The historico-artistic situation in Perugia in the later decades of the 15th century has been in part clarified by studies carried out during recent exhibitions dedicated to leading figures of the Renaissance in the region of Umbria. Yet the overall scenario continues to remain somewhat hazy and still strewn with unanswered questions. At the beginning of the 1470s, with the return of Perugino to Perugia, local artists quickly assimilated the most cultured and modern Tuscan innovations. This change, which can be perceived in Perugian products executed after 1470, has contributed to uncertainty over the attribution of certain works which, in alternating periods, have appeared in the catalogues of the most well-known artists. It is in this context that Fiorenzo di Lorenzo and later Bartolomeo Caporali have been seen as the artists of numerous paintings, including the triptych of Justice and the 'Nativity' from the church of Santa Maria di Monteluce, now in the Galleria Nazionale dell'Umbria, which have been the object of debate for almost twenty years. It seemed that the documentary discoveries made by Michael Bury and Pietro Scarpellini in the 1990s had once and for all clarified the origin of the two works, which emerged from the workshop of Bartolomeo Caporali in the space of a few years. Yet both works would deserve a more thorough analysis than that which emerged from a reading of the documents.