixion fresco, painted between 1485 and 1486. The master drew inspiration from a local iconography—Pietro Lorenzetti’s Crucifixion in the Lower Basilica of Assisi. Lorenzetti was the first to depict this pivotal moment in Christian history as a crowded scene featuring numerous figures.

Vannucci’s Crucifixion originally adorned the primitive choir of the Porziuncola, which was demolished in the 16th century to make way for the construction of the Alessian Basilica. This fresco is a “hidden” work: to admire it, visitors must walk around the small sacred structure. The Virgin, draped in a black robe, faints and is supported by the mourning women, following an ancient iconographic motif drawn from the apocryphal Gospels. While the figure of Christ on the Cross has almost entirely disappeared, what remains are Mary Magdalene, Saint Francis embracing the feet of the Cross, two soldiers on horseback, and several spectators of the sacred drama, including a child. Despite restorations and its fragmented state, it remains a work of great beauty.

The second stop on this journey is Spello, one of the most charming and strategically located villages in Umbria, nestled at the foot of Mount Subasio. It was founded by the Umbrians, later becoming “Hispellum” in Roman times and eventually declared “Splendidissima Colonia Julia”. Inside the Church of Santa Maria Maggiore, on the two pillars flanking the apse, you will find two works by Perugino: The Pietà and Madonna and Child between Saint Catherine of Alexandria and Saint Blaise, both commissioned to the painter in 1521 and completed in just three months. These works exemplify the master’s late period. One can sense the repetition of models he had already used before and the absence of the rich landscape details that once characterized his artistic production.

Our journey in search of the painter also brings us to Foligno, to the Oratory of the Nunziatella on Via dell’Annunziata. This 15th-century building, attributed to Francesco di Bartolomeo da Pietrasanta, is a true architectural gem. Inside, the altar of Saint John the Baptist houses Perugino’s Baptism of Christ. The painting showcases the most important and recognizable elements of the Umbrian master’s style: the delicate and sweet lines, along with the soft atmosphere enveloping both the characters and the landscape. Two flying angels in the upper part of the fresco present the Holy Spirit in the form of a dove, positioned above the two central figures—Christ and John the Baptist—who seem to almost dance in the water, surrounded by other angels. The landscape represents the countryside around Foligno, with the Topino River symbolically standing in for the Jordan River.

Trevi is located between Foligno and Spoleto and is known as “the town of olive oil”. Perched atop a hill, it exudes a mysterious medieval charm, characterized by Romanesque-style buildings. Among its various artistic treasures, it preserves an important work by Perugino—the Adoration of the Magi, housed inside the Church of Santa Maria delle Lacrime. Dating back to 1522, it is one of the master’s final works. The fresco depicts a marvellous Nativity scene, featuring adoring figures along with the apostles Peter and Paul on either side. The setting consists of a simple wooden hut, where the Virgin Mary is shown on a small pedestal holding the infant Jesus, while Saint Joseph stands to the left. Beside them, two of the Magi are depicted in the act of offering ampoules, while the third stands nearby. In the background, a characteristic rural landscape features shepherds tending their flocks. Notably, in the central part of the fresco, two distant shepherds are seen looking upward, shading their eyes—likely gazing at the light of the Star of Bethlehem, which is no longer visible in the painting today.

A short distance from Trevi lies Montefalco, renowned for its excellent red wine. This charming village offers a stunning panoramic view of the surrounding landscape, earning it the nickname “the balcony of Umbria”.

In the historic centre, inside the Church of San Francesco - now a museum complex - visitors can admire Perugino’s magnificent Nativity. This monumental fresco is placed within a niche on the right side of the counter-façade, with its lunette carved into the wall’s thickness and framed by a series of elegant faux architectural elements. In the upper part of the fresco, outside the lunette, stand the Annunciate Virgin and the angel. Inside, within a mandorla, God is depicted in glory among angels, while below, in the foreground, the Nativity scene unfolds. The infant Jesus is positioned inside an open structure decorated with grotesques, adored by the surrounding figures in a semicircle. With a remarkable illusionistic effect, Baby Jesus originally appeared to rest on a table attached to the wall—an element that no longer exists today. This elegant fresco was completed in 1503 at the commission of a theology minister, Friar Francesco Agusti.