,the ,great ,masters in ,painting and ,sculpture ,edited by ,g4 ,c4 ,williamson ,,pintoricchio ,,the ,,great ,,masters ,,in ,,painting ,,and ,,sculpture4 ,the following ,volumes have been issued1 price #es4 net each4 ,,bernardino ,,luini4 ,by ,,george ,c4 ,,williamson1 ,litt4,d41 ,editor of the ,series4 ,,velasquez4 ,by ,r4 ,a4 ,m4 ,,stevenson4 ,,andrea ,,del ,,sarto4 ,by ,h4 ,,guinness4 ,,luca ,,signorelli4 ,by ,,maud ,,cruttwell4 ,,raphael4 ,by ,h4 ,,strachey4 ,,carlo ,,crivelli4 ,by ,g4 ,,mcneil ,,rushforth1 ,m4,a41 ,lecturer in ,classics1 ,oriel ,college1 ,oxford4 ,,correggio4 ,by ,,selwyn ,,brinton1 ,m4,a41 ,author of ,the ,renaissance in ,italian ,art4 ,,donatello4 ,by ,,hope ,,rea1 ,author of ,tuscan ,artists4 ,,perugino4 ,by ,g4 ,c4 ,,williamson1 ,litt4,d4 ,,sodoma4 ,by the ,,contessa ,,lorenzo ,,priuli-,,bon4 ,,luca ,,della ,,robbia4 ,by the ,,marchesa ,,burlamacchi4 ,,giorgione4 ,by ,,herbert ,,cook1 ,m4,a41 ,f4,s4,a4 ,,memlinc4 ,by ,w4 ,h4 ,,james ,,weale1 late ,keeper of the ,national ,art ,library4 ,,piero ,,della ,,francesca4 ,by ,w4 ,g4 ,,waters1 ,m4,a4 ,,pintoricchio4 ,by ,,evelyn ,,march ,,phillipps4 ,in preparation4 ,,el ,,greco4 ,by ,,manuel ,b4 ,,cossio1 ,litt4,d41 ,ph4,d41 ,director of the ,muse ,pdagogique1 ,madrid4 ,,michael ,,angelo4 ,by ,,charles ,,holroyd1 ,keeper of the ,national ,gallery of ,british ,art4 ,,francia4 ,by ,,george ,c4 ,,williamson1 ,litt4,d4 ,,the ,,brothers ,,bellini4 ,by ,s4 ,,arthur ,,strong1 ,m4,a41 ,librarian to the ,house of ,lords4 ,d,,rer4 ,by ,,hans ,w4 ,,singer1 ,m4,a41 ,ph4,d41 ,assistant ,director of the ,royal ,print ,room1 ,dresden4 ,,wilkie4 ,by ,,lord ,,ronald ,,sutherland-,,gower1 ,m4,a41 ,f4,s4,a41 ,trustee of the ,national ,portrait ,gallery4 ,,tintoretto4 ,by ,j4 ,b4 ,,stoughton ,,holborn1 ,m4,a4 of ,merton ,college1 ,oxford4 ,,mantegna4 ,by ,,maud ,,cruttwell4 ,,giotto4 ,by ,f4 ,,mason ,,perkins4 ,,brunelleschi4 ,by ,,leader ,,scott4 ,others to follow4 ,,london3 ,,george ,,bell ,,sons ,illustration3 ,hanfstngl1 photo4 ,dresden ,gallery ,portrait of a ,boy1 by ,pintoricchio4 ,,pintoricchio ,,by ,,evelyn ,,march ,,phillipps ,illustration ,,london ,,george ,,bell ,,sons #aija ,,contents ,,page ,,list ,,of ,,illustrations vii ,,bibliography xi ,,pedigree xiii ,chapter ,i4 ,,biographical #a ,,ii4 ,,derivation ,,and ,,character ,,of ,,his ,,art #ai ,,iii4 ,,first ,,period ,,in ,,rome #cf ,,iv4 ,,life ,,in ,,rome--,,continued #ee ,v4 ,,the ,,borgia ,,apartments #fd ,,vi4 ,,the ,,same1 ,,and ,,the ,,castel ,,sant' ,,angelo #hf ,,vii4 ,,spello #ajj ,,viii4 ,,siena ,,and ,,the ,,last ,,of ,,rome #ajf ,,ix4 ,,the ,,library ,,at ,,siena #aae ,x4 ,,panel ,,paintings #aci ,,catalogue ,,of ,,the ,,works ,,of ,,pintoricchio #aec ,,austria-,,hungary #aee ,,british ,,isles #aee ,,france #aef ,,germany #aef ,,italy #aeg ,,spain #afb ,,chronological ,,table #afc ,,index #afg ,,list ,,of ,,illustrations ,,page ,portrait of a ,boy ,dresden ,gallery ,frontispiece #af ,a ,miracle of ,san ,bernardino1 by ,fiorenzo di ,lorenzo ,perugia ,gallery #bd ,four ,heads of ,women 7,from the ,sketch-,book7 ,venice #dj ,the ,journey of ,moses ,sixtine ,chapel1 ,rome #db ,the ,baptism of ,christ ,the same #dd ,the ,burial of ,san ,bernardino4 7,from the ,buffalini ,chapel7 ,church of ,ara ,cli1 ,rome #ej ,the ,glorification of ,san ,bernardino1 from the same ,the same #ed ,the ,annunciation ,borgia ,apartments1 ,vatican1 ,rome #fh ,pope ,alexander ,,vi4 adoring the ,risen ,christ ,the same #gj ,detail1 ,figure of the ,pope ,the same #gb ,detail from the ,assumption of the ,virgin--the ,kneeling ,man ,the same #gd ,the ,story of ,susanna ,the same #gd ,st4 ,anthony and ,st4 ,paul--,hermits ,the same #gf ,the ,demon ,women1 a ,detail from the above ,the same #gh ,the ,martyrdom of ,st4 ,sebastian ,the same #gh ,the ,dispute of ,st4 ,catherine ,the same #hj ,the ,figure of ,st4 ,catherine1 another ,detail from the same ,borgia ,apartments1 ,vatican1 ,rome #hj ,group of ,heads1 a ,detail from the above ,the same #hb ,general ,view of the ,hall of ,liberal ,arts and ,sciences ,the same #hf ,the ,madonna and ,child1 with ,angels 7over the door7 ,the same #hh ,figure representing ,arithmetic ,the same #ij ,figure representing ,music ,the same #ib ,the ,adoration of the ,shepherds ,sta4 ,maria ,maggiore1 ,spello #ajb ,the ,annunciation ,the same #ajd ,portrait of ,pintoricchio ,the same #ajd ,the ,knight of ,aringhieri ,siena #aaj ,symbolical ,scene1 from the ,pavement in the ,cathedral ,the same #aab ,the ,return of ,ulysses ,national ,gallery1 ,london #aad ,study for ,fresco ,i41 by ,raphael ,venice #aah neas ,piccolomini on his way to the ,council at ,basel ,the ,library1 ,siena #abj ,frederick ,,iii4 crowning neas ,piccolomini as ,poet ,laureate ,the same #abf neas ,piccolomini sent by ,frederick ,,iii4 to ,pope ,eugenius ,,iv4 ,the same #abh ,a ,group of ,men1 ,detail from ,fresco ,,ix4 ,the same #acb neas ,piccolomini elected ,pope under the name of ,pius ,,ii4 ,the same #acd ,pope ,pius ,,ii4 at ,ancona ,the same #acf ,the ,madonna and ,child1 with ,st4 ,john4 7,from the large ancona7 ,perugia ,gallery #adj ,the ,madonna and ,child1 with ,angels and a ,donor ,duomo1 ,san ,severino #adb ,the ,madonna and ,child ,national ,gallery1 ,london #adf ,st4 ,augustine1 ,st4 ,benedict1 and ,st4 ,bernard1 from the ,reliquary ,berlin ,gallery #adh ,the ,christ-,child and ,st ,john the ,baptist4 7,from the ,holy ,family7 ,siena ,gallery #adh ,christ bearing the ,cross ,pal4 ,borromeo1 ,milan #aej ,,bibliography ,,vasari4 ,ed4 ,g4 ,c4 ,sansoni4 ,firenze1 #ahgh4 ,,crowe ,,and ,,cavalcaselle4 ,history of ,painting in ,italy4 #ahff4 ,,vermiglioli4 ,memorie di ,pinturicchio4 ,perugia1 #ahcg4 ,,ehrle ,,and ,,stevenson4 ,gli affreschi del ,pinturicchio nell' ,appartamento1 ,borgia4 #ahig4 ,a4 ,,schmarsow4 ,raphael und ,pinturicchio in ,siena4 ,stuttgart1 #ahhj4 ,a4 ,,schmarsow4 ,pinturicchio in ,rom4 ,stuttgart1 #ahhb4 ,e4 ,,steinmann4 ,pinturicchio1 ,no4 #cg1 ,knackfuss ,series4 #ahih4 ,b4 ,,berenson4 ,central ,italian ,painters of the ,renaissance4 #ahig4 ,,dean ,,kitchin4 ,history of ,pius ,,ii4 ,,gregorovius4 ,history of the ,city of ,rome in the ,middle ,ages4 ,,biagio4 ,,benedetto4 ,,bernardino1 ,painter1 called ,il ,pintoricchio1 b4 circa #aded2 d4 #aeac2 m4 ,grania1 daughter of ,niccol of ,modena or ,bologna ---------------------------------------- ------------- ,,giulio ,,camillo1 ,,faustina ,,egidia1 ,,faustina1 ,,adriana1 ,,cesare1 b4 #aeji ,,girolama1 or ,,gilia1 m4 d4 #aeai2 b4 #aejf in ,siena4 b4 #aeaj m4 ,filippodi m4 in ,siena4 in ,siena4 ,girolamo di ,guiseppe di ,paolo1 ,paolo da a ,perugian1 of ,giovanni called ,il ,deruta4 of ,paffo1 ,perugia soldier of the ,piazza in ,siena4 7,from ,,milanesi',s ,appendix to ,vasari47 ,,pintoricchio ,,chapter ,i ,,biographical ,pintoricchio is not one of the most famous painters of the ,italian ,renaissance1 and perhaps no painter who has left us such a mass of work1 and work of such interest1 has attracted so little criticism and inquiry4 ,from the time of ,vasari's slighting biography onwards1 he has been included among minor painters and passed over with very superficial examination4 ,no separate life of him in ,english exists1 no attempt has been made to consider his work in anything like exhaustive detail1 or to define his charm4 ,it would be idle to claim for him a place in the first rank3 some may question his right to stand in the second2 in some of the greatest essentials he will not pass muster--yet charm he does possess1 qualities whose fascination draws those who are open to it back to him again and again with fresh pleasure2 and for this1 and because he presents us with so true a type of the ,umbrian painter of the ,renaissance1 it is worth while trying to unravel his history4 ,before we try to disentangle the origin of his art1 before we compare his different periods and examine the paintings he has left us1 we must make some attempt to arrive at his personality1 to see the man as he was1 to gain what clue we may1 by this means1 to the work in which his life was spent4 ,nothing can be more meagre than the few hints we have of his origin and early history1 and yet we can probably construct a pretty correct outline of their chief features4 ,vermiglioli in #ahcg made a careful examination of the archives of ,perugia and ,siena1 and was the first to endeavour to rehabilitate the artist1 and to re-awaken that public interest which was so liberally bestowed on him in his lifetime4 ,he was born at ,perugia about #aded1 if we are to believe ,vasari1 who tells us that when he died in #aeac he was in his fifty-ninth year4 ,his father was one ,benedetto or ,benedecto1 and he was christened ,bernardino ,benedetto 7afterwards shortened to ,betto or ,betti74 ,the famous saint1 ,bernardino of ,siena1 had died ten years earlier and was canonised in #aeej4 ,during his last years his preaching had made a great sensation in ,perugia1 and no doubt numbers of children born at this time were dedicated to him4 ,a document of #aejb exists at ,siena1#a in which ,pintoricchio is styled the son of ,benedetto di ,biagio1 so that we thus learn the bare names of his father and grandfather4 ,we have no means of knowing their standing1 but the entire absence of any mention of relatives or inheritance makes it probable that he came of poor people1 and was not blessed with any close family ties4 ,we know nothing of what was the childhood of the little painter1 only the nickname of il sordicchio1 the deaf one1 suggests that this infirmity may have been one reason why he was dedicated to an artist's career2 but the deafness could hardly have been very remarkable1 as it is never alluded to otherwise1 nor does it appear to have hampered ,bernardino's intercourse with the world4 ,there is a faint tradition#b that his home was near the ,porto ,san ,christoforo1 which1 while hardly worth notice1 indicates that his youth was passed in ,perugia4 #a ,archivio dei ,contratti4 ,vasari1 iii4 p4 #eac1 note ,i4e4 #b ,vermiglioli1 p4 #h4 ,from the tendencies which all his life clung about his work1 we surmise that he began his artistic career under one of the miniature painters who then flourished in ,perugia4 ,vermiglioli refers to a series of miniature paintings belonging to his family1 which ,orsini1 in his researches into the history of ,umbrian painting1 had already mentioned as resembling ,pintoricchio's work1 especially in the use made of architecture4 ,at the time he was growing up there was a flourishing college of miniaturists in ,perugia1 which had reconstructed its statutes in #adcf4 ,vasari thus comments upon ,bernardino3 ,some are helped by fortune1 without being much endowed by merit2 444 one knows that ,fortune has sons who depend on her help without any virtue of their own1 and she is pleased that they should owe their exaltation to her favour1 when they would never have been known for their own merit4#c ,but ,vasari evidently knew nothing of the good or bad fortune of ,pintoricchio's early days1 and was merely balancing his own estimate of the artist against the consideration he received in later years4 #c ,vasari1 iii4 p4 #dic4 ,natural bent and circumstance combined to form ,bernardino ,betti into an ,umbrian of the ,umbrians1 placing him on the less powerful but more indigenous side of the sharply-divided line which ran through the artistic life of the country4 ,there is sufficient suggestion of ,benedetto ,bonfigli in some of his work1 to make it probable that he joined the school which ,bonfigli had established in ,perugia in the early part of the fifteenth century4 ,vasari speaks of him as an assistant and friend of the older master4 ,here he would have been brought into close contact with ,fiorenzo di ,lorenzo1 who must have been considerably the senior of ,pintoricchio1 as he was undertaking important commissions as early as #adgb4d ,it is this master whose influence is most strongly stamped upon him4 ,afterwards1 as we shall see1 he constantly transferred figures from ,fiorenzo's panels to his own1 while in the older man's compositions we can pick out others which have more of ,pintoricchio than ,fiorenzo2 but the latter1 though full of originality and attraction as he is1 never advances beyond a certain point1 and always retains something of the archaic4 #d ,crowe and ,cavalcaselle1 iii4 #aec4 ,it is in #adhb that ,bernardino first emerges from the realm of conjecture1 and appears1 forming part of that brilliant group which was gathered together in ,rome to decorate the walls of ,sixtus ,,iv4's newly-built chapel4 ,already he may have been confused in ,umbria with the very inferior master1 ,bernardino ,mariotto of ,perugia1 who lived for many years at ,san ,severino1 where he had a school in the monastery of the old town4 ,his paintings have often been assigned to his contemporary1 and this is very likely the reason that the latter always signs and calls himself ,pintoricchio4 ,while he endeavoured to guard against being credited with works he had not produced1 he has been robbed of those really due to him4 ,it is strange indeed that for several centuries the part he took in such a great work as the ,sixtine ,chapel should have been ignored1 for it was the success of these frescoes which sufficed to establish his fame in ,rome1 and for some years after this we find him in full employment there4 ,the chapel was completed in #adhe1 but ,pintoricchio's part was probably finished earlier1 and it is at this time that most critics concur in placing his work in the church of ,ara ,cli4 ,he had commended himself to the patronage and friendship of ,domenico della ,rovere1 brother of ,pope ,sixtus1 and was a guest at his house in the ,palazzo di ,,ss4 ,apostoli1 where he painted a decoration1 and he was also employed at this time in the ,palazzo ,colonna4 ,in the two following years1 ,pintoricchio was employed in the ,belvedere of the ,vatican by ,pope ,innocent ,,viii4 ,he painted there the series of pictures of towns owning the papal sway1 which ,taja mentions as existing1 though in a much injured condition1 in #agej1 and which was repainted under ,pius ,,vii4#e ,in the years immediately following he was decorating the chapels in ,santa ,maria del ,popolo1 doing much with his own hand1 but already employing assistants and superintending their share4 #e ,vasari1 iii4 p4 #dih1 note ,milanesi4 ,a document in the archives of the cathedral at ,orvieto1 as to which ,vasari knew nothing1 or was silent1 dated #adib1 informs us of an agreement made with the chapter to paint two evangelists and two ,fathers in the cathedral4 ,the price was to be a hundred ducats4 ,there was a good deal of coming and going between ,rome and ,orvieto1 and in that year he was paid fifty ducats for the portion of work done1 and also began a small picture in the tribune1 but fell into a violent quarrel with the ecclesiastics1 who averred that the first part of the work was not painted according to agreement4 ,their real objection seems to have been that they were getting frightened at the quantity of gold and ultramarine employed1 which was more than the chapter could afford4 ,there was some talk of taking the work from him1 and it was certainly interrupted for a time4#f ,he was probably very willing to return to ,rome1 for a third ,pope was now providing him with work1--no less a personage than ,alexander ,,vi41 who1 as ,cardinal ,borgia1 had already given great encouragement to the artist in ,rome1 and who now entrusted ,pintoricchio with the decoration of his private apartments4 ,the quarrel with the monks at ,orvieto must1 however1 have been made up1 and he returned to finish their transept1 for we find ,pope ,alexander writing to the ,orvietans in ,march #adid to beg that they will release ,pintoricchio and let him come back to ,rome to finish what he had begun in the ,borgia rooms4 #f ,della ,valle4 ,storia del duomo d',orvieto4 ,in this year the ,pope remunerated him by adding to the money paid in the contracts a grant of an ample piece of land1 situated at ,chiugi near ,perugia1 at an annual rent of thirty baskets of grain4#g ,the ,borgia rooms could but just have been completed when1 in ,january #adie1 the ,pope was driven to take refuge from the ,french king's invasion of his city in the fortified castle of ,sant' ,angelo4 ,his court painter would naturally have gone with him1 and when the ,pope fled to ,orvieto and ,perugia in the summer of #adie1 ,pintoricchio went homewards in his train4 ,in the next few months1 an altar-piece for the monks of the monastery of ,santa ,maria degli ,angeli must have been under discussion2 for in ,february #adif the contract was signed for the great polyptych now in the ,gallery at ,perugia4 ,the fulfilment of this contract had to await the master's leisure2 for a month later1 on ,march #aeth1 he signs a fresh contract with the ,orvietans for two ,fathers of the church to be painted in the great chapel over the principal altar4 ,he was to receive fifty ducats1 six quarters of grain1 such wine as might be necessary1 and to have the use of a house1 besides what gold and ultramarine he might require4 ,the archives of the cathedral contain minute records of every payment made1 and on the #aeth ,november of that year he received the last instalment4#h ,the documents contain allusions to other paintings by him1 but the only traces that remain are a ,st4 ,gregory1 a prophet1 and two angels which have some likeness to his school or his followers4 #g ,archives of ,perugia1 vol4 viii4 ter4 #h ,della ,valle4 ,storia del duomo d',orvieto4 ,in #adig we have a deed1 issued ,october #bdth1 commuting the tax levied upon the painter's grant of land4 ,in this is recited and set forth ,pintoricchio's complaint that the tax is too heavy1 and that it swallows up all the revenues4 ,the claim is admitted to be well founded on the part of a faithful and devoted servant of ,alexander and the ,church1 to whom a recompense is due for his art in painting and adorning the apostolic palace and our residence in arc castri ,angeli4 ,instead of the grain1 a yearly tax of two pounds of white wax was adjudged on ,july #bhth1 to be paid on the ,feast of the ,assumption1 for two years1 by decree of the ,cardinal ,camerlengo4#i ,a further endorsement shows that the municipal authorities were inclined to ignore the papal decree2 but a third brief1 in ,may #adih1 confirms the tenure of the land and tenements1 and in ,february #adii the first commutation is extended for a further term4 ,after all these gracious concessions1 it is surprising to find the tax-gatherers in the same year again trying to exact the condoned thirty baskets4 ,pintoricchio once more appealed to the ,pontiff1 with whom he was in high favour1 and ,alexander ordered that restitution should be made in effects or money1 according to the price at which grain was valued on the ,piazza in ,perugia on the first ,saturday in ,august2 and in ,september we find ,pintoricchio receiving of the vice-treasurer1 ,bonifazio ,coppi1 eighty florins in return for the tax extorted in opposition to the papal behest4#aj #i ,vermiglioli1 ,app4 pp4 viii4 and x4 #aj ,mariotti1 p4 #aca4 ,while this interesting decision was in the balance1 ,bernardino was once more in ,rome1 and able to plead his own cause1 for about ,july #adig he was recalled there1 and spent a year frescoing the castle of ,sant' ,angelo for the ,pope1 but in the following year he was back at home1 and finished the polyptych for ,santa ,maria dei ,fossi4 ,probably about this time he married1 and he may also have visited ,spoleto1 besides producing a good many panel paintings1 for no very definite work can be assigned to these years in ,perugia4 ,he was very naturally engrossed with his new wife1 and busy with his little property1 and not undertaking any important commissions4 ,in ,october of the following year1 ,csar ,borgia1 son of the painter's great patron1 was encamped at ,deruta1 the little town that lies out among the hills1 a few miles west of ,perugia4 ,pintoricchio visited him here while he was resting after his campaign in the ,romagna1 and obtained an order desiring the vice-treasurer to get permission for him to sink a cistern in his house in ,perugia4 ,what interests us even more than this domestic detail is ,csar's statement that he has again taken into his service ,bernardino ,pintoricchio of ,perosa1 whom he always loved because of his talents and gifts1 and he desires that in all things he shall be treated as one of ours4#aa ,csar's expression that he had again taken him into his service1 suggests that he had not quite recently been retained by the ,pope4 #aa ,conestabile ,archives4 ,very soon after his visit to the ,borgia's camp1 he was in treaty with the ,cardinal of ,spello1 thirteen miles from ,perugia1 to decorate the chapel of his ,house2 but before leaving home he was elected ,decemvir of the city1 a proof of how high he stood in repute among his fellow-citizens4 ,it could only have been an honorary distinction1 for his work in ,spello must have taken all his remaining time in ,umbria to accomplish4 ,one short visit he was to pay to his own province1 but early in #aejb the summons reached him which changed the course of his life4 ,cardinal ,francesco ,piccolomini made him the offer which caused him to move to ,siena and begin one of his most important undertakings4 ,siena is a long journey from ,perugia across the hills and plains that lie around ,lake ,thrasymene1 past ,chiugi1 and so through the breadth of ,italy4 ,it brought the painter into new surroundings1 and took him quite out of the beaten track4 ,the long and elaborate contract between the ,cardinal and the painter must have taken no little time to discuss and agree upon1 but it was finished and signed ,june #bi1 #aejb4 ,during the following autumn and winter1 he made his preparations1 gathered his workmen and assistants together1 and by the spring of #aejc was hard at work in the building1 beginning with the ceiling1 which we are able1 with tolerable certainty1 to determine was nearly completed by the autumn4 ,this part of the work may have been just seen by the ,cardinal1 who became ,pope1 ,september #bast1 #aejc1 dying three weeks later1 and bringing ,pintoricchio's work to a standstill4 ,his patron's death freed him for the time from his inability to take private orders1 and he promptly accepted one from the family of ,aringhieri1 and between this autumn and the following ,august1 painted the frescoes in the ,chapel of ,san ,giovanni in ,siena ,cathedral2 while on ,march #acth1 in the spring of #aeje1 he was paid for the design of ,fortune for the cathedral pavement4 ,rather before this1 the work in the library had been begun1 as it was only in abeyance for a little over a year2 but the death of ,cardinal ,andrea ,piccolomini in ,june #aeje again delayed its progress for a short time4 ,pintoricchio started thereupon on a visit to ,rome1 which must have been crowded with work if he now accomplished the decoration of the choir of ,santa ,maria del ,popolo1 and returned early in #aejf to continue the work in the library4 ,it now went on with no further hindrance4 ,in ,may or ,june #aejh all the compartments were finished1 and the building handed over to the ,piccolomini family1 from whom the last payment under the contract was received in ,january #aeji4 ,there is no document to show exactly when he married1 but from the table in ,milanesi's edition of ,vasari1 a daughter1 ,adriana1 who had married a ,perugian1 died in #aeai4 ,she1 and probably two others1 ,faustina and ,egidia1 must have been born before he left for ,siena4 ,there is1 however1 no trace in the ,perugian archives of his wife or children1 and ,mariotti1 writing in #aghh1 suggests that a search among the documents of ,siena may determine the question4 ,here it is that we find entries of the birth of those children born after he moved to ,siena1 ,giulio ,cesare1 ,camillo ,giuliano1 and a second ,faustina4 ,his wife1 as we learn from the petitions she presented after his death1 was ,grania1 daughter of one ,niccol of ,bologna or ,modena4 ,from the number of her children1 and the unhappy relations which seem to have existed between husband and wife1 we surmise that ,pintoricchio married a woman much younger than himself4 ,if three children were born before #aejb1 he probably married about #adif-ih1 at which time he was living in ,perugia1 after his return from ,rome1 when he would have been forty-two to forty-four years of age4 ,in the year that his first son was born1 ,pintoricchio matriculated at the ,college of ,painters at ,perugia4 ,he is there described as ,bernardinus ,becti1 detto il ,pinturicchio1 whose habitation was at the ,porta ,san ,angelo4#ab ,in ,december of the same year1 the magistrates of ,siena approve of the ,commune of ,montemassi making him a donation of twenty moggie of land4#ac ,fortified1 doubtless1 by his success in combating ,perugian taxes1 he immediately applies to the ,council of ,siena to free the grant for thirty years from taxes of dazzi and gabelli4 ,this was conceded1 with the exception of the gate tax4 ,the petition runs3 #ab ,vermiglioli1 ,app4 7#c74 #ac ,archives of ,siena4 ,vermiglioli1 ,app4 xx4 and xxi4 ,bernardino ,pintoricchio1 who now addresses the most respected officials 7of the ,balia71 is the servant of your ,lordships1 and not the least among renowned painters2 for whom1 as ,cicero has written1 the ,romans in early times held but little4 ,yet after the increase of the empire1 and in consequence of ,eastern victories and the conquest of the ,greek cities1 they called the best from all parts of the world1 not hesitating to seize all the finest pictures and sculptures which they could discover4 ,they admitted painting to be supreme1 similar to the liberal arts1 and a rival to poesy4 ,and artists being usually esteemed by those who govern republics1 the said ,bernardino has elected ,sienna to be his home1 hoping to live and reside there2 7therefore7 confiding in the clemency of your ,lordships1 and considering the adverse nature of the times1 the smallness and diminution of profits1 and the weight of his family2 having heard also that craftsmen taking up their abode here receive grants of immunities1 he prays exemption for thirty years from all taxes whatever1 whether present or to come4#ad #ad ,doc4 ,sen4 iii4 #cc-d4 ,trans4 ,crowe and ,cavalcaselle1 vol4 iii4 p4 #bhe4 ,in the spring of #aejh he was back across ,italy to little ,spello1 where1 in the transept of ,sant' ,andrea1 he left an altar-painting1 a ,madonna and ,saints1 which does not add materially to his reputation4 ,on a little stool in the foreground of the picture is painted a letter of ,cardinal ,baglioni1 dated ,april #hth1 #aejh1 written from his castle of ,rocca di ,zocco1 full of affectionate assurances1 and asking the painter to return to ,siena4 ,its inclusion has been imputed to ,pintoricchio's vanity2 but a man who had been friends with ,popes1 and who had long been courted on all sides1 was hardly likely to be uplifted by the friendship of a simple ,cardinal-bishop4 ,it is more likely that he was bitten with a rather inartistic fancy for painting objects lying about1 to deceive the eye1 and hit upon this as an appropriate one4 ,he now paid his last visit to ,rome3 ,pope ,julius ,,ii4 had summoned him1 together with ,perugino1 ,signorelli1 and others1 to consider the decoration of the ,vatican rooms4 ,giambattista ,caporali1 the historian1 speaks of a supper at which they were all present at the house of ,bramante4 ,their host was the man who had introduced young ,raphael to the ,pope1 and ,pintoricchio1 among the rest1 had the mortification of seeing himself superseded in the city where he had been foremost a few years earlier4 ,he and ,signorelli returned to ,siena together1 and the master of ,cortona stood sponsor to the child born in ,january #aeji4 ,in ,october1 ,pintoricchio had sold a house in the third ward of the city to ,pandolfo ,petrucci for #dbj florins4 ,he was in close contact at this time with that great merchant prince1 and was employed with ,signorelli on ,petrucci's new palace1 where he painted the frescoes1 of which one1 the ,return of ,ulysses1 in the ,national ,gallery1 is all that remains4 ,we find him buying land in ,siena and selling it in ,perugia1 making his will1 and arranging his affairs4 ,in the last year of his life he painted that brilliant and tender little picture of ,christ bearing the ,cross1 now in the ,borromeo ,palace at ,milan4 ,he was suspicious and unhappy about his wife's behaviour1 and a fresh will was made1 to which a codicil was added in ,september and another in ,october4 ,in the first he deprived her of some of the money he had already left her1 but he returned it in the last addition4 ,vasari's story of the cause of his death1 which took place ,december #aath1 #aeac1 can be nothing but a fable4 ,he tells us that ,pintoricchio was executing some work for the ,fathers of ,san ,francesco1 and being hampered by a heavy bureau in the room assigned to him1 insisted on having it moved4 ,in the transit it broke open1 and a treasure of gold was discovered in the secret drawer1 so much to the chagrin of the painter that he never held up his head again4 ,the friends who knew the painter in ,siena do not allude to any such occurrence2 and the popular master1 entrusted with more commissions than he could execute1 well paid and honoured by all men1 was not likely to be upset by the sight of some gold coins1 even if he could persuade himself that he had any right to them4 ,the real circumstances of his death were sadder1 if less sensational4 ,sigismondo ,tizio1 a ,sienese historian1 writer of a mass of almost unedited matter1 who was his attached friend and his neighbour in the parish of ,san ,vincenzo and ,sant' ,anastasia1 has left a record of his last illness1 in which he accuses his wife ,grania of causing his death by her neglect4 ,tizio says that she went about with her lover1 ,girolamo di ,paolo1 nicknamed il ,paffo1 a soldier of the ,piazza at ,siena1 and that ,bernardino was shut up and left to die of starvation2 that some women heard his cries and went to his assistance1 and that it was from them that ,tizio afterwards learned these particulars4 ,from ,tizio's way of describing it he seems to accuse her of a deliberate attempt to starve her husband2 but as no proceedings were ever taken against her1 and she succeeded in peace to her inheritance1 we may gather that she was not guilty of actually criminal conduct1 though her neglect was sufficient to hasten the death of a man attacked by serious illness and needing careful nursing4 ,bernardino ,betti lies buried in the ,parish ,church of ,san ,vincenzo1 joining the ,oratory of the ,contrade of the ,ostrich4 ,in #ahcj the ,abb de ,angelis put up a plate with an inscription to his memory4 ,mariotti speaks of a ,giovanni di ,pintoricchio who was a canon of the ,cathedral of ,perugia in #aebe2 but ,pintoricchio's own sons would have then been too young to hold such a post1 and we hear nothing in later years of his descendants4 ,after his death ,grania lived on in ,siena1 and two years after1 as his executor and trustee1 sold two lots of land to one of the ,chigi for #afgg florins4 ,again1 in the following year1 she sought permission to sell the land which was the portion of her daughter ,faustina1 and she makes a will which is dated ,may #bbnd1 #aeah4 ,the man who was said to be her lover afterwards married her daughter ,egidia4 ,we possess several portraits of ,pintoricchio from his own hand2 all are sufficiently like one another1 though painted at different periods of his life1 to assure us that they were like the original4 ,the first is in the fresco of the ,argument of ,st4 ,catherine1 in the ,borgia ,apartments4 ,the painter at this time must have been about thirty-nine years old4 ,his portrait certainly looks much younger2 but he was a thin1 dark man who very possibly looked less than his years1 or he may have purposely represented himself so1 as we notice this in other portraits4 ,the face is an interesting and sensitive one1 with speaking eyes and a melancholy expression4 ,in the striking head which he has signed and placed as a picture on the walls of the ,virgin's chamber in the chapel of the ,baglioni at ,spello1 the face has sharpened and aged considerably1 though it still looks young for a man of fifty-two4 ,the lines have deepened1 the mouth is compressed1 and the face wears a look of ill-health1 almost of suffering4 ,it has the dark1 arched brows of the artist1 and clever1 observant eyes which look out at us1 sideways1 tending to give a suspicious look1 though probably it was only that he saw himself so in a mirror4 ,again1 he stands in the row of portraits in the fresco of the ,canonisation of ,st4 ,catherine1 in the ,library at ,siena4 ,this face1 too1 has an expression of bitterness and melancholy--pinched lips1 and sad1 regretful eyes4#ae ,the self-conscious expression of all leads us to suspect that his was a self-tormenting1 morbid nature1 such as the artistic temperament and keen sense of beauty might well have combined with a sickly body to produce4 ,in the eyes1 too1 it is easy to read that fantastic touch which came out in his love for story and for the grotesque1 and perhaps there is something of that aloofness which the deafness1 which led to his nickname1 so often gives4 #ae ,in the group of ,apostles in the ,assumption at ,naples is one1 the fifth on the left1 which he is said to have meant for himself1 but it is less characteristic than those already noticed4 ,that he was a lovable man is1 ,i think1 evident4 ,we hear of no quarrels with his fellow-artists2 ,perugino secured him some of the best positions in the ,sixtine1 ,signorelli was his child's sponsor4 ,he had clearly the art of managing his assistants1 who everywhere worked intelligently under him4 ,with ,fiorenzo his artistic relations must have been of the closest4 ,pope ,alexander valued him1 and ,csar's mention is an affectionate one1 while the letter of ,cardinal ,baglioni is full of friendliness4 ,besides this1 few things are more interesting in the history of artists' friendships than the close confidence and affection which all study of the frescoes at ,siena convinces us existed between him and the young ,raphael4 ,sigismondo ,tizio1 in his ,,ms41 gives his opinion that ,bernardino surpassed ,perugino as a painter1 but that he had less sense and prudence than ,vannucci1 and was given to empty chatter4 ,a small number of ,pintoricchio's works cannot be dated1 and we must be satisfied with mentioning them1 and considering the times at which they might have been produced4 ,his name is written variously in the documents of the time4 ,in the grants of land signed by ,cardinal ,camerlengo1 it is ,pentoricchio1 and ,pentorichio on the fresco of ,geometry in the ,borgia rooms4 ,cardinal ,baglioni writes it ,pintorichio4 ,in ,grania's petition it appears as ,pinturicchio4 ,he himself signs his last picture1 the ,cross-bearing ,christ in the ,palazzo ,borromeo1 ,pintoricchio1 and to this form ,i have adhered4 ,in the documents he is usually styled ,messer ,bernardino4 ,,chapter ,,ii ,,derivation ,,and ,,character ,,of ,,his ,,art ,umbria is a land of late development in the history of ,italian painting1 and of a sharp division in the character of its art4 ,no town of the importance of ,siena1 second only to ,florence1 held sway in that part of ,italy1 nor do we find any name in its early history which we can place side by side with ,giotto1 ,orcagna1 or ,duccio di ,buoninsegna4 ,it is difficult to account for this3 the ,umbrian plains were indeed ravaged again and again with blood and carnage1 were seized upon1 now by this party1 and now by that2 but all acquaintance with the art of the ,renaissance bears in upon us that art as a rule only flourished more strongly when fed by war and ruin4 ,one tyrant after another1 as he rested from his conquests1 became the patron of the painters4 ,pictures were painted to immortalise great victories1 the altar-piece upon which the fame of ,duccio chiefly hangs1 was ordered by the ,consiglio of ,siena as a thank-offering to the ,virgin after the battle of ,monte ,aperto4 ,the accounts of the cathedral at ,orvieto give us names of artists who devoted themselves to its decoration towards the end of the fourteenth century--others were working in ,perugia1 painting effigies of traitors1 hanging head downwards on the walls of the ,palazzo ,pubblico1 but we have no reason to rank them higher than those who have left traces of their work in the little votive chapels that lie in the hills and out-of-the-way corners of ,umbria4 ,some of these1 going back to #acic1 are not without a character of their own1 guiltless indeed1 of technique1 but nave1 vivid1 and full of energy2 yet they show little of that gradual growth which marks the ,florentine school1 nor do we find in them any trace of the fine1 precise touch1 which the early ,sienese painters drew from the school of ,byzantium4 ,according to ,mariotti1 the art of miniature painting and illumination was carried on with great enthusiasm in ,perugia1 in the fourteenth century4 ,dante speaks of ,oderisio of ,gubbio3 --,non se' tu ,oderisi1 ,l',onor d',agobbio1 e l'onor di quell' arte1 ,ch' alluminare chiamata in ,parisi8 ,then1 when the fifteenth century was unfolding1 two streams of art sweep across the province1 distinct1 yet mighty1 mingling like the waters of the ,rhine and ,rhone4 ,the many scattered towns of ,umbria led to a far greater variety of type1 individuality was more frequently maintained1 influences spread more fitfully and partially than in those parts of ,italy where all studied together1 and practice and theory flew like wildfire from one to the other1 emulations flourished1 traditions were quickly formed and earnestly followed4 ,gentile da ,fabriano stands forth among the dearth of talent in ,umbria at the dawn of the century1 as the one master who was great enough to add realism to glowing colour and vivacity of fancy1 and who1 taking the old missal-painting character as a groundwork1 could transplant all the pride of pageantry of the ,middle ,ages on to his panels1 and give us in the gold brocades and velvet robes1 in fairy princes and beautiful ladies1 tropic birds and strange beasts1 such a scene of joyous gallantry that1 as in the ,adoration of the ,magi1 we can hear the tinkle of bells and the clang of gilded trappings1 as the long procession winds down the gay hillside4 ,after a space1 while a dainty colourist like ,ottaviano ,nelli painted enlarged miniatures and vapid angel faces1 there arose a few miles off1 at ,arezzo1 one of the strongest of masters2 ,piero della ,francesca set a star of grand simplicity as a constraining guide1 calm and broad1 before those men who had the gift of the open eye4 ,the character of that art was as exacting as it was scientific4 ,it was as much geometrical and mathematical as artistic1 and was occupied more with problems than with religious feeling4 ,its power was felt over a wide area1 and moved even those who were least naturally alive to it4 ,there seemed a likelihood that ,umbrian art would1 on the one hand1 become absorbed in the ,florentine character1 hardly distinguishable from it1 and1 on the other1 degenerate into puerile prattle2 but there had wandered to ,montefalco1 one from ,florence1 who1 to the enlightenment and the conscious effort drawn from those who clustered round ,donatello and ,masaccio1 added a temper which appealed directly to the native feeling of ,umbria4 ,benozzo ,gozzoli was not a great painter1 but his talent for narrative painting set a new model before those whose aptitude in that direction responded to the impulse4 ,a school arose which combined in curious harmony the love of decorative detail of the miniature pictures1 the space effects of ,piero's large and airy settings1 and the story-telling proclivities of the nave and garrulous ,florentine4 ,though ,pintoricchio's early years are obscure1 little doubt can exist as to his artistic derivation from ,fiorenzo di ,lorenzo1 who combined the characteristics of the newly developed school in a pre-eminent degree4 ,rumohr ascribes ,pintoricchio's style primarily to the school of ,niccol da ,foligno4 ,this attribution is founded partly on the ,altar-piece of ,santa ,maria dei ,fossi1 the arrangement of which is similar to some of ,niccol's great anconas1 the ,madonna and ,child enthroned in the centre1 saints in panels on either side1 a ,piet above1 which divides an ,annunciation into two parts4 ,the types in this last scene certainly resemble ,niccol's1 and were constantly repeated by ,bernardino2 but the angels in the ,piet are from ,fiorenzo1 and the whole spirit is opposed to that of the intense and austere ,folignate4 ,it was painted1 too1 so long after ,bernardino's art was fully formed that it can hardly serve to illustrate any early influence4 ,no doubt1 when he visited ,foligno at this time1 he took many ideas from what ,niccol had left there4 ,something too he owed to ,benedetto ,bonfigli2 the cheerful navet1 the quaint adornments of dress and garland which attract us in ,bonfigli1 are traits which we find in ,pintoricchio4 ,the little oval1 pointed face1 with its arched brows1 and small1 close shut mouth1 the type to which ,bonfigli is constant1 is that to which ,pintoricchio adheres for his ,madonna and angels2 but this type is to be found too in ,fiorenzo's earlier work1 as in his ,adoration of the ,child in the ,gallery in ,perugia4 ,if we compare this picture with ,pintoricchio's ,nativity in ,san ,girolamo's ,chapel in ,santa ,maria del ,popolo in ,rome1 we see at a glance the resemblance that underlies a few superficial variations4 ,the whole construction of the two groups is similar4 ,the ,madonna's bent head1 elbows squared1 joined palms and finger-tips1 the ,child1 lying partly on ,his ,mother's robe1 the position of the grey-bearded ,st4 ,joseph and the shepherds--everywhere ,pintoricchio has been guided by the earlier master1 though instead of the donor and two young men1 who may have been his sons1 and who kneel with their great hound behind them1 he has substituted ,st4 ,jerome and his lion1 and shepherds of a more acceptedly religious type1 while the group of singing angels overhead is transferred from ,fiorenzo's panel to that other ,nativity at ,spello4 ,over the door of the ,sala del ,censo in the ,palazzo ,pubblico at ,perugia1 is a lunette of a ,madonna and ,child by ,fiorenzo1 which might well be ,pintoricchio's own4 ,it has his full touch and copious brush4 ,we find the ,mother again in the exquisite little fresco over the door of the ,hall of ,arts and ,sciences in the ,borgia ,apartments1 transplanted almost without alteration of line or expression2 while the two angels on either side are those which he uses to support the dead ,christ in the ,piet at the top of the polyptych painted for ,santa ,maria dei ,fossi4 ,we have no trace of ,pintoricchio himself ever having visited ,florence1 but the water flowed to him none the less from the fountainhead1 and he assimilated it in his own manner4 ,fiorenzo1 we feel sure1 must have been there1 and that in those years when ,verrocchio and ,pollaiuolo approached most nearly to one another2 and it was ,fiorenzo1 and not ,perugino1 who was the channel through which ,florentine influence filtered to ,pintoricchio4 ,we recognise ,verrocchio in the wide and swollen nostrils1 the broad head1 the hooking of the little finger1 and the treatment of the hair which ,fiorenzo adopts2 while we perceive that ,pollaiuolo has aroused a wish to show more animated action4 ,from ,pollaiuolo1 too1 comes the careful handling of brocaded stuffs1 the little1 crab-like1 clutching hands1 the delight in using the costume of the day in all its fantastic picturesqueness4 ,even more striking is the architectural influence which ,fiorenzo conveyed to ,pintoricchio4 ,the masters of ,umbria became singularly alive to the charm of airy architectural space1 and such classic settings as we may date from ,brunelleschi's visit to ,rome in #adjc1 and more especially attribute in their working out1 to the high1 imaginative faculty and ,greek spirit of ,leo ,battista ,alberti1 whose spacious arcades are often used merely as decoration4 ,at ,urbino1 in the court of the ,ducal ,palace1 the ,umbrians had one example of the highest interest3 here was the taste which ,lauranna drew from the ,florentines1 and which passed onwards to ,bramante4 ,piero della ,francesca shows1 in his ,flagellation at ,urbino1 how keenly he feels the charm of placing groups in this wide1 distinguished setting2 but none assimilates his teaching so fully in those early days as ,fiorenzo1 whose remarkable series of small panels of the miracles of ,san ,bernardino1 give us1 as ,dr4 ,schmarsow says1 the first step1 without which ,pintoricchio is unthinkable4#af #af ,pintoricchio in ,rom4 ,the natural features of ,umbrian scenery1 its high-skied plains1 its wide valleys1 account in a measure for the pre-eminent feeling for space shown by its artists1 and for their power to give air and atmosphere to those lofty structures in which they love to place their personages4 ,these little panels1 painted at ,fiorenzo's finest period1 are sharp and strong1 yet fine as miniatures4 ,the figures stand well on the stage4 ,the point of sight is very low1 at scarce a third of the whole1 so that we have an undue proportion of airy surrounding1 though all is on such a small scale4 ,the perspective drawing shows how well-fitted ,fiorenzo was to ground his pupil accurately in this1 however insufficient his study of anatomy may have been4 ,the drawing of the architecture is fine and true throughout1 but in the figures1 even if we allow for variations in ,fiorenzo himself1 we can hardly avoid seeing two different hands4 ,they have all the charm of his manner1 a manner essentially ,umbrian1 while we see a very distinct spirit1 a spirit which was shared by ,bonfigli1 and by such a lesser master as ,boccatis da ,camerino1 a nave and cheerful tone1 a direct simplicity1 which is as far removed from the melancholy which broods in the eyes of the rapt saints of ,siena1 as it is from the scientific temper that ruled within sound of the ,arno4 ,many of the figures are childish in their desire to express emotion1 and are almost grotesque in detail1 the hair is in a mop1 exaggerated till it looks like a huge bird's nest1 the hands are cramped and claw-like1 but here and there we meet with graceful1 well-proportioned beings1 keeping their slender grace1 without the angular and unpleasing length of limb which marks their companions4 ,in the panel where ,san ,bernardino raises a youth from the dead1 a child playing with a dog recalls ,pintoricchio's putti on the pilasters at ,siena4 ,the young man on the right in the same scene1 is supple and gracefully draped2 a contrast to the wooden movements and stiff draperies of his fellow-pages4 ,even better is the youth reasoning1 in a repetition of the same miracle1 with his hand upon his hip and a dark cap perched upon his rippled curls4 ,illustration3 ,alinari photo ,picture ,gallery1 ,perugia ,a ,,miracle ,,of ,,san ,,bernardino 7,by ,fiorenzo di ,lorenzo7 ,we begin to speculate as to whether ,pintoricchio1 who was a young man of twenty-two at this time1 was helping ,fiorenzo2 and to ask1 ,have we here the sign of that talent which was marked by ,perugino1 with whom he must have been for some years1 before he was chosen as his chief assistant in the ,sixtine ,chapel8 ,above all1 ,pintoricchio's landscape is derived from ,fiorenzo4 ,the open distance1 cut up by small hills and trees1 the winding streams flowing through the valleys1 and1 most characteristic1 the poised and toppling rocks1 forming archways and overhanging masses1 often set about with houses and peopled with tiny figures4 ,an examination of the ,crucifixion in the ,borghese1 illustrates the difficulty at this time of distinguishing between ,fiorenzo and his pupil4 ,the hard brightness of colour1 the drawing of the crucified figure and that of ,st4 ,christopher1 the heavily marked folds of drapery1 the landscape--all recall ,fiorenzo2 but the figure and head of ,st4 ,jerome1 the hands1 the expressive head of ,st4 ,christopher1 the free and natural attitude of the ,child1 are something better than we look for in the earlier painter4 ,if we may really accept this panel1 as both ,morelli and ,berenson assert1 as ,pintoricchio's work1 we may place it as his earliest on his arrival in ,rome4 ,the ,st4 ,christopher and the ,moses of the meeting with the angel in the ,sixtine1 seem drawn from the same model4 ,the round forehead1 full mouth1 shape of jaw and broad throat are identical1 and it is a very individual face4 ,his knowledge of architecture1 his composition of landscape1 the type of many of his figures1 ,pintoricchio derived from ,fiorenzo1 and ,fiorenzo's was the influence that remained with him most strongly2 but though permeating him less thoroughly1 less akin to his own temper1 ,perugino1 his elder by only four years1 a much greater master1 both as regards form and colour1 had something to say to his development4 ,we cannot tell when the two first came into contact1 but ,morelli considers that ,perugino went to ,florence about #adgj4 ,milanesi1 in his notes on ,perugino's life by ,vasari1 says that he received a commission to paint in the ,palazzo ,pubblico in ,perugia in #adge4 ,he was certainly working in #adgh at ,cerqueto1 in ,umbria1 so that most likely it was about that date that ,pintoricchio joined him1 which would have given them at least four years together1 before the time came to go to ,rome4 ,we have so little knowledge of any work of ,pintoricchio's before his ,roman period1 that it is difficult to certainly assign paintings to this time4 ,the ,crucifixion shows no trace of ,perugino1 but the boy's head at ,dresden1 which ,morelli believes to be an early work1 has the solid character and realism which distinguish ,perugino's portraits4 ,his influence comes out fully developed in the ,sixtine frescoes4 ,that the two men had been working together for some time is obvious1 not only by the importance of the share with which the younger was entrusted1 but also by the number of drawings which he prepared for ,perugino's own frescoes4 ,the elder painter's guiding hand is apparent in the draping1 simpler and larger than that of ,fiorenzo1 the more careful drawing and calmer dignity4 ,these frescoes might possibly be taken for ,perugino's1 but scarcely for ,fiorenzo's2 and though ,pintoricchio still adheres to the traditions of the latter in his treatment of the details of landscape1 he begins to formulate his own scheme of colour and composition4 ,in his angels flying forward from above1 on either side of a group of sacred persons1 ,perugino is copied almost stroke for stroke 7allowing for ,pintoricchio's heavier touch7 in the assimilation of motifs drawn from older masters4 ,the fold of drapery falling between the knees and narrowing to a point1 the over-sleeve flying out in a sweeping curve1 the draped tunic and the fluttering ribbons1 all become a formula of ,perugino's manner--adopted by all his followers--,lo ,spagna1 ,tiberio d',assisi1 and the rest4 ,yet1 where the treatment approaches most nearly1 there remains a constantly differing type4 ,perugino1 in a half-profile1 almost invariably inclines the head one way or another1 giving to the eye a peculiar ecstatic upward gaze4 ,pintoricchio rarely uses this attitude4 ,in his drawing of ,st4 ,john1 for ,perugino's fresco1 of the giving of the keys1 this is just the change the older master1 on adopting it1 has made to suit his fancy4 ,pintoricchio has an ineradicable tendency to bring the knees of his figures together4 ,they sway with a peculiar1 knock-kneed grace4 ,if we contrast the central group in the ,baptism of ,christ in the ,sixtine1 with those of ,perugino at ,rouen1 or that at ,foligno1 painted many years later1 we note the sweep inward from the hips1 and outward from the knees in the first1 while the inclined head and upward gaze in ,perugino's ,st4 ,john gives place to a more simple and direct expression in that of his pupil4 ,we are always conscious1 too1 of a less strong1 less confident spirit--one more nervous1 more personally reflective of moods and idiosyncrasies4 ,the golden atmospheric effects which were ,perugino's greatest gift to art1 the feeling for distance1 and for the sun-warmed calm of summer1 taught ,pintoricchio new methods1 modified without effacing the teaching of ,fiorenzo1 and certainly led to a more natural treatment4 ,that ,fiorenzo was impressed by the vigorous art of ,signorelli1 his neighbour of ,cortona1 is to be seen in his late work1 ,the ,adoration of the ,magi4 ,the young men1 more strongly drawn than is customary with him1 the kings in ,eastern dress1 the heads of ,joseph and of the old king1 the drawing of the hands and the ,madonna's draperies--all show a freer and closer study of nature1 all point to some fresh impulse1 the impression of a strong talent upon a weaker one4 ,the problems which absorbed the great master of ,cortona had never much attraction for ,pintoricchio1 who had not a scientific mind1 and whose artistic education1 deficient to begin with1 was brought to a premature end by his sudden popularity4 ,yet something he drew from ,signorelli1 a firmer treatment of the youths in hose and doublet1 some attempt to study limbs and muscle4 ,the series left by ,benozzo ,gozzoli at ,montefalco1 the paintings of ,perugino and ,signorelli1 were the best examples of form which came in ,pintoricchio's way4 ,they could not succeed in making him very strong1 but when he draws frankly from the life1 you need hardly wish for more telling portraits4 ,it would be absurd to claim for him sublime creative power1 tactile values1 mastery over form and movement4 ,he has none of these4 ,his persons rarely stand firmly upon both feet2 his pages1 his kings and queens1 are too often drawn and even coloured like playing-cards2 his crowds are motley and ill-arranged4 ,the dry and purely scientific student of the schools of ,italy will find it more than easy to demonstrate ,pintoricchio's shortcomings3 it is less simple to analyse the charm that triumphs in spite of them1 and which gives keen pleasure to one side of the artistic nature4 ,j4 ,a4 ,symonds says of him that he is a kind of ,umbrian ,gozzoli1 and in his clear and fluent presentation of contemporary life brings us into close relation with the men of his own time4 ,no one loved better than ,gozzoli to assemble contemporary celebrities2 and in the feeling for incidents of everyday life1 in the joy of living1 in fondness for garrulous narrative1 his frescoes must have been full of suggestion for the ,umbrian master of the next half-century1 who1 in his love for the narrative and the picturesque1 surpassed all who had gone before4 ,in ,florence1 if he had made his trial there1 he might have gained more of strong and true study1 he might have learned the laws of grouping1 of rial perspective1 he might have gained a better knowledge of anatomy1 yet in mastering all these1 he might have lost something that he possesses3 that freshness of feeling which is the spring and sap of all art1 that young and winning joy that carries him through scenes of magnificence without losing sense and spirit4 ,there is in the art of ,pintoricchio a direct simplicity of expression and gesture that saves him from conventionality and cloying sweetness4 ,his persons are not above criticism as far as technicalities are concerned1 but they have in them this1 that they are occupied and absorbed in the business in hand4 ,you may fancy at first that they are artificial1 but that is merely their environment2 they themselves are simple1 they do not pose or look upwards or out of the picture with an affected appeal for admiration4 ,this quality gives to ,pintoricchio a truthfulness where he lacks depth4 ,to the last he has a sincerity which underlies his conventionality1 just as his dainty care in detail counterbalances his want of freedom and rhythm4 ,his forms lack the nobility of ,perugino's1 his religious emotion is less deep1 but he is not self-conscious1 he has a freshness and raciness which saves him from fatiguing by monotonous sweetness4 ,he does not make his paintings a series of excuses for the solution of scientific problems1 so that they are more spontaneous1 more the outcome of the man's natural unfettered inclination1 than are the works of some of those who made greater discoveries in the field of painting4 ,in the picturesque qualities of his work he is completely a child of the ,renaissance4 ,perhaps none harmonises better with the rich and lavish beauty which haunts us still in every little town of ,italy4 ,his feeling1 sumptuous yet exquisite1 his treatment1 nave yet distinguished1 is the prerogative of that age of fresh perception1 and of unspoiled acquaintance with the beautiful4 ,it is the fairy-tale spirit that so endears him to us4 ,like the medival singers of romance1 he guides us through scenes that have a glamour of some day of childhood1 when they may have seemed real and possible4 ,the wistful1 wide-eyed youths1 the tender1 dainty ,madonnas and angels1 the grave1 richly-dressed saints and bishops1 might all stand for princes1 for maidens1 and magicians in some enchanted realm of fairy4 ,he does not take us into the region of the tragic1 but his fancy1 his invention1 and resource are fertile and untiring2 he leads us on1 dazzling1 entertaining us with a child-like amusement1 disarming criticism by a lovable quality which enlightens us as to the natural sensibility of the painter's mind1 a sort of penetrating sweetness with which he can endow his creations4 ,perhaps the truest explanation of his charm is to be found in the union of two incongruous elements4 ,the artificial and mannered grace1 the search after the exquisite and the splendid1 joined to the nave and childish simplicity1 the freshness and arcadian fancy of the ,umbrian school4 ,it is such a combination as enchants us in a child masquerading in gorgeous robes1 or in a wild honeysuckle dancing over a richly-carved marble column4 ,certain it is1 that here we possess the very cream of that fantastic aspect of the ,renaissance in conjunction with the most distinctive features of purely ,umbrian art4 ,mr4 ,berenson has given us a fine appreciation of ,pintoricchio's feeling for space and for space-decoration4 ,in this1 so ,umbrian a characteristic1 he was a worthy follower of ,fiorenzo1 the not unworthy second to ,perugino1 and a forerunner of ,raphael4 ,the ample and spacious setting of his groups takes off from their cramped and crowded effect4 ,where the action is awkward1 or the colour heavy1 the whole spirit is lightened and lifted as you breathe the air of those delicious landscapes1 or wander in imagination under those high-poised arcades1 or look out from a palace chamber at the freedom and sweet breezes of a mountain distance4 ,it is the more remarkable that ,pintoricchio is able to give us this charm of landscape1 as he adheres to his early training1 and finishes the most distant parts in delicate detail4 ,it is as a decorator that he holds his own most successfully among his contemporaries4 ,it soon became apparent that no one could cover the walls of palace or chapel with an ornamentation so rich and gay1 so advantageous to the position1 so homogeneous in character4 ,to find any tout ensemble to compare as decoration with the ,borgia ,apartments we must look at early mosaics1 at the opulence of the little church of ,san ,prassede1 or the peacock hues of ,san ,vitale at ,ravenna4 ,to estimate his achievement we must weigh what he has made of those rooms1 si desesprment carres1 or of the oblong and barn-like space of the ,libreria in ,siena4 ,he is mainly empirical rather than scientific1 even in his most successful moments1 but that his want of drawing was due to insufficient study of the nude is shown by the fact that his touch is fine and strong1 his faces1 hands and feet1 always well and firmly drawn1 his outlines delicate and decisive4 ,he individualises his faces1 and the bystanders in his crowded scenes show a most interesting variety and reality4 ,when not painting fresco he is constant to the use of tempera4 ,unfortunately1 he is too much given to sacrifice the transparency and depth of his colour by a lavish use of retouching secco4 ,in order to gratify his love for brilliancy1 he produces an opaque surface1 and is apt to give us a sort of splendid gaiety in exchange for real depth4 ,his use of his gorgeous pigments is extremely skilful1 especially towards the middle period4 ,in the ,sixtine ,chapel frescoes1 he has hardly let himself go1 and in the ,siena ,library he inclines to be gaudy and glaring2 but in many of his scenes the greens and peacock-blues1 the rich1 soft rose-pinks1 the purples and autumn gold are those of a man whose nature was keenly alive to the joy of colour4 ,his use of embossed gold is dictated by the same natural bent towards the gay and decorative4 ,this small1 mean-looking1 deaf man was rarely sensitive to fulness of life1 to splendour1 and the delight of the eye1 and wherever he has covered a wall with his work1 or left a panel or an altar-piece1 we get a glance back at an age which was not afraid of frank magnificence1 guided by a purer taste than we can boast4 ,pintoricchio never shows the ear in his female heads4 ,in the men's it is large1 placed high1 with the inner cartilage strongly defined4 ,the hand has a short metacarpus and long fingers1 the thumb well separated1 and the little finger hooked in ,fiorenzo's manner4 ,he paints with a full brush1 and has a heavy1 liquid touch in fresco1 but in working in panel he shows a beautiful surface quality which oil painting could not surpass4 ,,chapter ,,iii ,,first ,,period ,,in ,,rome ,a fact that another has once discovered and substantiated seems so obvious to those who come after1 that they can hardly understand how it could so long have remained unrecognised4 ,to ,morelli belongs the credit of having swept away the tradition that in ,signorelli and ,perugino were to be found the authors of the two frescoes1 ,the ,journey of ,moses and ,the ,baptism1 on either side of the altar-piece in the ,sixtine ,chapel4 ,after four hundred years of gathering oblivion came one who looked with open eyes1 disregarding all mere tradition1 and who saw the handwriting of ,pintoricchio writ large upon the walls1 waiting there1 full within sight1 yet overlooked1 till1 after centuries1 the truth is acknowledged1 unmistakable1 supported not only by internal evidence but by drawings and studies--direct testimony affording conclusive proof of their authorship4 ,it is perhaps owing to ,melozzo da ,forli being court painter to the ,vatican in #adhj that we may attribute the preference shown in the first instance to ,umbrians in the choice of decorators for ,sixtus ,,iv4's new chapel4 ,to ,perugino the direction seems to have been given in the first place1 he and his assistants arriving in ,rome in ,october #adhb4 ,here they would have had a great deal to prepare1 the spaces to plan1 the ,pope's directions to consider1 the ornamentation of the windows and the niches for the martyred ,popes to decide upon4 ,the scheme of the type and anti-type which balances the opposite walls1 is very probably due to the ,pope and his advisers4 ,pope ,sixtus was a writer on theology1 was esteemed a man of profound scholarship1 and had in the years immediately preceding written several books on important points of doctrine4 ,perugino was at that time the undisputed head of the school of ,umbria1 and his religious spirit and conventional treatment of sacred subjects was likely to be much more acceptable to the ,holy ,see than the new spirit of scientific inquiry4 ,the contract between him and the ,pope makes it probable that at first he and his assistants were to be entrusted with the entire work4 ,whether the ,pope got impatient and wished to see his chapel more speedily completed1 or for what other reason1 is uncertain2 but when ,giuliano della ,rovere went to ,florence in ,december1 he agreed with a number of ,florentines to resort to ,rome1 and the whole company of artists was gathered there by the year #adhc4 ,foremost among these was ,sandro ,botticelli1 and from documents which have recently come to light we gather that the superintendence of the entire scheme was finally entrusted to him and not to ,perugino4 ,among the assistants brought by ,perugino1 were ,rocco ,zoppo and ,bernardino ,betti1 called il ,pintoricchio4 ,the operations of the first were limited to certain portraits of the ,rovere family in the altar-piece1 which at that time represented the ,assumption1 by ,perugino1 with the ,finding of ,moses and the ,nativity of ,christ as the beginning of the two sacred histories4 ,pintoricchio's place1 in his master's estimation1 was a very different one4 ,we have no reason to doubt that he was ,perugino's right-hand man4 ,from the degree to which he has imbibed his style1 he must have been working with him for some time before1 and the drawings in the ,venetian sketch-book1 as it is generally called1 so long erroneously attributed to ,raphael1 make it clear that he supplied ,perugino with designs for several of his principal figures1 which the master altered slightly to suit his taste when he came to transfer them to the plaster4 ,vasari#ag tells us that ,pintoricchio worked with ,perugino in the ,sixtine ,chapel1 and took a third of the profits1 but this testimony afforded no clue to former critics1 and for some centuries ,the ,journey of ,moses was attributed to ,luca ,signorelli4 ,burckhardt was the first to dispute this claim1 and to ascribe the fresco with more vraisemblance to ,perugino4#ah ,crowe and ,cavalcaselle#ai repudiate the attribution to ,signorelli4 ,they see in both this and ,the ,baptism the work of ,perugino1 but in parts1 in the young man stripping1 and in the youth by his side1 they recognise a likeness to ,pintoricchio1 though in the children of ,the ,journey they profess to see plainly the hand of ,bartolommeo della ,gatta4 #ag ,manni4 ,raccolta ,milanese di vari opuscoli1 vol4 i4 f4 #bi4 #ah ,vol4 iii4 #ai ,history of ,painting in ,italy1 iii4 #aghc4 ,the attribution of these two great frescoes to the younger master has made a great difference to his place in art4 ,in some ways they are the finest and truest works he has left us2 it is curious that they are the first that can with certainty be ascribed to him4 ,morelli1#bj in appealing to the internal testimony of the frescoes in the ,sixtine ,chapel1 tells us it was their landscape backgrounds which first opened his eyes4 ,he further cites the overcrowding in the composition--a fault which ,pintoricchio very often commits1 ,perugino hardly ever4 ,even the falcon in the air is repeated by ,pintoricchio in his frescoes at ,siena4 ,the children he compares with those in the chapel in ,ara ,cli4 ,he sees the character of the master plainly stamped on many of the individual figures1 and on the plan of the composition4 ,evidence more minute and conclusive is derived from the book of drawings to which ,i have already alluded4 ,towards the middle of the nineteenth century these1 on the authority of ,professor ,bossi1 were assigned to ,raphael4 ,bossi bought the book at a sale1 and deciding that they were studies by the great ,urbinate1 was full of elation at the acquisition of such a priceless treasure4 ,when at ,bossi's death they were bought by the nation1 ,passavant1 ,count ,cicognara1 and ,marchese ,estense1 all noted connoisseurs1 unhesitatingly pronounced them to be by ,raphael1 and for his work they still pass in the ,accademia in ,venice4 #bj ,italian ,masters in ,german ,galleries1 pp4 #bfd-bhd4 ,it would take far too much space to go with ,morelli through all the fifty-three drawings1 with a circumstantial criticism which leaves only three 7detached and on different paper7 to the younger master4 ,we must content ourselves with examining those which ,pintoricchio used for figures in frescoes which remain to us4 ,a number of these examples occur in ,the ,journey of ,moses4 ,on one sheet is a sketch for the woman kneeling with outstretched arms1 who performs the rite upon the little son of ,moses4 ,on another page is a study for the drapery of the seated woman4 ,again1 the heads of four women are drawn on one sheet2 no less than three of these are introduced in the fresco4 ,one of the two upper heads is used for the woman bearing a jar1 the position being very slightly altered2 while of the two lower heads1 that on the left is a study for ,zipporah leading her child1 the other for the head of the woman with the child upon her knee4 ,the quaint head-dresses are reproduced to a nicety3 one with outstanding bows on either side1 and the loose1 flying scarf1 knotted in front1 the other with the scrolled cornucopia-like ornament curling round the ear4 ,for ,the ,baptism we have a study of the seated woman in the background1 and for two of the nude figures of youths4 ,for ,perugino's fresco1 ,the ,giving of the ,keys1 ,pintoricchio has left two drawings for ,st4 ,john1 standing with his hand upon his breast2 one of the two is ruled in squares for transferring to the wall1 and this is the one adopted by ,perugino4 ,from two other studies figures have been introduced2 the cloaked man1 third from the left1 and two just above1 in the background4 ,there is also an elaborate drawing for the ,madonna in the altar-piece in ,santa ,maria del ,popolo1 and a drawing for the lion in a scene from the life of ,st4 ,jerome in the same church4 ,we thus have no fewer than thirteen heads and figures1 clearly recognisable as studies for frescoes painted before ,raphael was six years old4 ,illustration3 ,private photo ,venice ,,study ,,of ,,heads ,,for ,,the ,,journey ,,of ,,moses ,the drawings1 fine and delicate as they are1 have the stiffness1 the careful1 square-crossed hatching which is found in others by ,pintoricchio1 also his shape of hand and foot1 and the narrow1 elongated forms and in-bent knees4 ,pintoricchio was now twenty-eight4 ,he must already have produced a great deal of work1 but not only have we no trace of it1 but what is left is almost all known to be of later date4 ,however obscure his life before he came to ,rome1 his proceedings after that are well known1 and there is hardly a year unaccounted for1 or which cannot be almost certainly filled up from inference4 ,rome had no cinque-cento painters of her own2 but none the less1 the great traditions of the past1 which that century was fast reviving1 made her the ,mecca of the artists of ,italy4 ,that the two frescoes in the ,sixtine ,chapel were ,pintoricchio's first great commission is probable1 and it must have been with exultation that he set to work to give free play to his decorative instincts on the large bare walls4 ,though the whole is imbued with ,perugino's spirit1 and full of motifs copied from him1 the composition is not the least like his calm1 glowing landscapes and well-ordered1 symmetrical groups4 ,the background is all reminiscent of ,fiorenzo--the toppling rocks1 the little bushy trees1 the joyous air of the little figures frolicking on the hillside1 the palms and cypresses1 the beautifully shaped hollow of the valley1 the falcon in the air pursuing smaller birds4 ,the crowded groups are in ,pintoricchio's style2 the want of concentration of interest1 the narrative spirit running through the whole are just what were most dear to his genius4 ,there has been much discussion as to whether his master helped him4 ,did ,perugino paint the figure of the woman busied with the rite of ,circumcision1 and of ,moses looking on8 ,or did he execute the heads of any of the ,florentine colony who are brought in1 and who might have preferred to have their portraits from the hand of the master rather than from that of the pupil8 ,i can find very little trace of ,perugino's own hand1 unless it be in the head of ,moses on the right1 in which the execution of the hair is more in his manner1 though not nearly as fine and rippling as he paints it in the frescoes of the keys4 ,the action of the angel in the centre is quite in the manner of ,pintoricchio1 and ,perugino never would have placed the hand of ,moses in such an awkward attitude of expostulation4 ,the children are like his in the ,buffalini ,chapel in the ,libreria and ,borgia apartments1 and contrast favourably with ,perugino's fat1 unshapely babes4 ,as a whole1 it would be difficult to find a more attractive piece of decorative painting than this4 ,the various scenes1 the shepherds dancing at the marriage feast1 ,jethro and his household taking leave of ,moses1 the departure of the leader of ,israel with his family1 and the rite of ,circumcision are pressed into one harmonious scene4 ,the background melts naturally into the foreground without appearing confused1 and the vigorous white-robed messenger of ,god1 with shimmering hair and wings1 drawn sword and outstretched arm1 divides the two foreground groups in a manner as original as it is sufficient4 ,moses1 clad in the traditional yellow robe and green mantle1 stopping at the angel's command1 is a fine1 grave figure of marked personality4 ,the two women occupied with the child on the right1 ,zipporah leading the little boy1 the damsel on the left balancing her jar1 are some of the most beautiful and graceful forms that ,pintoricchio has given us4 ,the draperies are less voluminous than in later pictures1 and fall in straighter1 simpler folds1 resembling the more statuesque drapery such as we find in the ,st4 ,thomas and the ,saviour of ,or ,san ,michele1 and which ,perugino1 on his return from ,florence1 imparted to his pupil in place of ,fiorenzo's sharply-cut-up folds4 ,here1 too1 ,pintoricchio proves himself to be1 what he was evidently considered in ,rome1 a landscape-painter of the first rank2 and it is especially by the landscape that ,morelli tells us he made out the identity of the painter of this fresco4 ,nothing up to this time had been seen so lovely as this background1--on one side1 the low purple hills1 touched with golden gleams1 running down into the soft distance1 on the other1 a clear1 grassy space1 giving a sense of air and gaiety to the little pastoral4 ,both the frescoes in the ,sixtine have undergone such repeated cleanings and restorations that little of the original colour remains1 and the effect is somewhat faded and grimy2 but we are still able to see with what skill white robes are made use of--an art in which ,pintoricchio excels in many of his paintings4 ,illustration3 ,anderson photo ,sixtine ,chapel1 ,rome ,,the ,,journey ,,of ,,moses ,the scene on the opposite wall of the ,baptism of ,christ is much fuller of figures than the ,journey of ,moses4 ,separated incidents are more largely made use of1 in the archaic mode which the artists of the ,renaissance soon after this abandoned4 ,that the central figures are a copy of ,perugino's ,baptism at ,rouen need be no argument that the latter had an active share in it himself4 ,the angels overhead are the same that ,perugino and all his school have reproduced many times1 and this interchange or imitation was merely a proper compliment between master and pupil4 ,pintoricchio here owes no more to ,perugino than the latter does to ,verrocchio1 of whose ,baptism1 in ,florence1 with the angels kneeling by1 we are strongly reminded4 ,st4 ,john is a type of great freshness and individuality3 the long lean form has simplicity and directness of action1 the shape of hand and foot1 the blacker and more angular draperies1 are all unlike the master and like the pupil4 ,st4 ,john pours the water with a painstaking1 literal intention4 ,in the frescoes by ,perugino at ,foligno and at ,rouen1 his eyes are raised1 his body thrown gracefully on one side1 and the little cup is raised aloft with a sort of symbolical wave1 while the contemplative angels kneeling around are very unlike ,pintoricchio's prim little attendants4 ,in the groups in the background on either hand1 listening to the preaching of the ,baptist and the ,saviour1 only one1 the ,st4 ,john on the left1 with head raised and inclined and hand on breast1 reminds us at all of ,perugino4 ,we have a great many of the figures the younger master is so fond of1 turning their backs and enveloped in the voluminous folds of great cloaks--a motif which is not common with ,perugino1 but which ,pintoricchio makes lavish use of in the ,libreria1 and which he derives from ,fiorenzo1 who often brings it in4 ,here we find the seated woman1 for which he has left the drawing1 who1 with the children clinging to her1 looks up and listens to the ,baptist on the right1 and who1 in her gracefully swathed garments1 is beautiful enough for the pencil of ,botticelli or ,agostino di ,duccio4 ,we also find a study for the nude figure at the back with outstretched hand4 ,these nudes are among ,bernardino's few attempts at anatomical drawing1 to which he never takes kindly4 ,we cannot say that they show much real acquaintance with form1 though it is evident that they are from the living model1 which at this time he was faithfully seeking to render4 ,many of the portraits are admirable4 ,it would be difficult to find stronger1 more satisfactory heads1 more solid in drawing and more full and interesting in expression1 than three or four of the heads in the group standing a little way behind ,christ1 or the old man grasping his napkin on the opposite side1 in whom ,dr4 ,steinmann suggests we see the ,pope's brother-in-law1 ,giovanni ,basso della ,rovere1 who died this year1 and whose shrewd features and close shut mouth we recognise again in his tomb in ,santa ,maria del ,popolo4 ,the deepest interest of the picture centres in these fine portraits of men of the time1 and in the landscape which1 though this fresco is the most injured of all1 is still beautiful in its varied light and shade1 and in the lie of the ground in hill and slope and distant vale4 ,illustration3 ,anderson photo ,sixtine ,chapel1 ,rome ,,the ,,baptism ,,of ,,christ ,the old ,pope died before the paint was dry upon the walls of the chapel by which his name is best remembered2 but long before his companions had got down to the west end1 ,pintoricchio must have done his share1 though he may still have worked at draperies and minor details in his master's allotment4 ,what he had achieved had established his reputation1 and when he went forth it was as an independent artist1 himself an employer of assistants1 soon to be the honoured recipient of papal commissions4 ,to this time we may assign the panel painting of the ,madonna teaching the ,child to read1 which is now at ,valencia4 ,indeed1 ,dr4 ,schmarsow holds it to be his earliest known work4 ,it was formerly at ,xativ1 and was sent as a present to his native city by ,roderigo ,borgia1 and was placed later in a chapel which his brother ,francesco built to his memory4 ,the crest of the ,borgias shows that it was painted for that house1 and the donor himself1 as a comparatively young man1 kneels on the right1 with his mitre on the ground by his side4 ,we can trace the likeness to that other kneeling ,pope in the ,borgia apartments1 though the features are less strongly marked4 ,in this little panel1 both the ,mother and ,child are standing1--,he mounted on a chest1 upon which the crest is painted2 she with one hand tenderly placed on ,his shoulder1 while the other holds the open book4 ,she has the same type to which ,pintoricchio was faithful1 the egg-shaped face1 arched brows and close shut mouth4 ,the heavy folds of the mantle are starred and edged with gold1 and the ,child's robe is of rich gold brocade4 ,the picture is full of feeling1 but is stiff in drawing and almost ,byzantine in style4 ,the delightful little lunette in ,sant' ,onofrio in ,rome1 painted about #aeje by one of his scholars1 is adapted from this picture1 of which the master must have retained a sketch4 ,the same follower was employed on the apse1 where scenes by ,peruzzi alternate with several in ,pintoricchio's manner1 though they are far too ill-drawn to be from his hand4 ,we have no means of deciding what was the first important commission the young painter undertook after he left the ,sixtine ,chapel4 ,the ,german critics1 however1 agree in placing the ,buffalini ,chapel in ,ara ,cli as his next work4 ,morelli thinks it was later on account of the decoration of grottesques1 but it has a simplicity and absence of ornament more akin to the ,sixtine work than to ,pintoricchio's later gorgeous achievements1 and he uses much of the same soft grey colour4 ,it is not unlikely that he would have brought a special commendation from the ,buffalini of ,perugia to those members settled in ,rome1 and it is easy to see how fresh in his mind were the architectural traditions of ,fiorenzo4 ,the chapel1 being painted almost entirely by his own hand1 looks as if he had not yet gathered together so many assistants1 and a little later1 loaded with papal commissions1 he would hardly have had time to devote to a private citizen4 ,it seems to me that we have scarcely any work of his for which we can feel such unalloyed admiration as that in this little chapel in the dim old church upon the ,capitoline ,hill1 where from the midst of classic marbles and pre-historic legends1 you pass into the quiet side aisle1 and the level rays of the golden evening sunshine that pour through a little west window1 light up the story of the medival saint as illustrated by his ,umbrian name-child4 ,hardly any saint could have been more dear and familiar to the sons of mid-,italy than ,san ,bernardino of ,siena1 the disciple of their beloved ,st4 ,francis1 and one who had exercised such a strong and recent influence over his followers4 ,he died only nine years before ,pintoricchio was born1 and as he grew up the little ,bernardino must have heard ardent references to his holy patron from men who had crowded round the pulpit outside the cathedral in ,perugia4 ,his gonfalon1 painted by ,bonfigli1 hung in the ,church of ,san ,bernardino4 ,his thin face1 with its pinched mouth1 was familiar to every one1 and stories of his wisdom1 his virtue1 his miracles1 were fresh on men's lips4 ,pintoricchio must have been well acquainted with the history of the saint's amicable arrangement of a deadly feud which had raged between the ,buffalini and the fierce ,baglioni of his native town1 and both as a protg of ,san ,bernardino and as a ,perugian1 the commission to paint a chapel in honour of the saint and to commemorate the healing of the quarrel must have made a special appeal to his quick and sensitive fancy4 ,the chapel was probably the gift of ,lodovico ,buffalini1 advocate to the papal consistory1 who1 we find from an inscription on a stone in the pavement1 died in #aejf4 ,the painting was for many years almost concealed by a hideous wooden hatchment1 and only re-opened again in the last century1 which accounts for the excellent preservation it is in4 ,the little ,gothic chapel at the extreme west end of the church lighted by a small west window1 has an arched roof with crossed pieces2 the side walls are divided by painted pilasters4 ,the whole architectural decoration is in monochrome1 in pale brownish grey upon a rich brown ground4 ,on the pilasters on either side is a beautiful decoration of fruits and seed-pods in great masses1 tied in with ribbons adapted from the antique1 and resembling a framework by ,mantegna in the ,eremitani ,chapel at ,padua4 ,the frescoes on the walls are separated by long slender candelabra with flaring flames1 the stems formed of grotesques1 masks grave and grimacing1 climbing stags and gambolling putti4 ,the arches of the roof have been profusely enriched with gold1 and culminate in a blue and gold boss4 ,below the altar is a long procession1 also in monochrome1 captives and warriors1 a soldier on horseback dragging a nude woman1 others laden with spoils and torches1 a conqueror on a triumphal car1 with a naked captive bound behind2 these are painted with almost impressionist touches1 and the horses are much better drawn than we usually expect from ,pintoricchio4 ,in the roof1 in four triangles1 are the ,four ,evangelists3 ,st4 ,matthew looking up as for inspiration1 dipping his pen in the ink held by a beautiful kneeling angel-figure at his side4 ,both this figure and that of ,st4 ,luke are very broadly and freely painted4 ,steinmann points out that we find them almost repeated1 apparently by a scholar1 in the sacristy of ,santa ,cecilia in ,trastevere4 ,this church has been closed for two years for repairs--,i have not been able to see the frescoes4 ,on the west1 on either side of the tall narrow window1 are two simulated windows4 ,from that nearest the altar the figure of ,god the ,father1 surrounded by cherubs and golden rays and holding a globe1 looks into the chapel and towards the fresco below on the right4 ,the panel to the right is filled by a long row of arches in side-long perspective1 and on the top of a pedestal straddles a charming little putto1 reminding us of ,mino da ,fiesole's children on monuments1 who bears an axe and shield with the buffalo head1 the crest of the ,buffalini4 ,in the background there is a trace of landscape seen through a ruined arch1 and above1 a lunette of the ,madonna and ,child1 ,his foot rests on the heads of two cherubs4 ,in the foreground kneels the small thin figure of ,san ,bernardino receiving the monastic habit of the ,franciscan order from a father1 while his cast-off scarlet robes1 his money and box of jewels1 lie beside him on the ground4 ,following the line of the father's gesture across the wall1 we find that it is directed towards ,st4 ,francis1 who kneels to receive the stigmata with an expression of deep devotion and spiritual insight that ,pintoricchio has not often repeated4 ,in the middle1 under the window1 two monks recount a history to three lay listeners1 two of whom are evidently portraits1 while a procession of horsemen rides across the background4 ,whether this relates to the miracle of the stigmata1 or has some reference to the feud with the ,baglioni1 is uncertain4 ,it is on the opposite wall1 and on that above the altar1 that the painter has put forth his best efforts1 and has produced work which1 if he ever equalled1 he never surpassed4 ,in the arches above the left hand wall is ,san ,bernardino as he arrayed himself in camel hair and sackcloth and went into the wilderness to study1 leaving his rich home and his gay companions in ,siena4 ,the population of the city comes out to interview him1 grave elders with turbaned heads1 young men dressed in the height of fantastic fashion4 ,the saint1 absorbed in the study of his ,bible1 does not even perceive them as they gaze on him with wonder mixed with reverence1 recalling the devotion he has already shown during the visit of the plague to ,siena4 ,the grass on which he walks is besprinkled with spring flowers1 arums with their red seed-pods1 hyacinths and anemones2 a little stream trickles through the green past mossy tree stumps1 and the tall towers of ,siena are seen afar in the valley4 ,below1 the whole breadth of wall is devoted to the burial procession of the saint4 ,here is a great market-place surrounded with airy buildings1 such buildings as ,fiorenzo had used in those other legends of ,san ,bernardino1 which ,pintoricchio would naturally have thought of as he drew his design2 indeed1 we have little difficulty in tracing those which he specially adopted4 ,illustration3 ,anderson photo ,church of ,ara ,cli1 ,rome ,,the ,,burial ,,of ,,san ,,bernardino ,in the fresco of ,san ,bernardino upon his ,bier1 the radiating marbles of the great ,piazza stretch away to a ,bramante-like temple1 arch soaring above arch2 flanking the ancestral dwelling of the donor of the chapel1 with the buffalo's head carved above the doorway1 and a quaint little scene of a buffalo assaulting the populace on the ,piazza4 ,in the foreground stands the bier1 upon which1 with outstretched feet and folded hands1 lies the emaciated figure of the whilom gay young noble of ,siena who left all to follow ,christ4 ,round him gather the monks of the order1 beggars1 women and children4 ,down from the long loggia on the left1 with the blue and gold decoration copied from ,fiorenzo1 comes the stately figure in cap and gown of ,messer ,avocato ,lodovico ,buffalini himself1 face keen1 precise yet gentle1 figure conscious of position1 and the rustle of silken robes1 observant too of the young sons1 the youth and the boy1 who also in robes and close caps upon flowing hair1 stand on the opposite side of the bier4 ,in the foreground ,pintoricchio has broken the monotony of the rich dark green bier by two of his most charming little children with rounded limbs and gestures half saintly1 half childish1 while by them lies something stuck in as an afterthought1 without meaning1 without perspective1 a babe in swaddling clothes in a sort of crib or basket4 ,this is the miraculous bambino of ,ara ,cli1 the ,byzantine doll preserved in the church1 which could by no means be left out on such an occasion4 ,the effect of rial space about the whole composition is very remarkable4 ,the people gather round1 life beyond goes its way1 and the whole is set in so peaceful and spirit-lifting an environment that it does not need the little sky episode of the saint received into glory to give it spirituality4 ,so1 too1 in the ,apotheosis of ,san ,bernardino1 which occupies the altar wall1 the sense of space and largeness is the prevailing quality4 ,overhead1 the stiff mandorla with cherubic heads frames the ,saviour1 who1 standing upon clouds1 raises ,his hand in benediction4 ,this figure1 as usual1 is not altogether happy in the rendering2 but thin and awkwardly drawn as it is1 it is not without force or dignity1 and has something earnest and lovable in its expression4 ,it is the direct simplicity of ,pintoricchio's manner which saves from self-consciousness1 and gives a serious quality that atones for the want of grandeur4 ,the remaining figures leave hardly anything to be desired4 ,italian art can show us few more beautiful single figures than that of ,st4 ,louis of ,toulouse4#ba ,the young bishop in his rich episcopal robes and mitre1 his pastoral staff laid against his shoulder1 while with absorbed earnest look he turns the pages of his great breviary1 is one of the most satisfactory creations1 full of dignity1 goodness and thought1 that any artist has shown us4 ,the face is well and strongly modelled1 and the outline is simple and large4 ,sant' ,antonio of ,padua on the opposite side1 holding his flaring heart in token of burning love1 is a feebler figure1 and reminds us of some of ,perugino's weaker saints2 but ,san ,bernardino himself1 in the midst1 is full of striking individuality1 and there is great simplicity and repose in the outlines of all three figures4 ,nowhere have more beautiful angels been painted4 ,pintoricchio has shaken himself out of the conventional slavery of ,perugino4 ,these figures making music upon the clouds are full of life and vigour1 reminiscent of ,melozzo da ,forli's energetic inspiration1 while the two who1 bearing lilies1 kneel and between them raise a golden crown above the saint's head1 are ,pintoricchio's own1 instinct with his own fresh and delicate feeling for the beautiful1 as lovely in colour as they are in form4 #ba ,patron ,saint of ,lodovico ,buffalini4 ,the grouping in the burial procession is more successful than usual1 and the light and shade more massed4 ,the colouring of all the frescoes is exceedingly harmonious1 the greenish greys of the background are very delicate1 and the foliage in the fresco over the altar must have been most beautiful4 ,touches of bright colour are brought in sparingly1 and with good effect4 ,nothing more satisfactory is to be found in the ,umbrian school up to now1 than the tout ensemble of the altar wall4 ,the unity and balance of the whole1 the variety1 yet connection of the subject1 the groundwork occupied1 yet not crowded1 free from spottiness and harsh transition4 ,the palm tree filling the space on the right1 the cypress on the left1 the maintenance of the distances1 relieve the fresco of all stiffness and flatness4 ,the landscape is full of light and atmosphere4 ,on the right we look away to a valley which has never lost the freshness of morning1 on the left is a fairyland of sea and distant mountains and little far-away towns1 gleaming1 blue and mysteriously radiant4 ,the whole shape and position of the country at the back is quite excellent1 and in happy contrast to the artificial elegance of colonnades and radiating pavement of its neighbour on the adjoining wall4 ,illustration3 ,anderson photo ,church of ,ara ,cli1 ,rome ,,the ,,glorification ,,of ,,san ,,bernardino ,,chapter ,,iv ,,life ,,in ,,rome--,,continued ,giuliano della ,rovere1 though his uncle was dead1 was still a powerful cardinal when ,innocent ,,viii4 succeeded in #adhd4 ,he inhabited the ,colonna ,palace1 where ,vasari tells us that both ,perugino and ,pintoricchio worked in his service4 ,nearly all the ,umbrian decorations were swept away later to make room for the work of ,poussin and ,zuccaro1 but the ceiling of one great hall still boasts the design of ,pintoricchio4 ,it is a rich and splendid piece of work4 ,ornaments in chiaroscuro on a blue or gold groundwork frame four little medallions of classic fable or sacred story--,mucius ,scvola and ,virginia1 the ,history of ,judith and of ,david4 ,hoary river-gods1 grasping sheaves of corn and overflowing cornucopias of fruit1 recline on the backs of sphinxes1 on either side of fountains4 ,more fanciful still are monkeys swinging from ribbons1 centaurs prancing1 putti riding goats which are led by older boys1 fauns waving banners1 owls1 garlands and serpents1 all set in a rich plastered and painted framework1 finished with gold rosettes4 ,service in the private palace of the cardinal led on to employment by ,pope ,innocent1 to whom1 no doubt1 ,giuliano recommended ,pintoricchio for this class of work1 for in #adhf he was at work in the ,belvedere4 ,it was here that he painted the towns of which ,taja speaks4 ,not long after1 says ,vasari1 about the year #adhd1 ,innocent ,,viii41 a ,genoese1 made him paint several halls and loggie in the ,palace of the ,belvedere1 where1 among other things which the ,pope wished for1 he painted a loggia all with towns1 and you could discern ,rome1 ,milan1 ,genoa1 ,florence1 ,venice and ,naples1 all in the ,flemish manner1 which1 being no longer much in use1 pleased very well4#bb ,no trace of them remains1 nor is anything left of the great ,madonna picture which ,vasari says was painted over the principal entrance4 ,the only remains of ,umbrian art are to be found on the walls and ceiling of what is to-day called the ,museo ,pio ,clementino4 ,a graceful loggia was half obliterated here to give more room to the sculpture gallery1 but above1 the arms of ,innocent ,,viii4 and the date #adhg are still visible1 surrounded by garlands and ornaments resembling those in the ,colonna ,palace4 ,little medallions of classic subjects still struggle dimly through decay and ochre wash4 ,in the archways1 seven couples of putti hold the papal shield1 or play on musical instruments1 and we can trace the proud device of the ,cibo1 the gleaming peacock and the motto ,loyaut passe tout4 #bb ,vasari1 iii4 p4 #dih4 ,in the two little rooms adjoining are prophets and philosophers1 and here may be recognised the somewhat archaic assistant who helped ,pintoricchio in the ,borgia ,tower4 ,only these poor scraps remain of the year's service with the ,cibo ,pope1 and hardly more of what he accomplished for his cardinals4 ,domenico della ,rovere1 the cardinal of ,san ,clemente1 was one of ,pintoricchio's earliest patrons in ,rome4 ,he does indeed seem to have been as much friend as patron1 and took both ,perugino and ,pintoricchio to lodge with him upon their first arrival in his spacious palace in the ,piazza ,scossacavalli1 outside the entrance of which ,pintoricchio painted a scutcheon supported by putti4 ,the decoration of the interior of the palace then called ,sant' ,apostoli was also entrusted to him4 ,to-day it is inhabited by eleven brothers of the order of the ,penitenzieri4 ,it retains something of the fascination of a princely dwelling of the fourteenth century4 ,in the mouldy courtyard are traces of almost obliterated paintings4 ,under the roof are heraldic devices1 armorial bearings1 sphinxes and dolphins4 ,in the courtyard1 orange trees grow round a well1 which may have been the work of ,bramante4 ,ivy half covers walls which were once gay with frescoes1 but among the ruin and decay we see repeated countless times in the marble window frames1 the name of the builder--,,do4 ,,rovere1 ,,car4 ,s4 ,,clemen4 and his pious device--,,soli ,,deo4 ,outside are faint traces of the shield of ,sixtus ,,iv4 supported by two putti1 the only part of the work which ,vasari deigns to notice4 ,inside1 the three great halls on the ground floor1 though partly whitewashed and even built up1 keep some remains of past splendour4 ,on a beam can still be read the date at which the palace was finished1 #adij4 ,there is still a good deal of the original gilding left on the wooden ceilings1 and where the whitewash has been scraped away1 shadowy heads of apostles are to be seen1 and fine and delicate ,renaissance ornament4 ,the whole resembles the designs for the ,colonna ,palace1 and what can still be made out appears to be by the master himself1 elegant and decisive in touch4 ,all sorts of animals are made use of--a winged stag drinks from a cornucopia1 sea-gods and mermaids are instructing nymphs to ride on dolphins1 a sphinx plays with a dragon1 satyrs are placed in a vintage scene1 sirens beguile centaurs with music--all in the fancy of the ,revival1 exuberant1 yet full of dainty grace4 ,bits of marble work strike the eye here and there--the heraldic bearing of ,rovere1 the eagle of ,alidori2 but there is little left to tell us of the glory of the princely house1 of the great churchman who built it1 or of the ,umbrian master he employed to decorate it4 ,the exultant motto which he placed on a marble tablet to celebrate its completion1 looks down from the decaying wall and speaks to us in words half sad1 half mocking3 ,this house shall stand till the ant has drunk up the sea1 and till the tortoise has crept round the world4 ,this plan of small landscapes and scenes set in a wide framework of fantastic objects1 classic and mythological1 musical instruments1 garlands and ribbons1 becoming more and more grotesque1 was peculiar at this time to ,pintoricchio4 ,he may have taken the idea from walls in old ,roman houses1 since destroyed1 but of which many were uncovered at this period4 ,the same sort of decoration is to be seen to-day in the ,roman rooms on the ,palatine4 ,pintoricchio uses this mode of decoration again in the ,borgia ,apartments1 and from him ,raphael borrowed the idea for his loggie4 ,the beautiful church of ,santa ,maria del ,popolo1 restored by ,pope ,sixtus in #adgb1 and subsequently rendered a very storehouse of art by his successors and their cardinal kinsmen1 would be1 if it had been left with all its original decorations1 one of the finest monuments to ,pintoricchio's art in ,italy4 ,a great deal still remains1 but much has been swept away4 ,we cannot be quite certain of the exact date of each chapel1 but his work here1 with the exception of the choir1 was carried out during the next few years4 ,the church was a favourite one with the ,rovere family4 ,pope ,sixtus himself often went to vespers there4 ,in #adhj he instituted his nephew1 ,girolamo ,riario1 as chief warden4 ,here he came in state to give thanks after the victory of ,campo ,morto had delivered ,rome from the fear of the ,calabrian invader4 ,roderigo ,borgia1 too1 as early as #adgc1 had given a marble altar to be placed in front of a miracle-working picture of the ,madonna4 ,vasari speaks of two chapels painted by ,pintoricchio in this church3 one with the history of ,st4 ,jerome1 for ,domenico della ,rovere1 as a memorial of his brother1 ,christoforo1 who died in #adgi2 the other for ,cardinal ,innocenzio ,cibo4 ,the ,umbrian frescoes were destroyed1 and the baroque ornamentation we now see1 substituted4 ,there is a third chapel1 dedicated to ,santa ,catarina1 in which the painter executed half-lengths of the four evangelists in an arched ceiling1 for a ,portuguese ecclesiastic1 ,cardinal ,costa4 ,finally1 a fourth chapel had been the gift of ,giovanni ,basso della ,rovere1 the brother-in-law of ,pope ,sixtus1 whose portrait was already painted by ,pintoricchio in the fresco of the ,baptism in the ,sixtine ,chapel4 ,two of the half-lengths of the evangelists--,st4 ,jerome and ,pope ,gregory--though both spoilt and repainted1 remain as ,pintoricchio's work1 together with two children supporting a scutcheon4 ,in the chapel of ,st4 ,augustine1 the three sons of ,giovanni raised a monument to their father1 and some years after his death 7to judge by the introduction of grotesques7 it was painted in frescoes1 which guide-books still assign to ,pintoricchio4 ,they are in his manner1 and were probably executed while he was working at the choir in #aeje1 for the papal shield of ,julius ,,ii41 who succeeded in #aejc1 appears on the ceiling4 ,the ,piet in the lunette above the monument may possibly have been painted earlier than the rest of the chapel1 and ,schmarsow sees in it the hand of ,pintoricchio1 influenced by ,melozzo da ,forli4 ,it is difficult to think that he can be answerable for it when we compare it with the ,piet over the polyptych at ,perugia4 ,the coarse1 heavy body of the ,christ1 the badly-draped loin cloth1 the clumsy attitude of the expressionless angels1 seem rather to be the work of some pupil from ,north ,italy1 with a mingling of the ,teutonic1 and have nothing in common with the delicate and devotional ,umbrian rendering1 so evidently inspired by ,perugino4 ,in the ,assumption1 which fills the opposite wall1 the figures are too ill drawn to allow us to think they can be ,pintoricchio's4 ,the arms are too short1 the feet out of drawing1 the figure of the ,madonna is unnaturally long1 with sloping shoulders4 ,crowe and ,cavalcaselle were the first to suggest as its author ,matteo ,balducci1 a painter who has left several panels at ,siena1 which were for long assigned to ,pintoricchio1 under whom he worked in ,rome4 ,the ,virgin and ,child1 with ,saints over the altar is a very inferior work1 entirely repainted4 ,round the top of the wall runs a series of scenes from the life of the ,virgin4 ,these have been attributed to the ,north ,italian1 ,morto da ,feltre4 ,they are certainly not by ,pintoricchio4 ,there remains1 then1 only the little chapel of ,st4 ,jerome1 which1 in spite of some restoration and some destruction1 we can attribute to the master4 ,it has the freshness of early work1 and both in colouring and style is akin to that of ,san ,bernardino in ,ara ,cli1 while the influence of ,fiorenzo has re-asserted itself4 ,over the altar is the ,nativity1 which bears so close a resemblance to the older master's ,adoration at ,perugia4 ,in the finished sketch at ,venice1 for the tender figure of the ,madonna1 the drapery has the stair-like gradations of folds on both sides1 which ,morelli points out as characteristic of him1 and the same critic draws attention to the type of hand1 with long1 bony fingers1 that we find in his later ,madonna dei ,fossi4 ,the landscape1 which is soft and deep in tone1 resembles that of the frescoes in the ,sixtine ,chapel4 ,in two1 at least1 of the little series of the life of ,st4 ,jerome1 we recognise ,pintoricchio's own hand4 ,in one1 the doctors of the ,church come to visit the saint after he has retired to the desert4 ,the study for the lion in this scene is in his sketch-book4 ,on the other side of the chapel is the exquisite little panel in which ,st4 ,jerome argues a point of doctrine with an infidel4 ,this is a bit of genre-painting with all the charm the ,umbrian painters understood so well4 ,the red-robed saint sits in his great arm-chair2 opposite him is placed a stately doctor in blue4 ,disciples are grouped on either hand1 some have turbaned heads to suggest their unbelieving origin4 ,behind stand favourite dogs1 and ,st4 ,jerome's faithful lion4 ,the scene is lit up by the painting of a little window in the centre1 through which the company looks out on a sunny landscape1 with trees and a lake lying in mellow light and floating evening shades4 ,a rich cloth hangs across the broad sill4 ,the idea of the little outlook1 throwing air and contrast into the interior1 is one often afterwards elaborated by ,pintoricchio1 and apparently was suggested to him by a panel in ,fiorenzo's miracles of ,san ,bernardino4 ,in the ,capitol is a fresco painting which ,mr4 ,berenson ascribes to our master4 ,vasari speaks of his having painted such an altar-piece1 but this1 if the same1 was entirely repainted in #ahcd4 ,the colour of the angels' robes was changed--one from red to yellow1 the other from yellow to white4 ,the ,virgin's robe1 now blue1 was originally green4 ,the face is painted out of all recognition4 ,the shape is not oval1 the mouth is full with parted lips1 and the hair falls on either side of the face4 ,the angels1 with knees bending outward1 are not ,pintoricchio's type--only the ,child recalls his ,infant in the ,nativity of ,santa ,maria del ,popolo and the hands are like his in outline4 ,in the tribune of ,santa ,croce in ,gerusalemme is a great composition of the ,finding of the ,true ,cross1 which tradition has assigned to him among others and which has strong traces of ,umbrian workmanship4 ,this is entirely and heavily repainted1 and its artistic value is nil1 except for the design4 ,we should welcome even such an obscured reminiscence as this1 if it remained to us1 of the paintings in ,castel ,sant' ,angelo4 ,on a blue1 starred vault1 the ,saviour is surrounded by a mandorla of cherubs4 ,below1 ,st4 ,helena stands1 holding the cross1 with the donor1 ,cardinal ,carvajal1 kneeling at her feet4 ,on either side are the miracles attending its recovery4 ,on the left1 the ,emperor ,heraclius rides in triumph1 bearing the cross1 rescued from infidels1 to the city gates4 ,the groups of women on the extreme left1 and some of those standing behind the ,empress-saint1 are full of likeness to ,pintoricchio's figures in the ,journey of ,moses1 and the landscape 7the only part which has not been quite repainted71 with its purple tints1 overhanging rocks1 and parties of wayfarers1 recalls the work of ,fiorenzo4 ,the whole has something of the direct simplicity of ,pintoricchio's narratives1 but other figures remind us of ,signorelli--the forms are heavy and lumpy1 and it is probably only by a follower1 though one who closely imitated the ,umbrian master4 ,,chapter ,v ,,the ,,borgia ,,apartments ,there is perhaps hardly a place in ,rome where you feel so transported into the heart of that old life of the ,renaissance1 as you do in the ,borgia ,apartments4 ,after mid-day it is almost empty of sightseers2 and in the long rooms1 where the silence is only broken by the splash of the fountain in the quiet1 grassy court outside1 you realise the setting of the passionate lives that once ran their course here4 ,here the light caught ,lucrezia's golden hair1 here the famous pontiff rustled in his brocaded robes1 and ,csar ,borgia strode in gilded armour4 ,here great ambitions were matured1 and blackest crimes consummated2 and here1 too1 came and went the little1 deaf1 beauty-loving painter from the ,umbrian hills1 and drew his cartoons1 and spaced his decorations1 and overlooked his army of workmen1 and left us as splendid a scheme of rich ornament as the quattro-cento has to show4 ,the preservation of these rooms is due to their having been for so long shut up4 ,pope ,julius1 moved partly by reprobation of the crimes of his predecessor1 partly by hatred of the whole house of ,borgia1 refused to live in the apartments2 but at the end of the sixteenth century the nephews of ,leo ,,xi4 used them for a time4 ,for two centuries they seem to have been uninhabited1 and the ,abb ,taja in #agej laments this abandonment1 and deplores their loss to all lovers of the fine arts4 ,later1 in the eighteenth century1 we learn from ,chattard#bc that they were used for the meals of cardinals and officials who assembled during ,holy ,week4 ,in #ahaf1 when1 in consequence of the peace of ,tolentino1 the precious collection of pictures was sent back from ,paris1 some of them were collected in the ,borgia apartments1 and the marble cross-bars of the windows were replaced by iron ones to give more light4 ,the light was1 however1 so bad that the pictures were removed1 and a miscellaneous museum and library took their place4 #bc ,nuova descrizione del ,vaticano1 ii4 #eh4 ,in #ahia the present ,pope1 ,leo ,,xiii41 moved the library1 and the delicate task of restoration began4 ,the book-shelves and marbles had cracked and destroyed the plaster in places1 and in the time of ,pius ,,vii4 some varnish had been applied to the ceilings1 making a sort of crust4 ,the restoration has been carried out with the greatest care under the direction of ,signor ,lodovico ,seitz1 and has fortunately been restricted to repairing the plaster and stucco1 and to cleaning the frescoes from dust and damp4 ,though in some parts of the fifth and sixth halls the stucco has been taken off1 the walls reconstructed1 and the surface refixed1 it has been done with such nicety that no mark is perceptible1 and retouching1 with one or two trifling exceptions1 has been absolutely tabooed4 ,what repainting there is dates from the time of ,pius ,,vii41 but is fortunately slight4 ,this applies to the actual paintings4 ,most of the decorations of the lower walls have been repainted1 following the fragmentary traces that remained1 or1 where these were quite obliterated1 they have been replaced with harmonious hangings4 ,the minor decorations of the halls are a study in themselves1 and are the more interesting as it is evident that the artist has superintended the whole1 subordinating the marble work1 the painting of the lower panels1 and even the tiled floor to suit his scheme of colour4 ,it is extraordinary that no contract for these rooms has been discovered4 ,no sign of the agreement for them remains in ,alexander ,borgia's account book4 ,it is only from incidental mention in letters to and from ,orvieto1 and from payments made1 that we can find out when the work was begun1 and how long it lasted4 ,messrs4 ,ehrle and ,stevenson1 in their monumental work on the ,borgia ,apartments1 show very clearly that ,pintoricchio's part only began with the second room4 ,the private or living rooms of the ,pope at that time were the second1 or the ,hall of ,mysteries2 the third1 the ,hall of ,saints2 and the fourth1 or ,arts and ,sciences1 besides the two withdrawing rooms4 ,vasari knew this quite well at the end of the sixteenth century4 ,it is only with ,chattard1 about #agfd1 that the whole of the six rooms were said to have been decorated for ,alexander ,,viii4 ,in ,vasari's life of ,pintoricchio1 he says the ,pope made him paint the rooms he inhabited1 and the ,borgia ,tower2 and1 more clearly still1 in the life of ,perino del ,vaga1 he says the latter was painting the vault of the ,sala ,pontifici1 by which you enter the rooms of ,pope ,alexander1 already painted by ,pintoricchio4 ,taking off this room1 there remain five1 to which he assigned three years4 ,our knowledge of contracts of the time enable us to construct pretty accurately what must have been the conditions of the missing agreement4 ,the master would have been required to use the best colours1 to begin and end within certain time limits1 to design all the cartoons1 and to paint the faces and principal parts with his own hand4 ,we can gather from the existing work that ,pintoricchio performed his share of such a contract honestly2 assistants were evidently and inevitably employed1 but the homogeneous character of the whole is remarkable1 and proves1 not only that the painter's supervision must have been incessant1 but also that he had the power of directing and overseeing his pupils' work1 so as to keep their individuality in sufficient abeyance to his own guiding influence4 ,that he had by this time his own workshop of helpers and skilled painters working under him we do not doubt1 but ,i do not think that any critics who have studied the consistent character of the work1 now doubt that he had the supreme direction1 and that he was undisturbed by rivals4 ,the unity of ornament1 too1 leads us to believe that he directed and designed all this part himself4 ,probably the marble work is by ,andrea ,bregno1 who had been working with him in the ,sixtine ,chapel1 and ,santa ,maria del ,popolo4 ,something of the beauty which greets us in these halls we owe to the mellowing hand of time2 yet even when new1 the effect must have been rich and glowing1 brilliant and deep rather than gaudy1 and all is planned to suit the subdued light of a northern aspect4 ,the square1 not very high rooms are spaced1 divided1 and slightly vaulted with the most consummate skill4 ,the rich soft colours1 the heavy gold1 the airy outlook of landscape1 the glowing background1 give an effect1 choice1 jewelled1 of an exquisite finish1 of a sensuous gratification1 almost without parallel4 ,the imagination furnishes the empty chambers with all the choice objects they once contained4 ,the priceless majolica1 the gold and silver vessels1 the brocaded hangings1 the ivory carvings--what a background for the scenes of love and revelry once enacted here6 ,the thrum of music1 the laughter and wit and boisterous merriment1 the muttered conferences1 the whispered plotting1 the ghastly treacheries1 the dying groans4 ,in one of these rooms1 the ,hall of ,arts1 the first husband of the young ,lucrezia was murdered4 ,in the adjoining room the ,pope himself died in agonies4 ,on these and on what other deeds of darkness and despair and triumphant villainy have these chaste and innocent conceptions of ,pintoricchio looked down4 ,it gives them a curious attraction1 born of incongruity2 as a writer says3 ,they have all the fascination of 'fleurs du mal4' ,it was about this time that the grotesque first crept into art4 ,dr4 ,schmarsow thinks that the earliest signs may be detected in the ,borgia ,apartments4 ,the early art of the ,renaissance had shown a preference for the classic1 inspired by the decorations on antique marbles4 ,the objects were clear and simple1 human beings1 animals1 keeping true to nature1 ornamented with garlands1 ribbons1 and other accessories1 fanciful1 but not fantastic4 ,the origin of the expression grottesque1 which is first used in ,pintoricchio's contract in ,siena in #aejb1 is explained by ,benvenuto ,cellini in #aega4 ,it was taken from the objects found by students of art who explored antique monuments in caverns or grottoes4 ,paintings1 ornamented with grotesques1 were crowded with objects all complicated1 twisted and adapted1 masks1 swans with abnormally long necks1 fabulous monsters1 unnatural flowers4 ,exuberantly as ,pintoricchio afterwards uses such objects1 the tendency is only seen slightly here and in the ,buffalini chapel4 ,his work in the first hall 7the ,hall of ,mysteries7 of the life of our ,lord1 has something of a medival tendency4 ,the scenes are seven in number3 ,the ,annunciation1 ,the ,nativity1 ,the ,adoration of the ,magi1 ,the ,resurrection1 ,the ,ascension1 ,the ,descent of the ,holy ,spirit1 and ,the ,assumption of the ,virgin4 ,the composition of all is of the simplest1 no strong emotions are rendered1 and the figures are all of that peaceful and primitive devotion suited to the ruling of the early ,church1 and recalling ,fiorenzo and ,bonfigli4 ,indeed1 the contrast is great between the simplicity of ornament and more ambitious1 scientific spirit in the ,sixtine1 and the return here to the conventional composition and the medival fondness for accessory4 ,both ,the ,annunciation and ,the ,adoration of the ,magi are of the ,umbro-,perugian type4 ,pintoricchio repeats the angel of the first scene again at ,spello1 with several other figures4 ,in the radial lines of the pavement we recognise the example of ,perugino in the ,sixtine fresco4 ,the whole scene in the stately halls opening out in a beautiful landscape1 is full of soft dignity4 ,the rose-pink of the angels' robes1 the peacock-blues and greens of ,mary's garments1 the rose-wreath1 the lilies1 make a luscious combination of colour4 ,it is the impassionate character1 the childlike and unconscious spirit of all ,pintoricchio's creations that gives them such a piquancy1 in contrast to their splendid setting4 ,illustration3 ,anderson photo ,borgia ,apartments1 ,vatican1 ,rome ,,the ,,annunciation ,dr4 ,auguste ,schmarsow1 of all the critics1 is the one who has given most careful study to these frescoes and has brought most knowledge and erudition to bear upon them4 ,he divides a great deal of the execution among the various schools to which he thinks ,pintoricchio's assistants belonged1 and his assignments1 if not to be taken as actual facts1 are worth considering--it being allowed that the whole is due to one designer4 ,all critics concur in giving the figures in the ,annunciation to the master4 ,in the next1 the ,nativity1 the ,virgin and ,child are also from ,pintoricchio's own hand1 and many details recall the altar-piece in ,santa ,maria del ,popolo4 ,the ,adoration of the ,magi is attributed to a ,lombard1 except the boy at the right1 who is by a pupil of ,botticelli4 ,we should be sorry to hold ,pintoricchio immediately responsible for the ill-drawn ,child and awkward hands in this fresco2 and in the patterns on the dresses and the terra-cotta mouldings of the buildings we see the ,lombard taste4 ,in the ,resurrection we have the broken tomb1 the risen ,saviour1 and the guards in armour1 set in a landscape of rocky ground and cypresses4 ,the principal figure1 upon a gilded glory1 set round with cherubs' heads and tongues of flame and grasping a banner1 is far too ill-drawn for the master1 and ,schmarsow gives it entirely to a ,lombard4 ,the guards are all of a refined ,umbrian type1 full of spirit and intelligence1 and ,dr4 ,steinmann suggests that we may have here portraits of ,csar ,borgia and his brother1 who at the time would be boys of seventeen and eighteen4 ,it is1 as he argues1 difficult to say what other portraits 7and that they are portraits is evident7 would be allowed in the same scene with that of the donor1 ,pope ,alexander himself1 who kneels on the left hand1 the most conspicuous figure of the whole group1 clothed in a gorgeous mantle1 embossed with gold1 his hands raised in prayer4 ,his face has a strong beaked nose1 low forehead1 heavy jowl1 double chin and crafty eye1 and the tonsure shows the unusual development of the back of the skull4 ,it is a splendidly realistic portrait1 full of strength and truth1 and clever modelling of the heavy fleshy face4 ,this is entirely by ,pintoricchio1 who naturally would not leave such an important detail to any inferior hand4 ,it is in unconscious satire that the ,pope raises his clasped hands and eyes to the figure of the risen ,lord1 and that the inscription is to be read--like a sentence from the ,judgment ,seat--,i wait for my resurrection4 ,these figures1 in contrast to some of the puppet-like ones in the two preceding frescoes1 are full of life1 vivid and solid4 ,in ,the ,ascension1 painted on the archway over the window1 the figure of ,christ is the same in attitude if not in drapery4 ,the whole is feebly drawn1 and the gestures of the ,apostles show a great want of unity4 ,in this composition ,schmarsow sees an imitation of ,melozzo da ,forli1 while the heads and drapery are of the school of the ,sienese1 ,bernardino ,fungai1 and by the same hand as the prophets on the roof nearest the window4 ,illustration3 ,anderson photo ,borgia ,apartments1 ,vatican1 ,rome ,,pope ,,alexander ,,vi4 ,,adoring ,,the ,,risen ,,christ ,the ,descent of the ,holy ,spirit has suffered more than any of the frescoes from damp and restoration4 ,the scene is placed in an open field--an arbitrary action of the painter intended to give unity to the background by making it a landscape like the other spaces1 in ,pintoricchio's special manner4 ,the usual harmony of design is lacking here1 and the lower part of the scene is out of harmony with the upper4 ,we trace the ,lombard style again1 particularly on the left hand1 while some figures on the right recall the ,sienese4 ,the two inner figures of prophets on the vault are in the style of ,fiorenzo4 ,it is not likely that ,pintoricchio would himself have worked at these1 but ,perugian pupils were certainly working with him4 ,in the remaining fresco of the ,assumption1 the composition is entirely ,umbrian1 and may be compared with that in ,santa ,maria del ,popolo1 and in the ,vatican4 ,in ,st4 ,thomas1 and in the angels on the right1 ,schmarsow sees the style of ,perugino1 but that master was a protg of ,cardinal ,giuliano della ,rovere1 and at this time was busied on work for his patron2 in any case1 he would not have been likely to take service under his old pupil4 ,of course1 ,pintoricchio must have had designs by him in his possession4 ,the ,madonna in some degree recalls the much more beautiful one ,pintoricchio afterwards painted for the monks of ,monte ,oliveto4 ,but the figure which gives its artistic importance to the fresco is that of the man in black who kneels on the right of the open tomb1 facing ,st4 ,thomas4 ,this figure alone1 in grandeur and simplicity of attitude1 in intensity of expression1 in fine drawing and handling1 and in depth of colour1 would vindicate ,pintoricchio's claim to be called a great painter--taken in conjunction with the ,pope on the opposite wall1 it carries conviction of the power and the insight of the man who could produce two such diverse and striking types1 though the art that produced them may be empirical rather than scientific4 ,we do not know who this last may be4 ,there are no signs of his rank in his dress1 no cardinal's hat by his side2 but it is evident that he must have been a person of importance4 ,it is conjectured that he is ,francesco ,borgia1 the ,pope's brother1 who1 in #adic became ,bishop of ,teano1 and ,papal treasurer4#bd #bd ,e4 ,steinmann1 ,pintoricchio1 p4 #ed4 ,a wonderful softness broods over the whole decoration of this room2 the details1 elaborate as they are1 are subordinated to a quiet and restful effect4 ,all absence of violent action or emotion contributes to the impression2 the same peaceful types are repeated2 the same character of landscape3 all modifies the pictorial to the decorative effect4 ,we may notice here a feature which ,pintoricchio shares very strikingly with ,perugino--it is that feeling for restraint1 the instinct to keep all of small size and well within the picture which gives these painters such a peculiarly refined character1 especially in contrast with those who followed1 copyists of ,raphael and ,michael ,angelo4 ,everywhere in the decorative part of the rooms we see the bull's head1 the appropriate device of the savage representative of the ,house of ,borgia1 a device which the ,house--which was of ,spanish extraction--had borne since the thirteenth century4 ,the decoration is repeated over and over again1 and does not show much resource or ingenuity1 but the subdued tone of the whole is very happy and thoroughly appropriate4 ,illustration3 ,anderson photo ,borgia ,apartments1 ,vatican1 ,rome ,,figure ,,of ,,the ,,pope 7,a detail from ,pope ,alexander ,,vi4 adoring the ,risen ,christ7 ,a marble doorway surrounded by two putti bearing a shield1 leads to the ,hall of ,saints4 ,here ,pintoricchio has surpassed himself in beauty4 ,here is more varied and more lively action and better effects of grouping than we find anywhere in his work1 except in the ,sixtine ,chapel4 ,when these apartments were little known1 the ,libreria at ,siena was often quoted as the achievement on which the ,umbrian master's fame rested1 but to know him at his best we must see him here in ,rome4 ,for technique1 colour1 decoration1 and poetical feeling1 these rooms1 and especially the ,hall of ,saints1 rank higher than anything else he has left1 with the exception1 perhaps1 of the ,buffalini and ,sixtine ,chapels4 ,the legends of the saints are varied by a scene from the ,old and one from the ,new ,testament4 ,it does not appear what was the reason of this conjunction4 ,illustration3 ,alinari photo ,borgia ,apartments1 ,vatican1 ,rome ,,the ,,kneeling ,,man 7,a detail from the ,assumption of the ,virgin7 ,over the door we have ,susanna and the ,elders4 ,the middle of the composition is occupied by a splendid fountain in the style of the ,renaissance4 ,the top part1 with the child holding the dolphin1 resembles ,verrocchio's work in the courtyard of the ,palazzo ,vecchio in ,florence4 ,the fountain is placed in a little garden plot set round with palings and a rose hedge1 and the fanciful hand which painted it has filled it with animals3 a hare1 a stag lying down by the shoes which ,susanna has just slipped off1 a fawn1 white rabbits gambolling in all directions1 a monkey attached to a golden chain4 ,these are evidently painted by a real student-lover of animals4 ,in front of the fountain stands the saint1 in a clinging white robe that reminds us of the sculpture of ,agostino di ,duccio2 her feet are bare2 a heavy necklace and pendant are round her throat4 ,the two elders1 in rich robes and ,eastern turbans1 grasp her arms on either side2 but her attitude1 with her hand on the shoulder of one1 is free from violent emotion1 calm and trustful4 ,pintoricchio has seldom painted a more exquisite and poetical figure than this1 with fair head and delicately-modelled arms and hands4 ,its purity and innocence1 and the subject of the legend1 make it a strange choice for the private apartments of a ,borgia4 ,illustration3 ,anderson photo ,borgia ,apartments1 ,vatican1 ,rome ,,the ,,story ,,of ,,susanna ,in the background on the left1 the same white figure is being hurried to execution by guards in the dress of the fifteenth century1 while ,daniel1 mounted on a white horse and holding a sceptre1 intervenes in her favour4 ,on the other side1 the elders1 bound to a tree1 are stoned to death1 even a little figure of a child casting stones at them4 ,these figures show a great deal of animated action and good drawing and modelling1 and are full of life and spirit4 ,behind is a landscape in the well-known style of ,pintoricchio--the whole strongly recalling the work of ,fiorenzo4 ,bernardino here is in his most idyllic and fairy-tale vein1 and nowhere is the painting more finished2 but the very great care of detail1 carried into the most distant part1 gives too great an importance to accessories1 and damages the unity of the whole1 showing him less as a great composer than a decorator4 ,in the next fresco1 ,santa ,barbara escapes from the tower in which she had been imprisoned by her cruel father1 and in which she had built three windows in honour of the ,trinity4 ,on the left of the tower we see the great rent made by a miracle1 through which she escaped4 ,the father1 armed with a scimitar1 and shielding his eyes with his hand1 is anxiously searching for her in the wrong direction4 ,he is accompanied by two armed followers1 one of whom catches sight of her1 and1 suddenly converted1 looks longingly after her4 ,in the background the saint escapes in company with ,santa ,giulia1 and on the right her father is asking for news from a shepherd1 who1 for betraying that he has seen her1 is turned into a marble pillar and painted white to convey this idea4 ,santa ,barbara herself is a nave and charming figure1 gracefully posed1 with flying draperies and long fair hair circled with pearls4 ,her streaming locks and blowing draperies give the impression of flight and movement very successfully4 ,the whole effect is gay and fanciful4 ,the saint1 her little fair face turned up1 her hands clasped1 might be a fairy princess1 escaping from an enchanted castle1 over a sward carpeted with blossoms4 ,she makes a bright figure in effective contrast to the white-robed ,susanna4 ,the lunette opposite this is one of the happiest of the series--,the ,visit of ,st4 ,anthony to ,paul the ,hermit4 ,beneath a rough natural stone archway in which the hermitage is concealed1 its presence indicated by the bell which the hermit uses to call himself to prayers1 the two saints sit1 sharing the loaf of bread which has been brought by the faithful raven1 which flies away on the left4 ,close to ,st4 ,paul two disciples in white robes contemplate the edifying conversation1 behind ,st4 ,anthony are grouped three women1 richly dressed4 ,they advance with half-closed1 wanton eyes1 and by the little horns on their fashionably dressed hair1 their bats' wings1 and the claws peeping out from under their flowing skirts1 their demoniacal character is betrayed4 ,the last of the group1 with head thrown back and hands resting on either side of her waist1 is a very original and beautiful figure4 ,the face and hands of ,st4 ,anthony are strongly drawn and the robes finely draped4 ,in the hermit1 dressed in the legendary garment of palm leaves1 and in the very inferior figures of disciples1 the hand of an assistant may be seen4 ,the latter recall ,signorelli1 without his force and freshness4 ,illustration3 ,anderson photo ,borgia ,apartments1 ,vatican1 ,rome ,,st4 ,,anthony ,,and ,,st4 ,,paul--,,hermits ,in ,the ,visitation1 which fills the remaining space on this side1 we have one of those sweet1 home-like narrative paintings so dear to ,umbrian art4 ,the ,virgin and ,st4 ,elizabeth1 dressed in the long conventional blue and green draperies1 clasp hands in the foreground1 the ,virgin with downcast eyes1 the saint with the searching gaze prescribed by tradition4 ,behind them1 ,st4 ,joseph leans on a staff1 and a procession of children and pages follows3 a girl with graceful swathings of scarf and sleeve carries a basket of fruit upon her head1 and with a child at her feet1 is distantly reminiscent of certain figures by ,botticelli in the ,sixtine ,chapel4 ,the smiling landscape1 across which the visitors have journeyed1 is seen through a perspective of elaborately drawn and decorated arches1 on which some of those drawings of grotesque ornamentation can be discerned4 ,on the right1 in the shadows of the arcades1 is a delightful group1 one of those bits with which ,pintoricchio gives interest and charm to his compositions4 ,zacharias1 who is as yet unaware of the arrival1 leans in an angle1 absorbed in a book4 ,on the ground a group of women1 young and old1 are occupied in spinning and embroidery2 at the back another graceful figure twirls a distaff1 and a child plays with a dog on the ground in front4 ,in some of the secondary parts of the execution of this1 ,schmarsow sees the hand of ,pintoricchio's best scholar4 ,the architecture has nothing of the ,umbrian style1 but shows the hand of one to whom the ,lombard decoration1 with its terra-cotta work1 is familiar4 ,the whole of the fresco is more broadly painted1 the draperies in large1 broad folds1 the value of the landscape better kept1 more softly modulated than in any we have yet noticed4 ,illustration3 ,anderson photo ,borgia ,apartments1 ,vatican1 ,rome ,,the ,,demon ,,women 7,detail from the fresco of ,st4 ,anthony and ,st4 ,paul7 ,the light over the windows is so bad that it is almost impossible to get an adequate view of the frescoes placed there4 ,this is particularly unfortunate in the ,hall of ,saints1 for no one of the scenes is more beautiful1 more happily grouped or more full of interest than the one of ,st4 ,sebastian's martyrdom4 ,the young ,saint who1 transfixed with arrows and bound with cords1 stands at the base of a column placed against a mass of ruined brickwork on ,mount ,palatine1 is a pathetic figure1 full of calm dignity and resignation4 ,it is drawn and modelled with care and freedom1 and has a force and solidity which make us regret that ,pintoricchio did not give himself more chance by oftener painting studies from the nude4 ,the figure and drapery with some modifications seem to have been adapted from his fresco of the ,baptism of ,christ1 but he has learnt more since then1 and it stands firmer and gives a greater sense of elasticity and poise4 ,the groups of archers on either hand1 shooting at their human mark1 under the superintendence of a ,janissary in ,eastern dress1#be are full of movement and variety4 ,one draws his bow1 another is putting the arrow in the string1 another has just let fly1 while behind him a fourth in half armour shades his eyes with his hand and watches the weapon speed to the mark--a quaint1 matter-of-fact rendering of a scene of tragedy1 which deprives it of its serious character and gives it1 as ,steinmann remarks1 a social air1 as of a friendly shooting match4 #be ,in the ,british ,museum is a drawing for this figure1 attributed to ,gentile ,bellini1 about which ,i shall have more to say4 ,the scene in which the event takes place is more interestingly painted in some ways than any of the other landscapes4 ,it is easy to see that studies for it have been made upon the ,palatine itself1 where tradition has always held that ,sebastian1 who was a captain of the ,roman ,guard1 met his martyrdom4 ,the small old ,roman brickwork1 overgrown with exquisitely drawn acanthus and ivy1 is rendered with detailed care1 and broken columns stand or lie around4 ,in the background we see the half-ruined ,colosseum1 as ,sixtus ,,iv4 left it when he built the ,sixtine ,bridge from its blocks4 ,on the right is a church--it may be ,san ,giovanni e ,paolo1 or the one raised in honour of the saint himself4 ,nowhere up to this time has the beauty and the melancholy of the ,roman landscape been rendered by any artist1 and once more we feel how deeply beauty in all its forms appealed to the ,umbrian painter4 ,illustration3 ,anderson photo ,borgia ,apartments1 ,vatican1 ,rome ,,the ,,martyrdom ,,of ,,st4 ,,sebastian ,we now turn to the principal wall1 facing the window1 the most splendid of all the frescoes which ,pintoricchio has left4 ,at the foot of the great arch of ,constantine1 which is crowned with a golden bull1 ,st4 ,catherine of ,alexandria holds a theological dispute with fifty philosophers at a council convoked by the ,emperor ,maximian4 ,the only woman in the great assemblage1 the fair little figure stands before the throne of the ,emperor and illustrates the points of her arguments upon her fingers4 ,the same model has served here as for ,santa ,barbara--tradition says it was ,lucrezia herself1 the dearly-loved daughter of the ,pope--with the small delicate features and long fair hair1 which she is described by ,burckhardt as possessing4 ,the scene is laid in the usual sunny landscape4 ,old men with high caps and turbans dispute together1 potentates ride upon the scene1 pages attend their masters1 bearing their volumes for reference1 a greyhound steals forward at the feet of a squire who bears a halberd on his shoulder4 ,some are hastily searching their books as if short of arguments1 but the king's daughter is speaking on without hesitation1 as if inspired by an unerring director4 ,lucrezia was fifteen the year this was painted1 and was given in marriage to ,giovanni ,sforza4 ,full of wit and charm as she was1 the painter may have caught the idea of his composition from seeing her foremost in lively discussion among the nobles of her father's court1 but the figure and gesture is practically copied from ,masolino's of the same subject in ,san ,clemente4 ,all the evil ,lucrezia witnessed1 all the black deeds she took part in1 if history says truly1 seem to have swept over that fair head1 and when she settled down at ,pesaro with her third husband1 we gather that she was glad to leave intrigue and crime behind and to lead a comparatively peaceable1 respectable existence for the rest of her life4 ,illustration3 ,anderson photo ,borgia ,apartments1 ,vatican1 ,rome ,,the ,,dispute ,,of ,,st4 ,,catherine ,the idea of the splendour of the ,pope's court has fascinated the painter1 and round the beautiful girl1 who was its centre1 he has grouped other remarkable personages who must have struck him there4 ,the sad-eyed1 bitter-looking man in ,greek dress1 who stands on the left in the foreground1 is said to be ,andrea ,paleologos1 commonly called the ,despot of ,morea1 nephew and heir of the unfortunate ,emperor ,constantine1 under whose rule ,constantinople fell into the hands of the ,turks4 ,andrea had with his father1 taken refuge at the ,papal court some twenty years earlier2 they had brought with them a precious gift--the bones of ,st4 ,andrew--and the hospitality of successive ,popes had been extended to them4 ,andrea could never forget his former grandeur or reconcile himself to his position1 though1 as he made profit out of his hereditary rights in many petty ways1 he was held in little repute4 ,certainly the resentful1 brooding expression1 the isolated air1 accords well with the descriptions of the disappointed1 disinherited man1 standing silent and moody while the gay court of the ,renaissance is unheeding of him4 ,this interesting attribution is now questioned by some authorities4 ,illustration3 ,anderson photo ,borgia ,apartments1 ,vatican1 ,rome ,,st4 ,,catherine 7,a detail from the ,dispute of ,st4 ,catherine7 ,in the ,british ,museum are drawings of a ,turk and a ,turkish woman1 both seated cross-legged4 ,the drawing of the man serves for the ,janissary in the ,martyrdom of ,st4 ,sebastian1 reversed1 and the arm slightly altered4 ,at ,frankfort is a drawing of an ,albanian1 and also the one from which the alleged portrait of the ,despot of ,morea is taken4 ,in the ,louvre are two drawings of ,turks and one of a ,turkish woman4 ,here we find the ,turk standing on the ,emperor's left hand1 and supposed to be the ,sultan ,djem4 ,all these drawings appear to be by the same hand and done at the same time--alike in size and style4 ,the two in the ,british ,museum have been ascribed to ,gentile ,bellini1 and are believed to have been sketches made by him in ,constantinople4 ,they have all the appearance of being from life4 ,there are touches of reality in the under-robe of the ,turk1 the wrinkles in his face and the muscles of the neck1 which entirely disappear when the sketch is transferred to the plaster wall4 ,the question then arises1 ,did ,pintoricchio transfer drawings by ,bellini straight into his fresco1 or can we entertain the opinion advanced by ,signor ,a4 ,venturi1 that the drawings are not by ,bellini at all1 but by ,pintoricchio himself8#bf #bf ,l',arte1 vol4 i4 p4 #cb4 ,the ,sultan ,djem no doubt had a suite which included women1 and ,pintoricchio would have had no difficulty in finding models4 ,we can hardly doubt1 apart from tradition1 that the painter did intend the very prominent ,greek in his fresco to represent ,paleologos1 who would so obviously balance the other distinguished refugee at the opposite corner2 but if so1 why copy an old drawing of thirteen years earlier1 when it was essential to secure a portrait1 and when ,paleologos himself was always about the court8 ,the same remark holds good of the drawing of the ,turks4 ,with so many ,turks in ,rome in #adic1 and all the town wild about them1 is it probable that ,pintoricchio should have had recourse for them to old drawings by ,bellini8 ,on the other hand1 the style of the drawings has no resemblance whatever to that of ,pintoricchio1 though ,i cannot see much more to ,gentile ,bellini4 ,i am inclined to think that the attribution to this last is an arbitrary one1 and arises from his having been known to have visited the ,east1 but that the drawings were supplied to ,pintoricchio by a third person unknown1 probably one of his assistants1 whom he commissioned to procure sketches4 ,illustration3 ,anderson photo ,borgia ,apartments1 ,vatican1 ,rome ,,group ,,of ,,heads 7,a detail from the ,dispute of ,st4 ,catherine7 ,the figure on the ,emperor's left1 in ,turkish dress1 has usually been taken for ,prince ,djem1 the younger son of the ,sultan ,mahommed ,,ii41 but as it is on record that ,djem closely resembled his father1 and as we have an excellent likeness of the latter in ,gentile ,bellini's famous portrait 7now in ,lady ,layard's possession71 we are able to identify ,djem in the much more striking personage1 the fierce and stately prince on horseback on the extreme right4 ,it was as a hostage that ,innocent ,,viii4 brought him to ,rome in #adhi4 ,we have plenty of evidence of how el ,gran ,turco struck the fancy of the ,romans4 ,all the ,chronicles of the time1 the letters and diaries of ,ambassadors1 are full of descriptions of his dress and person1 and of the gay hunting parties which the ,pope used to give in his honour4 ,mantegna has left a graphic description of his appearance in a letter written from ,rome in #adhe1 in which he speaks of his fierce aspect1 his wonderful seat on a horse1 and his turban made of thirty thousand ells of fine linen4 ,we can guess that the ,turks made a great impression on ,pintoricchio1 for he brings them in again to his frescoes fifteen years later at ,siena4 ,the ,emperor has been said to be a portrait of ,csar ,borgia2 but as he was only eighteen or nineteen at the time1 this seems impossible4 ,the young man on horseback on the right1 tradition names as ,giovanni ,sforza1 who was about twenty4 ,here1 too1 is another portrait1 less splendid but as notable as any4 ,in the corner on our left may be seen the slim form and thin dark face1 sensitive and observant1 of the little painter himself1 and by his side a man with a shrewd1 firm face1 with a grand gold chain round his shoulders and holding an architect's square in his hand4 ,this is no doubt one of the sculptors or decorators of the rooms4 ,it may be ,bramante1 or the elder ,san ,gallo1 or ,andrea ,bregno1 that conjuror in marble4 ,the ceiling in this room is a marvel of richly-gilt and embossed stucco1 mingled with painting4 ,the eight large triangular spaces between the bars of framework illustrate the myth of ,osiris and ,isis which1 with its history of the deification of the bull1 appropriately symbolises the exaltation of the ,house of ,borgia4 ,the young ,king ,osiris1 having conquered ,egypt1 ploughs the land with bulls and teaches the ,egyptian to plant orchards and vineyards4 ,the peace and prosperity of his rule is crowned by his marriage with ,isis4 ,warriors pile their useless armour and children play around their knees4 ,in this segment one particularly delightful putto is riding astride of a swan1 the original for which1 in marble1 had been among the recent discoveries of antiques4 ,as the history proceeds1 the wicked brother raises the ,egyptians in mutiny and ,isis finds the remains of her murdered husband4 ,isis is a graceful fantastic figure1 with swathing draperies1 and the cut-up hands and legs of the unfortunate ,osiris are disposed about the ground with a very nave effect4 ,then we have his burial1 wrapped in cloth of gold--the pyramid erected to him1 and his apparition deified in the form of the famous bull ,apis1 ending with a procession and the bull borne in triumph4 ,the intervals are lavishly filled in with grotesques1 which are here very marked in character4 ,it is curious to note ,pintoricchio's study of the antique1 the classic armour1 and the mythical histories in the small tondi on the wide cross architrave--,mercury soothing ,argus to sleep1 and then slaying him at ,jove's command4 ,jove seizing ,io1 and obtaining possession of the cow into which her friend was transformed4 ,the design of the principal subjects is in ,pintoricchio's style and full of fancy and invention1 but the execution would seem to have been entrusted to assistants1 apparently to the same hand which worked on the archers round ,st4 ,sebastian and in parts of the ,susanna4 ,,chapter ,,vi ,,the ,,borgia ,,apartments--,,castel ,,sant' ,,angelo ,as he passed through the doorway which leads into the ,hall of the ,arts and ,sciences1 ,pintoricchio found above his head a narrow space to decorate1 and his thoughts must have flown back to the over-door of the old ,council chamber in ,perugia and the fresco which years before he had watched his whilom master1 ,fiorenzo1 place there1 and perhaps had helped him to execute4 ,some sketch of that group must have been beside him1 for we have it reproduced in this ,madonna and ,child4 ,the dress and attitude of the ,mother are almost identical1 though the original is refined upon1 and in technique and beauty of expression this is one of the most satisfactory of all his works4 ,the ,mother1 holding an open book1 in which the ,child reads1 is reminiscent of that earlier painting sent to ,xativ1 but ,mary1 gazing out of the picture with wide eyes full of light1 and delicate1 half-satirical mouth1 has the individuality of a portrait4 ,the ,child is a very real little boy2 ,he stands on a cushion1 dressed in a little tunic1 poring with pretty baby wisdom over ,his task1 so natural and so busy1 ,he adds one more to a long list of triumphs in a branch of art in which up to this time ,pintoricchio had few rivals4 ,this picture started ,vasari on a fable that it was a portrait of ,giulia ,farnese and her child1 with the ,pope kneeling as donor1 but there is no trace of a third person4 ,he may have confused it with the ,xativ panel4 ,illustration3 ,anderson photo ,borgia ,apartments1 ,vatican1 ,rome ,,general ,,view ,,of ,,the ,,hall ,,of ,,liberal ,,arts ,,and ,,sciences ,in this room ,pintoricchio bestows great attention upon the children1 in the painting of which some of his greatest successes were scored4 ,earlier masters had neglected this feature of art--very few up to this time had given us any real idea of childish beauty4 ,we have1 to be sure1 the sweet little creations of ,fra ,angelico1 and some beautiful children of ,filippino ,lippi1 ,botticelli1 and ,ghirlandaio1 but the art of using lovely putti with a half-decorative effect in painting belonged chiefly to ,north ,italy1 and was perfected by ,carpaccio1 ,alvise ,vivarini1 and ,giovanni ,bellini4 ,indeed1 when we look at some of the examples in these rooms of children supporting armorial bearings and drawing back heavy curtains1 we are reminded of the very same motif in a group painted by ,mantegna1 thirty years earlier in the ,chapel at ,padua1 where children stand on each side of a shield1 and we recollect that that master was shortly before this in ,rome4 ,whether ,pintoricchio was indebted to ,mantegna for a design or not1 in himself he was a true child-lover1 far superior in this respect to ,perugino1 whose fat1 smug infants are sometimes quite repellent4 ,he painted no inspired1 supernatural beings1 but round1 healthy babies1 full of roguish charm4 ,the whole ceiling in this room is soft and restful in character1 the pattern is mechanical1 but the form and spacing of the great octagon and the ingenuity of the divisions of the architraves complete a thoroughly harmonious effect4 ,the ,borgia crest re-appears with inevitable monotony4 ,the coat-of-arms shines from the centre of radiating sun rays1 and upon a dark blue ground4 ,at either end of the vault great white bulls approach an altar1 where they are received by charming putti with trumpet blasts of triumph4 ,the whole is so blended and subdued that though each detail is full of the beauty of nature1 it is yet perfect1 looked at as mere decoration4 ,in the ,spanish ,chapel in ,florence 7which ,pintoricchio had never1 as far as we know1 seen71 in the ,castles of ,urbino and ,bracciano1 among other places1 from ,giotto down to the followers of ,raphael1 the arts and sciences had been a favourite theme treated by his forerunners4 ,here they have some slight resemblance to the series painted under the superintendence of ,melozzo for the ,duke of ,montefeltro1 two of which are now in the ,national ,gallery4 ,they are like enough to make us think that ,pintoricchio had seen them or had their description1 and in accepting and enlarging on the suggestion1 he has in this room achieved a remarkable series4 ,in the preceding chambers his task has been one of comparatively little difficulty4 ,the well-known sacred histories asked no great flight of fancy1 originality was unnecessary and they were naturally rich in incident and detail4 ,the scenes from the lives of the saints lend themselves easily to dramatic effect and allow of every sort of accessory4 ,but in this room1 which ,steinmann suggests was ,pope ,alexander's study1 each of the seven spaces has for its prevailing object of interest the single figure of a woman1 and relief from monotony depends upon the appropriate figures grouped around4 ,each of the emblematical forms sits upon a throne1 with a stiff1 architectural back1#bg from several of which winged putti are drawing back heavy curtains1 and about the steps are gathered philosophers and disciples of the art or science4 ,beyond1 a softly-tinted landscape is detached against a blue and gold embossed firmament4 ,over the whole broods an idyllic peace4 ,calm1 serene beings are absorbed in culture and the pursuit of knowledge1 contemplative and thoughtful1 almost as far removed as the saints from the worldly plotting and fierce intrigues which are carried on under their unimpassioned eyes4 ,unfortunately this beautiful hall has suffered more than any other1 and several of the frescoes are almost destroyed by damp and restoration4 #bg ,these thrones1 each with a single figure1 resemble the ones in the series of ,virtues painted by ,pollaiuolo and ,botticelli for ,lorenzo dei ,medici4 ,pintoricchio may have had a description of these4 ,rhetoric holds a sword to show the power with which she is able to pierce hearts1 and a globe1 perhaps to suggest the far-reaching extent of that power4 ,these emblems are repeated in the hands of the putti on either side of the steps4 ,on the right of the throne a priest1 perhaps a portrait1 though not a highly individual one1 holds a purse2 an old philosopher reading on the left may be meant for ,cicero1 who would not be left out of such a composition1 while grey-bearded teachers argue with richly-dressed young disciples4 ,on the steps is the name ,,pentoricchio1 but except the principal figure1 the work was probably divided among scholars4 ,in ,rhetoric herself1 and in the old man on the left1 in the folds of the mantles1 and in the attendant putti there is some likeness to ,perugino1 but this master was fully employed at the end of #adib by ,giuliano della ,rovere1 and would have been most unlikely to take service with ,giuliano's hated rival1 even if he would have consented to work in a subordinate character4 ,pintoricchio's sketch-books must have been full of studies from him1 and in beginning a new essay he would probably have had recourse to these1 trusting more as he went on to his own initiative4 ,illustration3 ,anderson photo ,borgia ,apartments1 ,vatican1 ,rome ,,the ,,madonna ,,and ,,child1 ,,with ,,angels ,geometry holds her square and compasses1 and the inventor1 the bald-headed ,euclid1 sits at her feet1 engaged in drawing a diagram4 ,on the left1 in the corner1 is a youth who has evidently painted his own portrait in a looking-glass4 ,the cloak of ,geometry and the red dress of ,euclid show the hand of a pupil of ,fiorenzo1 but none of the attendant figures nor the landscape have much trace of ,pintoricchio's own work1 though ,schmarsow allots to him besides the figure of ,geometry1 the turbaned man on her right1 the youth standing by him1 and the one at the edge of the group4 ,none of the seven sisters is so beautiful as ,arithmetic4 ,here ,pintoricchio trusts in his own inspiration1 and we have a finely-drawn head with all his freshness of pose and expression4 ,this dreamy face1 with its transparent veil half covering the flowing hair1 the gold embossed robe1 over-sleeves1 mantle hanging in very softly accentuated folds1 and the beautifully proportioned figures standing by1 have a larger share than almost any other of the lunettes of the master's hand1 and here1 more than in any1 we have the many coloured garments1 rich pinks1 harmonious greens1 that ,pintoricchio loved4 ,the light and shade in this and the preceding group is massed with an eye to effect which is quite absent from the rest4 ,music is in some respects the most beautiful group of all1 though the principal figure can hardly compare with that of ,arithmetic4 ,this again is strongly reminiscent of ,perugino4 ,with drooped eyelids the symbolic sister daintily plays a violin2 of four beautiful putti1 two hold back the splendid dark green curtain1 and two play the flute at ,music's feet4 ,two old men are grouped together with ,tubal ,cain1 who1 as in the ,spanish ,chapel1 forges musical instruments and keeps time with his swinging hammer4 ,on the left is a charming group of boys--one playing the harp1 another singing1 a third1 in rich dark robe and a student's cap upon his square out-flowing locks1 touches a lute4 ,in the spontaneity and unity that runs through all these figures1 the suggestion of music and the sense of pleasure in it is rendered as in few other paintings of the ,renaissance4 ,we almost hear the strain1 soft1 fresh1 heart-stirring1 given without exaggeration or self-consciousness1 to which the little putti above seem to lean and listen1 and we feel little doubt that this1 the most lovingly painted1 the most homogeneous of all the scenes1 was painted entirely1 or almost entirely1 by ,pintoricchio himself4 ,illustration3 ,anderson photo ,borgia ,apartments1 ,vatican1 ,rome ,,figure ,,representing ,,arithmetic ,astrology is the most damaged of any4 ,the principal figure1 which has been badly restored1 must at any time have been entirely unworthy of the ,umbrian master4 ,the four putti1 holding wands tipped with heavenly bodies1 are much heavier and less dainty than his children4 ,the groups at the sides1 in one of which is a figure intended for ,ptolemy1 have no connection with the presiding patroness4 ,that on the left1 which is far the best1 has1 however1 some admirable figures1 ,umbrian in character1 and due to a pupil of ,pintoricchio1 who was thoroughly imbued with his master's spirit1 and probably working straight from his sketches--indeed1 a careful comparison of the hair and drapery of the youth who stands foremost1 with extended arm1 and holds an astral globe in the other hand1 and the kneeling saint in the ,assumption1 of the ,hall of ,mysteries1 may persuade us that ,pintoricchio is himself responsible for this delightful figure4 ,the figures of ,grammar and ,dialectics in the following scenes are so much retouched that we can hardly tell what they were like originally1 but we may feel almost certain that no part of them is by ,pintoricchio4 ,the architecture of the thrones differs too4 ,we surmise that this room1 the last of the series actually occupied by the ,pope1 was finished hurriedly1 and that this accounts for the very marked falling off in the quality of the work of the last three scenes4 ,the arch and the five octagons here are entirely repainted2 they refer to the virtue of ,justice1 who holds the sword and balance4 ,the others are sacred or legendary scenes4 ,the period of their wholesale restoration can be judged by a dragon at the side of the central octagon1 which we take to be the crest of ,buoncompagni1 and therefore of the time of ,gregory ,,xiii4 ,the most beautiful decorative figures in the entire range of rooms are the three full-length angels who support the ,borgia scutcheon surmounted by the keys and tiara1 set in a stucco frame between ,rhetoric and ,geometry4 ,in freedom of gesture1 grace of flying drapery1 and excellence of drawing1 they must be ascribed to ,pintoricchio himself1 and may be compared with those he has executed in the ,buffalini ,chapel4 ,illustration3 ,anderson photo ,borgia ,apartments1 ,vatican1 ,rome ,,figure ,,representing ,,music ,the two following halls1 which were those by which persons who had had audience of the ,pope withdrew1 are alike in architecture1 and quite different from the rest4 ,large1 and much more simply decorated1 with high raised window seats2 the first has a ceiling painted with patterns and grotesques 7which here become much more decided in style71 and has a frieze of twelve half-length figures of apostles and prophets arranged in pairs1 the apostles holding scrolls bearing a sentence of the ,creed1 the prophets' scrolls inscribed with prophetic sayings4 ,according to a medival legend1 each apostle1 before proceeding to evangelise the world1 composed a sentence of the ,creed1 and to each here is assigned his traditionary verse4 ,the painter has used a late book of the sibyls1 those interesting1 legendary figures to whose traditionary sayings so much importance was attached by the early ,church1 and who were revived in the art of the ,renaissance1 with other classic myths4 ,twelve are given1 and all the prophecies1 composed by the early ,church1 refer to the birth of the ,redeemer4 ,the ribbon upon which the oracle is inscribed was traditionary with the painters of the fourteenth and fifteenth centuries1 and ,pintoricchio1 like most of the ,umbrian painters1 was particularly attached to this decorative accessory4 ,he uses it freely in the ,belvedere1 in ,santa ,maria del ,popolo1 and at ,spello4 ,the figures in these two rooms are much restored1 and the whole style is inferior and has an antiquated and archaic effect1 which has been commented upon by every writer from the time of ,taja4 ,at the same time1 there are certain of the sibyls1 that of ,delphi1 and she of ,europa1 where we recognise ,pintoricchio's special supervision in the head-dresses1 the gestures1 and the peculiar tricks of drapery4 ,crowe and ,cavalcaselle have attributed some of this work to ,peruzzi1 who1 however1 was only a boy of thirteen at this time1 but ,vasari speaks of a ,volterrean named ,pietro d',andrea1 who spent most of his time in ,rome1 where he was working at some things in the palace of ,alexander ,borgia4 ,messer ,pietro d',andrea of ,volterra was the master of ,peruzzi1 and there is sufficient likeness to ,peruzzi's style to give strong assurance that we have here the hand of his teacher4 ,schmarsow sees in part the hand of a ,sienese1 but whoever may have been concerned in the execution1 the whole must have been sketched out by ,pintoricchio1 and is in harmony with the rest of the suite4 ,in the window recesses of the ,hall of the ,creed1 the decorations show no falling off in originality4 ,dolphins1 masks1 satyrs1 flying loves1 candelabra1 and garlands are used with astonishing resource and variety4 ,on the ceiling of the ,hall of ,sibyls are emblematical groups of the planets1 with gods and goddesses driving triumphal cars1 which remind us of ,perugino's rendering some years later on the ceiling of the ,cambio4 ,nowhere can ,pintoricchio's special merits and failings be better studied than in this long and brilliant range of rooms4 ,in detail it is easy to discern the many shortcomings4 ,he has little feeling for line2 he has never made a study of planes and masses2 his personages stand about at haphazard1 and often fail to belong to each other or to the events going on near them4 ,there is hardly a subservient figure in any one of the scenes which would be missed if it were blotted out1 or which is essential to the balance of line or colour4 ,the distant objects are often as full in tone as the foreground2 nowhere does the spirit of the composition rise into the sublime4 ,on the other hand1 the painter never forgets the purpose that has brought him here4 ,with a self-restraint and a feeling for effect which are unerring1 he hits upon the exact size1 and keeps his compositions strictly within the picture and at the right distance from the eye4 ,raphael's splendid creations in the stanze suffer because of their vastness of conception and execution compared to the narrow and inadequate space from which we view them4 ,we go back from them as far as we are able1 feeling as if their position must be but a temporary one4 ,we long to see them in a freer air4 ,their space seems to annihilate us1 their thought is overwhelming and insistent4 ,pintoricchio's frescoes are a rich yet unobtrusive setting1 they do not compel your attention1 but only give the impression of a refined splendour of surrounding and a marvellous insight into beautiful harmony of colour4 ,the effect of the light has been so nicely calculated that even when freshly executed1 the walls would not have been over-brilliant for the brilliant scenes to which they formed a background4 ,on the charm of single groups and figures ,i have already enlarged1 but one other feature strikes us forcibly--i4e4 the power possessed by the master to employ so many assistant hands of varying schools and to so parcel out the work1 keep the individuality of each so subservient and so impress his own style and purpose1 that from end to end1 although we can distinguish the various hands at work1 it is only faintly and doubtfully1 never so as to jar upon our sense of unity4 ,we receive no shock as we pass from room to room1 the direction of one mind runs through the whole1 everywhere we are aware of the vigilant and sensitive grasp of the master's hand upon his tools1 and allowing for all the shortcomings of detail1 we cannot but feel that we have here an enviable monument for a painter to leave behind him4 ,alexander ,borgia had no time to enjoy his freshly completed apartments4 ,pintoricchio must have been lingering over the last touches when1 in the autumn of #adid1 rumours of trouble from foreign foes reached ,rome4 ,in ,september #adid ,charles ,,viii4 of ,france invaded ,italy4 ,the ,colonna and the ,savelli1 whom he had taken into his pay1 were threatening the ,eternal ,city from ,frascati4 ,their intention was to take it by assault1 make the ,pope a prisoner1 and seize ,djem1 the ,mahometan prince4 ,the ,pope was filled with terror as ,ostia surrendered to the allies of ,france1 and a portion of ,charles's fleet appeared at the mouth of the ,tiber4 ,charles himself was advancing through ,tuscany1 accompanied by ,cardinal ,giuliano della ,rovere1 and a proposal was discussed to deprive the ,pope1 whose crimes had become notorious1 of his power4 ,alexander began to make plans for the defence of the city4 ,he assembled what troops he could muster1 and garrisoned and provisioned the ,castel ,sant' ,angelo4 ,on ,december #ahth1 all the furniture and valuables were packed1 and as ,charles continued to advance1 meeting with more welcome than resistance1 the treasures of the ,vatican were sent to the old ,roman fortress4 ,the ,pope presently made a treaty with ,charles1 allowing him a free passage to ,naples with his army1 and permitting his entry into ,rome4 ,charles entered with a magnificent army1 while the ,pope with his small force sat trembling in the ,vatican4 ,in ,january #adie1 the ,pope1 terrified by the violence of the ,french troops1 left his splendid painted suite in the ,vatican and shut himself up in ,sant' ,angelo1 where he remained while the ,french army sacked the city4 ,finally1 a treaty was concluded by which ,alexander ceded many of his possessions1 and surrendered ,prince ,djem1 while the king promised to recognise him as ,pope1 and to defend his rights1 thus delivering him from his most imminent danger4 ,the meeting of the ,pope and king was arranged to take place1 as if by accident1 in the garden of the fortress4 ,charles knelt1 and ,alexander embraced him4 ,the ,pope bestowed the ,cardinal's hat on ,brionnet1 a favourite of the king4 ,on ,january #aith a ,consistory was held1 at which the king kissed the hand and foot of the ,vicar of ,christ1 and did that formal homage which he had hitherto refused to render4 ,alexander celebrated a solemn ,mass of reconciliation in ,st4 ,peter's1 and the king acted as thurifer4 ,on ,january #abth1 the red hat was given to another noble of ,france1 and on the #beth1 the ,pope1 accompanied by ,prince ,djem1 rode with the king in a public procession through ,rome1 upon which ,charles departed1 bent on the conquest of ,naples4 ,having accomplished this1 he was back in ,rome in ,june1 upon which ,alexander fled to ,orvieto and ,perugia1 probably taking ,pintoricchio in his train4 ,charles's policy having taken him to the north of ,italy by the end of ,june1 ,alexander returned to ,rome1 where he now1 hearing of the defeat of the ,french troops in ,lombardy1 found courage to denounce the king4 ,in #adig the rooms of the upper storey of ,sant' ,angelo1 which ,alexander at this time strongly fortified1 were destroyed by an explosion of powder4 ,they were rebuilt as quickly as possible1 and the time of danger being over1 ,pintoricchio was again called for to immortalise the events of the last two years4 ,there is no doubt 7says ,gregorovius7 that ,pintoricchio was in ,rome at the time of ,charles's entry1 and was an eyewitness of that and other stirring scenes4#bh ,vasari says#bi that ,pintoricchio painted a number of rooms in the ,castel ,sant' ,angelo1 with grotesques1 but the little tower in the garden was adorned with the history of ,pope ,alexander1 and there could be descried ,isabella1 the ,catholic ,queen1 ,niccolo ,orsino1 ,count of ,pitigliano1 ,gianiacomo ,trivulzio1 and many other relatives and friends of the ,pope1 and in particular1 ,csar ,borgia1 with his brother and sister1 and many celebrated persons of the time4 ,the garden tower has been pulled down1 and in the upper rooms only a fragment of decoration remains1 a shield supported by children in ,pintoricchio's favourite manner4 ,we are1 however1 indebted to ,lorenzo ,behaim1 who for twenty-two years was the ,pope's major-domo1 for a list of the subjects painted in the pleasure house4#cj #bh ,gregorovius1 vol4 viii4 part ii4 p4 #gbe4 #bi ,vasari1 vol4 iii4 p4 #ejj4 #cj ,gregorovius4 ,lucrezia ,borgia1 pp4 #abg1 #abh4 ,the whole story of the ,french king's entry into the capital was made to redound to the glory of the ,pope4 ,charles was represented kneeling at his feet1 taking the oath1 serving at ,mass4 ,the ,pope was shown investing the ,french ecclesiastics with the ,cardinal's hat4 ,in a procession to ,san ,paolo1 the king stood at the ,pope's bridle rein1 and the final scene showed the departure for ,naples1 accompanied by the ,sultan ,djem4 ,in comparing these in our mind with the frescoes in the ,library of ,siena1 painted a few years later1 it is possible to imagine what ,pintoricchio would have made of these very similar themes4 ,here1 as there1 there is an endowment of the red hat1 a ,consistory1 an act of homage to the enthroned ,pope1 and a gay procession4 ,in the ,louvre is a drawing of ,pintoricchio's of three pages leaning on halberds1 which may be part of the design for one of these frescoes4 ,djem he would have brought in again1 as he depicted him in the ,borgia ,apartments4 ,the number of contemporary portraits would have made this second great piece of work executed for the ,borgia ,pope of surpassing interest to historians4 ,,chapter ,,vii ,,spello ,in the beginning of #aeja ,pintoricchio left ,perugia and went off to ,spello1 the little town eighteen miles to the south of it4 ,here the prior of the chapel of the college1 ,troilo ,baglioni1 a son of the proudest house in ,perugia1 had lately been created a bishop2 and1 naturally enough1 when he wished to decorate his cathedral1 he sent for the painter of his native city1 who had by now made himself so famous a name4 ,this little chapel in ,santa ,maria ,maggiore at ,spello is dark and damp enough1 but in its decay it is still possible to divine something of its whilom beauty4 ,as ,pintoricchio planned his designs for it1 we can see that his mind was still running on the rich work he had left in ,rome two years before1 and again and again he has adapted ideas from the ,borgia ,apartments1 suiting them1 with his own delicate judgment1 to the smaller position and to the provincial situation4 ,so cleverly has he managed1 that the narrow chapel gains air and space and outlook1 and even in its dim ruin we have an instant sense of life going on all round us4 ,he has here used the airy architectural surroundings which he had so happily dwelt upon in the ,buffalini ,chapel1 with the result that his work gains greatly in aerial space1 it acquires a freshness and a refinement which is well adapted to the country district in which it is placed1 and we lose that sense1 which almost oppresses us amid all the fascination of the ,borgia rooms1 of being shut into a succession of gorgeously-jewelled caskets4 ,in triangles1 formed in the roof by heavy borders of grotesques1 ,pintoricchio has placed four sibyls1 ,erythrean1 ,european1 ,tiburtine1 and ,samian4 ,each sits in a carved niche1 on a throne with raised steps2 the same thrones1 on a smaller scale1 as those in the chamber of the ,arts and ,sciences in ,rome4 ,books1 open or clasped1 lie about the steps2 at each end of the thrones are erected altars1 inscribed with the mystic sayings of the inspired women4 ,the sibyls themselves1 as they read or write or look upwards in an ecstasy1 are much more elaborate in dress and fashion of hair than the symbolical figures in the ,vatican4 ,in style1 they approach more nearly to the sibyls afterwards painted in the choir of ,santa ,maria del ,popolo1 or to the personages in the ,library at ,siena4 ,the three walls of the little side chapel are filled by paintings of the ,annunciation1 the ,nativity1 and ,christ disputing with the ,doctors4 ,from the inscription on the ,annunciation1 recording the finishing of the chapel1 we gather that the painter began at the opposite side1 with the ,dispute4 ,he places this scene in the courtyard of the temple1 a ,bramante-like building of rather clumsy proportions1 which fills the background1 and has a niche on either side1 with statues of ,flora and ,minerva4 ,the group in the foreground suggests that ,pintoricchio is still full of recollections of the ,dispute of ,st4 ,catherine1 and is dwelling on the contrast he there emphasised between the fragile champion and the old philosophers4 ,the ,child is checking ,his arguments on ,his fingers in the same way1 the doctors press around him in ,eastern caps and turbans4 ,on the extreme left an austere dignitary in dark robe and biretta can be no other than the bishop1 ,troilo ,baglioni himself4 ,the books of the learned men are thrown upon the ground1 as they listen to the ,child's wisdom4 ,raphael has used the same incident in his ,disput4 ,on the right1 ,joseph and ,mary hurry forward1 but she checks her husband's impatience with her hand upon his girdle2 behind ,mary are several women1 in whose heads we recognise models used in the ,burial of ,st4 ,bernardino1 strong profiles1 of which he must have had the sketches by him4 ,in the ,nativity1 which occupies the inner wall1 and which is sadly ruined by the damp and decay1 ,pintoricchio shakes off his ,roman manner1 and returns to the purely ,umbrian style and to the influence of ,fiorenzo di ,lorenzo4 ,this must have been one of the most charming of all his frescoes4 ,the distance stretches away1 soft and harmonious1 the towers and spires of the little town of ,spello nestle into the blue hillside1 a choir of angels which seems to have been transplanted from a panel of ,fiorenzo's stands upon the clouds above1 and at the angels' feet rise the ,tree of ,knowledge and the ,tree of ,life1 with their branches touching the sky4 ,the stable is represented by a lofty1 classic porch1 on the roof of which sits a peacock1 ,juno's bird1 which ,christian tradition had transferred to ,mary1 as the ,queen of ,heaven4 ,two beams have fallen in front of it1 into the form of a cross4 ,midway advances the procession of the kings1 winding down a mountain path1 and grouped about its foot4 ,all these serve as background to the sacred group with the shepherds1 which is placed very low down1 quite at the edge of the picture4 ,pintoricchio has shown a want of proportion between the different figures of his principal group1 but otherwise they are excellent4 ,the ,virgin's is one of his most lovely and delicate faces4 ,fortunately it is uninjured1 and no print can give adequately its tender beauty1 above the rose and blue and deep green of the gold embroidered draperies4 ,joseph stands behind1 raising his hands in adoring wonder2 behind him1 on the ground1 lies such a packsaddle as is still used in ,italy4 ,the shepherds--peasants from the ,umbrian hills--kneel in deep devotion1 one holds his humble offering of a basket of eggs4 ,the ,child and ,mother and the general arrangement of the landscape recall the little altar-piece in ,santa ,maria del ,popolo1 but the whole effect is much more beautiful1 since the painter has awakened to the realisation of far-reaching space4 ,illustration3 ,alinari photo ,sta4 ,maria ,maggiore1 ,spello ,,the ,,adoration ,,of ,,the ,,shepherds ,the ,annunciation has the same advantage over the otherwise not dissimilar one in the ,borgia ,hall of ,mysteries4 ,the angel is almost identical2 the ,virgin1 standing at her reading-desk and shrinking backwards1 has all the nave charm of the school of ,fiorenzo4 ,the great ,renaissance hall stretches far behind1 and beyond the perspective of stately columns we see a gay little view set in the archway3 a scene at the city gates1 wayfarers arriving at the inn outside the walls1 a table with a white cloth spread1 a dog jumping up1--,pintoricchio's favourite greyhound1--horsemen riding on through the gateway1 a well1 and a woman coming to draw water4 ,the grotesques upon the pilasters are carefully drawn1 but roughly painted1 and the shadows hatched in4 ,it is in this fresco1 under the little prie-dieu at the side1 that ,pintoricchio has drawn his own portrait1 which almost startles us as we catch the life-like blink of its eyes1 as it looks out from among the conventionalised saints4 ,a coral rosary and the painter's brushes are painted below1 and the label1 ,,bernardino ,,pictoricus ,,perusinus4 ,perugino1 a few miles off1 was working at the ,hall of ,exchange1 and one of the artists evidently took the idea from the other of painting the head in this way instead of introducing himself after the more usual fashion as a spectator4 ,a short distance from the town lies the little church of ,san ,girolamo1 where one is shown as ,pintoricchio's a ,sposalizio and a ,nativity4 ,the first cannot be his4 ,it is a very poor little fresco1 without any indications even of his influence1 and more probably by some obscure follower of ,perugino or ,lo ,spagna4 ,the arrangement of heads of the group of maidens standing behind ,mary has either been taken from1 or suggested by1 that in ,raphael's ,sposalizio4 ,in the ,presepio1 which is on the wall of the cloister chapel 7which has since been used as an outhouse71 ruined as it is1 we are better able to trace the master's hand4 ,the ,madonna's head is adorned with a twisted veil1 and a light scarf is drawn across the breast and arranged in the same way as in the fresco over the door of the ,borgia room 7,no4 ,,iii474 ,the heads are all drawn with delicacy and decision1 and even now we can trace original1 sharp1 precise touches4 ,the man behind with the lamb on his shoulders is in ,pintoricchio's simpler and earlier manner--a good sketch straight from the model4 ,the angels on the clouds kneel stiffly1 and the whole gives the impression of a very early work1 which has been copied in some details for the later ,adoration of the ,shepherds in the ,baglioni ,chapel4 ,the landscape1 though much destroyed1 still retains his characteristics4 ,illustration3 ,alinari photo ,sta4 ,maria ,maggiore1 ,spello ,,the ,,annunciation3 ,,with ,,portrait ,,of ,,the ,,artist ,the frescoes at ,spoleto have been covered up for some years1 as the chapel of the ,duomo in which they are is undergoing restoration4 ,they are described as ruined representations of a ,madonna and ,saints1 ,god the ,father1 and a ,dead ,christ4 ,vasari does not speak of any of the frescoes at ,spello1 nor are they noticed by ,pascoli and his contemporaries1 while ,mariotti and ,orsini1 in the eighteenth century1 say very little about them--,vermiglioli and ,adamo ,rossi first give a full account of them4 ,illustration3 ,alinari photo ,sta4 ,maria ,maggiore1 ,spello ,,portrait ,,of ,,pintoricchio ,,chapter ,,viii ,,siena ,,and ,,the ,,last ,,of ,,rome ,few painters of the fifteenth century had received so great a share of ,roman patronage as ,pintoricchio1 and the favour now shown him1 which changed the whole of his life1 came from a ,cardinal who had doubtless become familiar with his ,roman work4 ,nearly fifty years earlier1 neas ,sylvius ,piccolomini1 son of a noble but impoverished house of ,siena1 had been created ,pope by the title of ,pius ,,ii4 ,before his elevation he had led a life full of stirring events--in his rise to greatness he had reinstated his exiled family and restored it to wealth and honour4 neas was a man of unbounded ambition1 and not always scrupulous in the means by which he obtained advancement1 but he seems to have been a man of affectionate character and charming personality1 his learning was deep and his taste highly cultivated2 on the whole1 he was honest and upright1 while he was truly enthusiastic in his efforts to uphold the liberties of ,christendom in the ,east against the dreaded advances of the ,moslem4 ,it is no wonder that his own family regarded him as a saint and hero4 ,his nephew1 ,francesco ,piccolomini1 whom he had made ,cardinal1 and who eventually became ,pope ,pius ,,iii41 decided1 some forty-eight years after his uncle's death1 to erect a great family memorial to him4 ,in #adie he had built the rich chapel of ,st4 ,john in the nave of ,siena ,cathedral1 and soon after set to work on a ,library1 into which he moved all the collections of books and ,,mss4 left him by his kinsman4 ,lorenzo di ,mariano1 a ,sienese sculptor1 was entrusted with the marble work4 ,the interior wood-carving was by ,antonio ,barili1 and ,antonio ,ormanni designed the bronze doors4 ,the interior was to be richly frescoed1 and the ,cardinal1 recollecting the achievements of ,pintoricchio in the service of three ,popes1 passed over the painters of ,siena and summoned ,messer ,bernardino of ,perugia to undertake the great piece of work at ,siena4 ,the contract made between the ,cardinal and the painter1 and dated ,june #bith1 #aejb1 was discovered about twenty years ago in the ,sienese archives by ,sig4 ,milanesi4 ,it offers many points of interest2 the chief conditions are that during the time the painting is in progress he shall not undertake any other work of painting of any kind or in any place4 ,he is to work the vaulting with fantasies and colours which he shall judge most handsome1 beautiful1 and lively1 to paint designs nowadays styled the ',grottesque4' ,to draw a coat-of-arms of the ,cardinal in the centre of the vaulting1 to gild it and make it fine1 to make in fresco ten ,histories1 for which the life of the ,pope shall be given him as guide1 with other minute details as to the gold1 ultramarine1 enamel blue1 azure1 and greens to be used1--and the framework and gilding to be added4 ,he is bound to draw all the designs with his own hand1 both in cartoon and on the wall1 and to paint1 retouch1 and finish all the heads himself1 and the epitaphs are to be placed in an oblong space between each pilaster1 with the indication of the history painted above4 ,in return for the vaulting of required perfection1 and the ten pictures of such richness and excellence as is fitting1 the ,cardinal promises him one thousand golden ducats1 to be paid in instalments1 the first for buying gold and colours in ,venice1 and the rest from time to time as the work progresses4 ,a dwelling in ,siena is to be provided1 a house hard by the ,cathedral1 with scaffoldings and the materials4 ,such wine1 grain1 and oil as he needs he shall be bound to take on account and in part payment from the factor of the ,cardinal4 ,his goods1 movables1 and fixtures are to be pledged as security for the due performance of the contract4 ,during the autumn and winter of #aejb ,pintoricchio was making his preparations for an undertaking which must occupy him for some years4 ,we have no indication of any visit to ,venice to buy colours2 but he returned to ,perugia1 probably finished up certain panel paintings at this time1 gathered his workmen and assistants1 his garzoni1 together1 and moved his household goods to ,siena4 ,in the spring of #aejc he was hard at work at the ceiling4 ,in the middle we see the coat-of-arms of the ,piccolomini family1 as provided by the contract1 surmounted by the ,cardinal's hat4 ,francesco became ,pope on ,september #bast1 #aejc1 so that evidently this part of the work was then already finished1 otherwise the tiara would have replaced the ,cardinal's hat4 ,only three weeks later ,pius ,,iii4 died1 so that though he may just have seen the splendour of the ceiling1 and no doubt had inspected the cartoons1 the frescoes would hardly have been begun in his lifetime4 ,the work was stopped for a time1 but fortunately for ,pintoricchio and for posterity the contract had contained a clause binding the ,cardinal in his goods and heirs1 as well as personally1 to carry out the agreement4 ,the ,pontiff had also ratified this in his will1 and his two brothers1 acting as his executors1 prepared to carry out his wishes4 ,some unavoidable delay there was1 and during this time ,pintoricchio1 being absolved for the time being from the promise to take no other commissions1 applied himself to various works for rather more than a year4 ,the chief among these was the decoration of the beautiful little chapel dedicated to ,st4 ,john the ,baptist in the cathedral at ,siena4 ,its frescoes were the gift of ,alberto ,aringhieri1 a ,knight of ,rhodes1 who has had his portrait as a young man painted on one side of the door and in advancing years on the other4 ,the other frescoes have been entirely repainted1 excepting the one of the ,birth of ,st4 ,john1 and on this1 which has been much retouched1 it is so evident that two hands have worked that ,i do not believe ,pintoricchio himself painted any part except the maid1 and possibly the ,infant4 ,the maid is drawn with a much stronger and more precise touch than any of the rest1 and instead of the veil or drapery with which he usually covers the heads of his sacred personages1 she has an ,italian dress and headgear1 with loops and bows4 ,the same model has served for her face and head as for the ,st4 ,catherine in the ,national ,gallery1 and apparently both are from life4 ,the interest of the chapel centres in the two portraits of the donor1 and both these go to increase the painter's reputation4 ,the young knight keeping his vigil1 in full panoply1 his plumed helm and steel gauntlets lying by his side1 the great white cross of ,st4 ,john of ,jerusalem upon his crimson surcoat1 is a creation full of chivalrous fancy4 ,the old knight1 kneeling opposite1 in a dress of a dignitary of the cathedral1 and a black skull cap1 is a strong1 well-drawn figure1 well felt under the robes4 ,both are small in size and reserved in treatment4 ,the backgrounds are full of detail1 with buildings1 meant to be ,eastern1 and palm trees4 ,the colour of the figures is very harmonious--the soft greys of the armour1 and the dull red of the scarf against it2 all the links of the chain mail executed with the dainty care of a miniature4 ,in both frescoes the light and dark are massed with unusual judgment4 ,this was paid for ,september #hth1 #aejd4 ,another piece of work with which these months were occupied was the design of ,fortune1 for one of the spaces on the pavement of ,siena ,cathedral4 ,the pavement of ,siena is a remarkable production differing from any other work of art in existence2 a mixture of intaglio or engraving on stone1 varied by intarsia or inlay of marbles4 ,the work had been long in progress1 and designs for the various scenes had been furnished by artists from #acfi onwards4 ,one painter of ,umbrian extraction1 ,matteo di ,giovanni1 had already supplied his favourite subject of the ,murder of the ,innocents4 ,pintoricchio's design is reproduced in the fourth space as we walk up the nave4 ,it is an allegory of the excellence of ,wisdom and the folly of ,pleasure4 ,the sky is of pure black marble1 the island of grey1 the fields1 the sea1 and the figures of pale marble1 engraved with dark lines and inlaying4 ,in the middle sits ,wisdom1 crowned with flowers1 and bearing a palm branch and a book4 ,on one hand ,socrates receives from her the palm2 on the other a philosopher casts a collection of trinkets and baubles into the sea4 ,on a lower plane1 a company of pilgrims1 the foremost of whom is presumably a portrait1 climbs a path set with stones and thistles1 and beset with serpents1 lizards1 a tortoise1 and a snail4 ,one sits down and falls asleep1 another turns to shake his fist at ,pleasure1 a fair1 naked woman1 holding a cornucopia of flowers1 and spreading a sail to catch the passing breeze4 ,one foot rests on the ball of ,fortune1 as she steps off the shore on to a rudderless boat1 and a young man1 the last in the procession1 casts back a wistful glance in her direction4 ,this design is significant as showing what the painter could do when colour was denied him4 ,the balance of the groups is kept with great art1 and the outline of ,pleasure is full of grace and daring4 ,the general shape of the reliefs1 in light against dark and as furnishing a pattern1 is treated with perfect success4 ,illustration3 ,lombardi photo ,duomo1 ,siena ,,the ,,knight ,,of ,,aringhieri ,in this same ,september an altar in the chapel of ,san ,francesco at ,siena was unveiled1 but this chapel was destroyed by fire1 with other works of art1 in #afee4 ,with the spring ,pintoricchio again began the painting of the ,library frescoes1 but he had not proceeded far when ,andrea ,piccolomini1 one of the late ,pope's executors1 died4 ,that this must have necessitated a further re-adjustment1 and meant another period of delay1 we may gather from finding that1 in ,june #aeje1 ,pintoricchio was once more in ,rome4 ,the ten months that followed must have been very busy ones1 and no doubt the master1 after the repeated hitches under his new patrons1 was relieved to find himself once more working for those earlier ones in whose service he had always had good fortune4 ,he was again installed in ,santa ,maria del ,popolo1 that church which had been such a favourite place of devotion of ,sixtus ,,iv4 and other churchmen of the ,house of ,rovere4 ,the choir1 which now absorbed him for some months1 and which is the most perfectly preserved and the most untouched of all his works1 is a wonderful piece of ceiling painting1 in the style in which he had lately adorned the ,library ceiling at ,siena4 ,in the middle a ,coronation of the ,virgin recalls ,fiorenzo and1 still more1 ,bernardino ,mariotto1 the ,umbrian with whom ,pintoricchio is so constantly confused4 ,round this middle octagon the four ,evangelists alternate with four sibyls1 and at each corner the four ,fathers of the ,church sit on thrones4 ,the sibyls are graceful types of young ,italian women of the ,renaissance--full of sweetness and refinement--the women ,messer ,bernardino knew in the mannered and highly-cultured palaces3 no beings of a weird and wild prophetic race4 ,they half recline in the mapped-out divisions2 each perfectly fills the space without crowding1 and assists the geometrical coup d'il which is the first impression of the ceiling in its entirety1 yet the pose of each is extremely easy and unconstrained1 and the lines soft and flowing4 ,of the ,evangelists1 each painted in a tondo1 ,st4 ,matthew with a beautiful angel holding the ink1 and ,st4 ,luke painting the portrait of the ,virgin1 are both singularly clear and excellent figures4 ,the stately ,fathers of the ,church sit on throned seats like those of the ,arts and ,sciences1 or the ,sibyls at ,spello4 ,their robes ring the changes on beautiful dashes of colour--white1 rich green and rose1 scarlet and dark blue4 ,the whole is set in a bold pattern of grotesques in gold and vivid colours1 scrolls mounted by women's busts1 quaint birds growing out of acanthus branches1 putti riding on griffins1 and a score of other fantastic devices4 ,the impression is at once gay1 graceful1 and distinguished1 excellent in decorative effect1 and delicate in detail4 ,illustration3 ,pavement1 ,siena ,cathedral ,,symbolical ,,scene ,this was ,pintoricchio's last work in ,rome4 ,here he laid down the brush which he had first taken up in the ,sixtine ,chapel twenty-three years before4 ,even now there is more of his art there than that of any painter except ,raphael1 and at that day how proudly he could pass through the long series of great halls and chapels1 which owed their beauty in greatest part to his brush and to his fancy4 ,pintoricchio's last frescoes were three1 painted for the palace of ,pandolfo ,petrucci1 in succession to a series nearly completed by ,signorelli and ,girolamo ,genga4 ,they represented classical subjects1 and of them there only remains ,the ,return of ,ulysses1 in the ,national ,gallery4 ,the fresco painting in this is rough and slight1 the figures have little modelling1 but are almost like patterns upon the background1 the limbs of the suitors are unstructural even for ,pintoricchio1 yet the whole effect is charming4 ,the head of the principal suitor is fine and expressive1 and is very probably a portrait from life--perhaps one of the sons of the house4 ,penelope1 bending over her web1 is natural and life-like--a careful study of a girl in the costume of the day4 ,the scene is drawn in clever perspective1 and there is much conscious humour in the accessories2 the cat playing with a ball2 the sirens grasping their two tails in their hands1 as they warble round the galley1 to the mast of which ,ulysses is bound2 the young man in another boat diving headlong into the water1 unable to resist their fascination2 and the island where the wanderer is interviewing ,circe and her swine4 ,here ,pintoricchio is once more fresh and unconventional1 fertile in fancy4 ,the bold manner in which the lines of the loom are placed right across the picture is as daring as it is successful4 ,the attitudes and relations of the figures are full of originality1 and the uncompromising square of the window lets a flood of light and space into the foreground1 so full of action and movement4 ,illustration3 ,hanfstngl photo ,national ,gallery1 ,london ,,the ,,return ,,of ,,ulysses ,,to ,,penelope ,,chapter ,,ix ,,the ,,library ,,at ,,siena ,dr4 ,steinmann suggests1 with great probability1 that we may fix ,march as the month of ,pintoricchio's return to ,siena in #aejf1 for in that month he took into his employ the ,perugian painter1 ,eusebio di ,san ,giorgio4 ,this1 no doubt1 marks a fresh start1 and the master now worked steadily on until the ,library was completed4 ,there is little that is devotional in character about the ,libreria in ,siena4 ,as the visitor passes the bronze doors1 past the marble columns of pagan sculpture and ,renaissance copy1 he loses all sense of being in part of a sacred building4 ,the chamber itself is singularly destitute of the ordinary objects of religious art4 ,no ,divine ,persons1 no evangelists1 saints1 or fathers--not an angel in the whole range of subjects4 ,we have here one of those examples of historic fresco which were a feature common to fifteenth-century art1 a popular way of decorating the living-halls of great seigneurs1 such as the ,palaces at ,urbino and ,mantua1 or the ,palazzo ,schifanoia at ,ferrara4 ,we are expressly told that ,pintoricchio was given the life of neas ,sylvius by his secretary ,campana1 as a guide to his choice of events1 but careful examination has shown certain variations and deviations from this life1 pointing to some other authority in use2 and on comparison we find that he certainly also had recourse to the ,pope's own memoirs1 which supplied certain details and particulars not included in ,campana's work4 ,dr4 ,schmarsow has made a long and exhaustive study of these frescoes with special reference to ,pintoricchio's relations with ,raphael4#ca ,it is impossible to go as minutely into the question as this talented ,german has done1 but it is one of great interest in artistic history1 and no life of ,pintoricchio would be complete without some reference to it4 #ca ,raphael und ,pinturicchio in ,siena4 ,the possibility of ,raphael having supplied drawings and designs has been a matter of heated controversy4 ,morelli casts scorn on the supposition2 ,crowe and ,cavalcaselle stand aghast and declare that1 believing it1 the life of ,raphael would have to be re-written4 ,bode says it is audacious to contend that the great master and entrepreneur would adopt the designs of a young1 untried painter4 ,vasari asks how we can suspect that the master of fifty would follow a twenty-year-old assistant3 this is the general tendency of objections4 ,while1 naturally1 regretting any conviction that tends to detract from the painter whose fascination ,i feel1 and upon whose life ,i am engaged1 having to the best of my power weighed all the rival criticisms1 ,i cannot avoid the conviction that ,schmarsow is right1 and that ,raphael did help with two or three at least of the frescoes1 and perhaps1 as he suggests1 with others4 ,the evidence that ascribes the drawings left for them to the young ,urbinate appears to me too strong to resist4 ,raphael1 to begin with1 though only twenty when these drawings were executed1 cannot be called unknown4 ,he had already produced several noticeable works4 ,only three years later1 in a contract of #aeje1 he is styled the best master in ,perugia4 ,the nuns of ,monte ,luce1 wanting an altar-piece1 fere trovare el maestro el migliore1 si posse consiglialo 444 lo quale si chiamava ,maestro ,raphaello da ,urbino4 ,pintoricchio would have had the wit to see what a gift he was dealing with2 and1 as for taking the designs of an assistant1 had not he himself supplied several of the figures for ,perugino's great work in the ,sixtine8 ,the great probability of ,raphael's being in ,siena in #aejb1 when the designs for the cartoons would be making1 is proved by his picture of the ,three ,graces--two of which are copied from the mutilated ,greek group1 one of the best specimens of the antique then known4 ,this group was brought from ,rome by the ,cardinal1 to place in his costly ,library4 ,vasari speaks of the ,cardinal 7not the ,pope7 as having brought it to the not quite finished ,library1 which would put the transit before ,september #aejc4 ,in the summer of #aejb the ,cardinal made his last journey from ,rome1 and it was very likely then that he brought it back4 ,an elaborate pencil sketch of it exists3 opinions are divided as to which of the painters this was the work of1 but ,raphael's own picture is guarantee that he must have seen and been struck by the original4 ,it has been argued that it is not absolutely necessary that the author of the drawings should have been in ,siena1 but their adaptability and suitability to the walls makes this most unlikely4 ,four drawings for the ,library exist--one each in ,florence and ,perugia1 one at ,milan1 and one at ,chatsworth4 ,they are drawn with ,indian ink1 and the two first touched with bistre and heightened with white4 ,the first1 which deals with the ,journey to the ,council of ,basel1 has a long inscription at the top4 ,the handwriting of this1 if compared with ,raphael's letter to ,domenico ,alfani1 or that to his uncle ,simone ,ciarla1 is no doubt ,raphael's own1 and the same hand has made notes in other parts of the drawing4 ,it is possible1 but not very probable1 that the assistant should have annotated the master's design2 but the connection between the inscription and the drawing1 the various small changes made and accounted for as it progresses1 make us almost certain that the designer of this cartoon was also the writer of the notes upon it4 ,as each drawing has been transferred to the wall and worked out1 we see gradual alterations1 evidently made to add importance to the hero of the series4 ,in the sketch neas wears a tight doublet and close cap4 ,he looks1 what he was1 a young man going forth to seek his fortune4 ,in the fresco he is dressed in a mantle and broad hat1 to make the future ,pope more imposing4 ,the letter which he carried to ,capranica has been placed in his hand4 ,the storm from which neas escaped has been merely indicated in the drawing4 ,in the fresco1 lowering clouds and a rainbow are added4 ,a dog1 the greyhound of which ,pintoricchio was so fond1 has been introduced1 standing perfectly still though in the leash of a galloping rider4 ,illustration3 ,private photo ,gallery1 ,venice ,,study ,,for ,,fresco ,i4 7,by ,raphael7 ,we gather from all these changes that the drawing did not exactly satisfy the painter who worked on it after it was transferred to the wall4 ,it is1 however1 in the spirit and bearing of the whole that we see the greatest difference4 ,in the drawing the artist has shaken off the stiff ,perugian manner1 has got at nature1 and has found new ways of handling4 ,the riders are strong and elastic2 the page to the right is supple and natural1 but in the fresco is twisted round into an ungainly attitude4 ,the cavalcade has a life and movement that we hardly expect to find in ,pintoricchio4 ,the horses1 if anything1 bear witness more remarkably than the men4 ,up to this time very few masters could draw horses with any success4 ,uccello and ,donatello1 ,verrocchio and his pupil ,leonardo1 all ,florentines1 were almost the sole exceptions4 ,to decide if ,raphael could draw horses we have only to glance at such early works of his as the two little ,st4 ,georges in the ,louvre4 ,it was in #aejb that ,raphael first came to ,florence1 just at the time that ,leonardo's great cartoon of the battle of the standard was exposed to the public4 ,we are told that ,raphael spent much time in copying ,leonardo4 ,indeed1 among the so-called ,venetian sketches is one1 now called the ,battle of the ,standard1 which is unanimously ascribed to ,raphael1 and which is believed to be a sketch from ,leonardo's cartoon4 ,if we compare the horse in the drawing for the ,journey to ,basel with that horse1 and if we further compare with both the horse in the sketch for the ,st4 ,george 7at ,st4 ,petersburg7 we shall see numerous points of resemblance--in the broad head and tapering muzzle1 the round1 accentuated haunches1 the shape of the foot1 and the very curves of the flowing tail4 ,the horses in the fresco look very wooden beside them1 with their long1 woolly tails4 ,what we feel forcibly--what anyone must feel who is1 not necessarily an artist1 but a judge of a horse1 is that the man who drew the sketch knew indisputably what were the points of a good horse1 while if the painter of the fresco had known as much he could never have painted the horses on the wall4 ,there is1 moreover1 another point1 which ,i do not think has been noticed before4 ,on looking again at ,raphael's undoubted sketch of the ,battle for the ,standard1 we perceive that the splendid figure of the nude man who snatches at the horse's head has served for the model of the standard-bearer in the drawing of the ,journey to ,basel2 every line is the same1 the plant of the feet1 the turn of the head1 the uplifted arm4 ,now we know that if ,raphael was in ,siena1 he came straight from ,florence1 while we have no indication that ,pintoricchio was ever in ,florence at all1 and what would be more likely than that ,raphael1 full of his studies of ,leonardo1 should take the opportunity of bringing in the horses and men he had just been copying1 and which we know to have made so deep an impression upon him8 ,the drawing at ,perugia for the fresco of the ,meeting of ,frederick ,,iii4 and ,eleanora of ,portugal has the words1 questa e la quinta della 7storia7 del ,papa 7this is the fifth of the story of the ,pope71 written on it1 in the same fine handwriting that we see on the ,journey to ,basel4 ,we see here the clear rules of composition learnt from ,perugino--the middle point and radiation from it--with the figures placed in pairs1 as in the ,giving of the ,keys--an arrangement which had great influence over ,raphael's compositions1 though it never took much hold of ,pintoricchio4 ,in the fresco1 the lines of the radius are quite lost sight of2 the spectators are brought in in the usual indistinct masses4 ,it has been suggested that1 as the spot on which the meeting took place is much more like in the fresco than in the drawing1--the column being evidently copied in the first and not in the last1--,raphael may have drawn the design away from ,siena1 and sent it marked with the inscription4 ,illustration3 ,alinari photo ,library1 ,siena ,,neas ,,piccolomini ,,on ,,his ,,way ,,to ,,the ,,council ,,at ,,basel ,schmarsow sees a resemblance to ,raphael's style in the sketch for the ,conference 7,,iv47--in the lines of composition1 and in the more graceful and life-like action of the ,pope's head and some of the groups at the side2--the two fine figures in front in the fresco1 which are unmistakably by ,pintoricchio1 do not exist in the drawing4 ,the drawing at ,milan1 of fresco ,,iii41 the ,poet ,crowned1 is now known to be a sketch from the finished fresco1 and though it is under ,raphael's name1 is not worthy of notice4 ,there are1 however1 at ,oxford two studies of four pages1 the style and technique of which point to ,raphael4 ,these appear in the fresco4 ,they are the pike-bearer and standard-bearer1 with legs apart1 in the background of the company1 and the page in front of them leaning on a stick4 ,the loggia in the background accords well with the style of ,raphael's buildings4 ,his taste for architectural backgrounds was quite as keen as that of ,pintoricchio1 and he had been in intimate relation with ,bramante and with ,luciano ,lauranna1 the architect1 who was his kinsman1 when he came to ,perugia4 ,certain details in this remind us of the loggia of the ,castle of ,urbino1 with which1 of course1 ,raphael was well acquainted4 ,what is most unlike ,pintoricchio1 and very characteristic of ,raphael1 in this fresco1 is the concentration of interest1 the way in which the attention is insensibly attracted to the principal figure2 the poetic moment is caught in a way which points to ,raphael's quality of composition4 ,here and there are figures of a freshness and grace which speak to us of the freer hand of the youthful artist pressing forward and casting aside old methods4 ,such is the young prince in the second fresco1 with plumed hat1 who stands at the left of the ,king of ,scotland4 ,peculiarities of ,pintoricchio's own are repeated over and over again4 ,the hand with outstretched finger we find no less than thirteen times4 ,the same heads are used4 ,the head of the greybeard on the left1 in fresco ,i41 is repeated nine times2 the man with pointed beard1 in front on the left of fresco ,,ii41 comes in as the emperor in fresco ,,iii41 and in the foreground1 as a spectator1 in the sixth tableau4 ,we admire again the way in which ,pintoricchio is able to divide his assistants1 to use their various hands so that monotony is avoided1 while imposing his own style sufficiently to produce a strikingly homogeneous impression4 ,instead of fighting against the amalgamated proof that ,raphael had some share in the work1 we may picture to ourselves the friendship that we have reason to think existed between the older man and the versatile and tactful youth1 whose talent for making friends with his elders never failed him4 ,we can imagine the deep consultation with which they must have paced these floors1 and pored over sketches and designs2 and if we wanted an assurance of ,raphael's presence and of his employer's affection1 surely the number of times that a youth is painted1 for whom ,raphael1 to all appearance1 stood as model1 would supply one--not only in the careful portrait in the scene of ,st4 ,catherine's ,canonisation1 but in one of the bearers to the old ,pope1 fresco ,,viii41 and in the young man stepping forward1 hand on hip1 in fresco ,x41 not to single out others less conspicuously like4 ,in the first1 third1 and fifth1 then1 ,schmarsow sees the design of ,raphael1 and he thinks he also had some hand in numbers two and four4 ,no doubt1 after these1 the composition of the remaining ones is less excellent1 and there is a falling off in life and spirit4 ,some of the helpers seem to come direct from ,perugino's workshop4 ,we find the prototypes of the greybeards in the ,cambio--,socrates1 ,pericles1 and the rest4 ,in the execution of the ,betrothal1 ,steinmann sees signs of a ,lombard's hand1 in the dress and hair of the maids-of-honour1 and the groups massed in the background4 ,sodoma was possibly working with ,pintoricchio2 he was in ,siena this year1 and ,rumohr thinks he sees his hand in the distant figures of the crowning of the poet4 ,eusebio di ,san ,giorgio1 the ,raffaelesque ,perugian1 was helping1 and possibly also ,pacchiarotto4 ,born in #adje1 at the little village of ,corsignano1 afterwards re-named ,pienza1 neas ,piccolomini early showed a keenness of intellect and an aptitude for classic learning which induced his tutor1 the great scholar ,fidelfo1 to send the needy young scion of a great house out into the world to seek his fortune1 with introductions which carried him into the service of ,domenico ,capranica1 ,bishop of ,fermo1 that ,cardinal whose tomb may be seen in ,santa ,maria sopra ,minerva in ,rome4 ,domenico made him his secretary1 and1 as he was on his way to the ,council at ,basel1 he took neas in his suite4 ,the story told by the frescoes begins here4 ,the cavalcade1 having narrowly escaped shipwreck on the ,libyan strand and landed at ,genoa1 are setting forth on their ,journey across the ,apennines to ,basel4 ,behind them is the sea2 in the sky the great storm-clouds are passing away1 and the rainbow shines out4 ,above the bay we discern the town1 the point where now stands the ,doria ,palace and its gardens2 the solemn churchmen journeying forward on their sedate mules4 ,in the foreground rides neas and a youthful follower4 ,the whole of the attention centres in the bright handsome figure of neas2 our interest is at once bespoken on behalf of the gallant young adventurer going forth on his spirited white horse to seek his fortune4 ,the young man on the bay horse beyond him1 another layman among the throng of clerics and dignitaries1 may be intended for his brother-secretary1 ,piero da ,noceto4 ,this is one of the most charming of the frescoes1 full of movement and gaiety4 ,pintoricchio does not give much prominence to the ,conference at ,basel1 which was one of anti-,papal tendencies4 ,in the next fresco we find the young ,piccolomini on a ,mission to ,james ,i4 of ,scotland1 to whom he was despatched by the ,cardinal of ,santa ,croce1 an able and influential man1 into whose service he had entered in #addj1 and who sent him to persuade the ,king of ,scotland to cross the ,border and to menace the ,king of ,england4 ,his interview with ,james ,i4 forms the subject of the second fresco4 ,the ,king1 in yellow robes1 and the two supporters on either hand1 in blue and green1 are the most prominent figures1 and form between them a sort of triangle1 a symmetrical manner of composition which was just coming into favour4 ,we have to look for the beautiful and graceful figure of neas as1 full of dignity1 he comes forward to the side of the ,king's throne--his gesture in telling the points of his message upon his fingers is that which ,pintoricchio makes use of in ,st4 ,catherine before the ,philosophers2 but this is a much more natural and easy attitude4 ,his dark red robe and violet mantle hang in simple and voluminous folds4 ,with his flowing hair he might be a young ,st4 ,john taken out of one of ,perugino's pictures4 ,the background here is very beautiful1 seen through the airy row of cinque-cento arches1 with the sunny little town in the distance reflected in the lake4 ,in his memoirs1 the young secretary has left us a most graphic description of his impressions of ,scotland1 of his journey north from ,dover1 of the comely blue-eyed women and scantily-clothed men1 and comments on the singular kind of sulphurous stone which they burn instead of wood4 ,he gives a vivid picture of these islands in the first half of the fifteenth century2 but the painter had no knowledge to enable him to grasp it4 ,he has apparently heard that ,scotland was a land of lakes and mountains2 but though the interview took place in mid-winter1 he has made the trees in full leaf4 neas spent much time in study of the classics and on verse composition1 after the manner of ,cicero4 ,he had achieved a poem of two thousand lines1 entitled ,nymphilexis1 which was received with acclamations by his friends4 ,modern critics hold its merit to be as low as its easy morality1 and in fact it was a true index of the discreditable life he was at this time leading at the ,german ,court4 ,in #addb he was at ,basel with the ,german ,ambassador1 and was commended to the service of the ,king of the ,romans1 afterwards the ,emperor1 ,frederick ,,iii4 ,frederick proposed to make him one of his ,imperial secretaries1 and to appoint him his ,court poet4 ,it was an honour which had hitherto been in use only in the more refined ,italian courts1 where it had been conferred on ,petrarch1 ,dante1 and others1 and was esteemed an extraordinary mark of excellence in arts and literature4 ,only one person in the kingdom could hold it at a time1 and after receiving it neas ,silvius signed himself poeta in all his letters1 so that we need not wonder that this event was chosen as one of the most remarkable of his life4 neas1 in his flowing robes1 kneels at the ,king's feet2 the throne with its ample steps is set in a splendid1 open piazza1 with the noble flight of steps leading up to the loggia and out into the blue landscape2 little groups enliven the background2 a man stabs at a woman on the balcony2 handsome pages and courtiers stand about4 ,it has been pointed out that1 as if to mark the neutrality of ,germany on the question of the ,papacy1 not a single ecclesiastic appears in the crowd4 ,illustration3 ,alinari photo ,library1 ,siena ,,frederick ,,iii4 ,,crowning ,,neas ,,piccolomini ,,as ,,poet ,,laureate ,the memoirs at this time show neas as a clever waiter on the favour of princes1 not over-scrupulous in striving for advancement1 watching the signs of the times1 and chafing under his dependence and poverty4 ,in #adde he was sent by ,frederick ,,iii4 on an important mission to ,pope ,eugenius 7fresco ,,iv471 and from this time he becomes a figure in ,european history4 ,he begins himself to plan definitely for the unity of the ,church1 and to desire to stem the forward movements of the ,turks4 ,his journey from ,germany to ,italy in the depths of winter was an arduous one4 ,he encountered swollen torrents and broken bridges1 and guided by peasants had to scale most high and trackless ways1 and precipitous1 snow-clad mountains4 ,on the road he visited his parents at ,siena1 and when they tried to dissuade him from approaching the fierce and unforgiving ,pope ,eugenius1 declared that he would carry out his embassy to a prosperous end1 or perish in the attempt4 ,he was eminently successful in his negotiations1 and effected a reconciliation between ,rome and ,germany1 and the fresco represents him kneeling humbly before the ,pope and kissing his foot4 ,on either side sits the long row of cardinals2 outside we see the busy life of the ,papal ,court4 ,here ,pintoricchio has brought in a rather 7for him7 unusual harmony in greens on the carpeting1 the baldacchino1 and the ,pope's robes4 ,the two figures in the foreground are said to be portraits of the ,cardinals of ,como and ,amiens1 who were both powerful friends of neas4 ,the little scene through the arches on the right of the ,pope brings in another episode1 where the envoy receives 7fresco ,v47 investiture as ,cardinal4 ,after this successful mission the ,secretary for the first time turned his mind to the ecclesiastical life1 and began to reckon on all the bright prospects it was likely to open to him4 ,he had hitherto had the honesty to regard the license of his life as a barrier to religious orders2 but his passions were growing more controllable with advancing years1 and his dislike to the idea of the priesthood had passed away4 ,he writes that he has passed from the worship of ,venus to that of ,bacchus1 and appears to think nothing more could be required of anyone4 ,in #addf he received the tonsure1 and was speedily named ,bishop of ,trieste2 and three years later was appointed to the ,see of ,siena4 ,it was in this capacity that he was chosen to welcome to ,italy ,leonora of ,portugal 7fresco ,,vi471 the bride of his late patron4 ,frederick ,,iii4 was to come to ,siena to meet her1 and to proceed to ,rome for the wedding4 ,after some delays1 neas received the princess on her landing at ,leghorn2 and on her arrival at ,siena she was met by ,frederick1 accompanied by a splendid retinue1 which included a hundred citizens in scarlet and samite1 a thousand knights under ,duke ,albert of ,austria1 the young ,king of ,hungary1 the precious relics of the city and clergy innumerable4 ,the royal pair met outside the ,camollia gate1 and memoirs tell us that when the bride came in sight ,frederick leapt from his horse and hastened to meet her1 and that he was rejoiced to see her so young and fair4 ,illustration3 ,alinari photo ,library1 ,siena ,,neas ,,piccolomini ,,sent ,,by ,,frederick ,,iii4 ,,to ,,pope ,,eugenius ,,iv4 ,this is the moment chosen for the fifth fresco1 and gives the artist every scope for lively action and gay and brilliant colouring4 neas1 standing between the ,king and his young bride1 is still the most prominent figure4 ,the ladies of her train are grouped around the ,infanta1 as the attendant maidens round ,mary in many a version of the ,sposalizio4 ,behind the ,bishop stands a dignitary with a white cross on his breast1 who we identify from ,pintoricchio's lately finished portrait in the ,baptistry1 as ,alberto ,aringhieri1 the ,knight of ,rhodes4 ,the man on the left1 with heavily-draped mantle and looped-up hat1 is ,hans ,leubin1 the ,king's ,court poet1 who had been appointed to deliver an address of welcome1 which he is represented as just beginning to recite4 ,behind the group is set up1 by a pardonable anachronism1 the marble column which was afterwards placed there as a memorial of the meeting-place4 ,on either side is a tall1 stately plane-tree and a fruit-bearing palm1 typical of the bridal pair4 ,the road winds up to the ,camollia gate1 beyond which we espy the tall towers of the city1 ,siena of the rosy walls and rosy towers1 the cathedral with its dome and campanile1 and the ground falling away into the ravine which lies between it and ,san ,domenico4 ,whether ,raphael's inspiration really was withdrawn at this period1 or whether ,pintoricchio's own fancy flagged1 it is undeniable that the remaining frescoes show a falling off1 and are less satisfactory than the earlier ones4 ,the next scene shows us neas ,silvius receiving the ,cardinal's hat4 ,on the ride to ,rome with the bridal pair1 ,frederick had drawn rein as they came to the brow of the hill1 from which they first looked down on the valley of the ,tiber1 and said to neas1 ,look now--we go up to ,rome2 methinks ,i see thee a ,cardinal1 and in truth thy fortunes will not tarry there1 thou shalt climb yet higher2 ,st4 ,peter's chair awaits thee2 look not down on me when thou shalt have reached that pinnacle of honour4 ,and though neas modestly disclaimed such a prospect1 he confessed afterwards how great were his efforts to enter the ,sacred ,college4 ,his hopes were frustrated by the reigning ,pope ,nicolas1 who was notoriously unfriendly to him1 and it was not till the election of ,alonso da ,borgia as ,calixtus ,,ii4 that he saw his way to further advancement4 ,calixtus1 who was an old man and almost bedridden1 appointed1 among others1 his kinsman1 ,roderigo ,borgia 7after ,alexander ,,vi471 as ,cardinal4 ,to this ambitious and intriguing man neas attached himself1 and bade farewell to ,germany and his royal patron4 ,it was shortly before this that he began to devote all his energy and eloquence to preaching a new crusade against the ,turks1 whose conquest of ,constantinople and succeeding inroads into ,europe began seriously to alarm the civilised world4 ,it was the only question which roused the old ,pope to eagerness and determined him to invest the eloquent advocate as ,cardinal in spite of bitter opposition from the ,sacred ,college1 who dreaded his keen intelligence4 ,though the architectural drawing1 as usual1 is good1 the flat wall with two white windows has a bad effect4 ,the altar is loaded with heavily embossed gilding2 the groups behind are confused1 and the figure of neas himself is lacking in dignity and distinction4 ,in the foreground stand two ,greek patriarchs1 whose presence is intended to convey their satisfaction at the elevation of their champion and that of the cause of ,christendom4 ,we now find the ,cardinal of ,siena working his way to the ,papal throne4 ,he had a powerful friend in ,cardinal ,borgia1 with whom he was engaged in anything but reputable transactions in benefices1 by which he contrived to amass sufficient wealth2 but besides this he really worked hard in the cause of the ,church1 and his courtly manners and attractive personality1 as well as his real kindliness1 won him many friends4 ,when the old ,calixtus died1 in ,august #adeh1 he was ready to come forward1 and has left us a striking account of the incidents of the election4 ,his only rival was the ,cardinal ,archbishop of ,rouen1 a ,bourbon1 rich and ambitious4 ,all the night before the election the principal of each party and his immediate supporters were holding secret meetings1 passing from cell to cell with arguments and persuasion4 ,when at length all met1 pale and trembling with excitement1 to deposit their votes in the chalice1 neas was found to have nine votes and the ,cardinal of ,rouen six4 ,three ,cardinals who had voted for another candidate were now to give casting votes4 ,long the whole conclave sat in silence2 the slightest rustle of a robe1 the turn of a head1 the movement of a foot1 sent a thrill of anxiety round the whole circle4 ,at last the fine figure of ,roderigo ,borgia was seen to rise4 ,amidst breathless stillness1 he in the usual form declared that he acceded to the ,cardinal of ,siena4 ,after a short delay the two others followed1 and thus1 at the age of fifty-three1 neas ,sylvius ,piccolomini became ,pope1 by the title of ,pius ,,ii4 ,the fresco seizes the moment when the ,pope1 borne through the aisles of ,st4 ,peter's1 is stopped1 according to ancient usage1 by the ,master of the ,ceremonies1 who kindles a piece of tow dipped in spirit1 and1 as the light dies away1 delivers the solemn warning1 ,sancte ,pater1 ,sic transit gloria mundi4 ,the ,pope1 under the baldacchino1 heavy with armorial bearings1 and wearing the dark-blue mantle which accorded with the colours of his house1 lifts his gloved fingers solemnly in blessing4 ,he is painted here as an older man1 already worn with anxiety4 ,in the foreground two figures in ,oriental dress remind us that assistance against the ,turk was the mission to which the newly-made ,pope had specially pledged himself4 ,st4 ,peter's is1 of course1 the old basilica which was destroyed by ,julius ,,ii4 ,fresco ,,viii4 ,congress at ,mantua4 ,in pursuance of his proposed crusade1 ,pius ,,ii41 in #adei1 summoned the powers of ,christendom to hold a congress at ,mantua to consider the necessary measures4 ,it lingered on for eight months1 when war against the ,sultan was formally declared1 but gave occasion for more intrigues and self-seeking on the part of those assembled than for any real sacrifices for the cause4 ,pius ,,ii4 is here represented directing the deliberations of the ,congress4 ,the person of distinction pleading with the ,pope is said to be the ,greek ,patriarch1 the envoys of the persecuted ,eastern ,christians are grouped in the foreground1 ,cardinals sit on the ,pope's right hand1 and others--princes1 ecclesiastics1 and suppliants--form a crowd behind4 ,the arrangement of this scene is not happy4 ,the figures are cut up in an awkward way and the perspective is questionable4 ,it is redeemed by the airy arches and the charming landscape beneath them4 ,illustration3 ,alinari photo ,library1 ,siena ,a ,,group ,,of ,,men 7,a detail from ,fresco ,,ix47 ,a ,sienese filling the ,chair of ,st4 ,peter may well be the instrument to call a ,sienese to sainthood1 and that we do with holy joy4 ,so spoke ,pius ,,ii4 in pronouncing between the claims of three holy ,virgins1 ,rosa of ,viterbo1 ,francesca of ,rome1 and ,catherine of ,siena4 ,the superior claims of ,st4 ,catherine have been fully acknowledged by history3 her influence in healing the great schism of the ,urbanists and the ,clementists1 her saintly life1 her magnetic personality1 are sufficient reasons without adding the miracles with which she was credited4 ,in fresco ,,ix4 the ,pope is seated on the high and well-appointed balcony1 which he had ordered should be erected in ,st4 ,peter's1 whence1 after a discourse on her virtues1 he might proceed to her solemn canonisation4 ,the ,cardinals are gathered round1 the corpse of the saint lies at his feet1 clad in the black and white of the ,dominican order1 her book upon her breast1 and the lilies1 which are her attribute1 in her folded hands4 ,below stand a crowd of spectators bearing candles4 ,in front is a long row of persons1 said to be portraits4 ,the first on the left we should guess to be ,raphael1 even without the traditional confirmation4 ,next him is ,pintoricchio himself4 ,the others have been variously named ,andrea del ,sarto1 ,fra ,bartolommeo1 etc4 ,steinmann suggests1 with more probability1 that one is intended for ,eusebio di ,san ,giorgio and another for ,bembo ,romano1 who were both working as assistants1 especially as the initials of the last are to be discerned on several of the pilasters among the decorations4 ,the composition in this scene is rather disjointed4 ,the two halves do not seem to belong to each other1 and it is curious to note the difference between the conventional arrangement of the groups in the background and the characteristic forms and much more structural figures which the painter has evidently drawn from the life4 ,the effigy of ,st4 ,catherine is taken from her monument in ,santa ,maria sopra ,minerva in ,rome4 ,the ,dominicans and ,augustinians are prominent1 as it was of their order that the saint was so great an ornament4 ,pope ,pius was one of the few ,italians of that day in whom a great love for nature declared itself4 ,campana tells us of his visits to beautiful places1 of his landscape gardening and planting1 of his fondness for distant views1 and for taking his food under the trees on some hill-side4 ,it pleased him to chat with the peasants1 to joke with his friends with free and festive converse passing into moderate jest4 ,he loved to build and adorn in his native city1 and for a time he seemed to be only a man of cultivated and artistic life and busy pleasures4 ,but he had not forgotten his crusading enthusiasm1 and as the news travelled to ,rome of the repeated victories of the ,turks1 of the loss of ,morea1 ,rhodes1 ,cyprus1 and of the ,moslem advance on every side1 he laid before his ,cardinals his resolve to take up a holy war1 counting upon the ,christian princes of ,europe rallying to his support4 ,he mediated between the different quarrelsome ,powers1 and signed a league by which he was to meet the ,venetians and an army of the ,duke of ,burgundy at ,ancona2 but the powers were half-hearted1 only a small part of the promised forces arrived1 and ,ancona seems to have been a scene of rioting and mismanagement4 ,illustration3 ,alinari photo ,library1 ,siena ,,neas ,,piccolomini ,,elected ,,pope ,,under ,,the ,,name ,,of ,,pius ,,ii4 ,on ,june #ah1 #adfd1 the ,pope1 an aged man with head of snow and trembling limbs1 raised aloft the ,cross at the altar of ,st4 ,peter's1 and vowing himself to the service of ,christendom1 set forth for ,ancona4 ,farewell1 ,rome1 he cried1 as his barge passed down the ,tiber1 living thou shalt never see me more4 ,he was very ill with fever1 but the high spirit that had helped him all through life1 did not forsake him4 ,the weather was broiling hot1 and the ,pope suffered greatly on the journey4 ,he was a month reaching ,ancona1 and had the added discouragement of meeting bands of deserting crusaders on the way4 ,no ships had arrived from ,venice1 and when at last they appeared1 the soldiers they were to embark had nearly all melted away4 ,pius realised at length that the undertaking had come to naught4 ,ill1 disappointed1 heartsick1 he remained at ,ancona1 and when the ,venetian fleet appeared1 after long delay1 he could just bear to be lifted to a window to see the long-watched-for sails4 ,the ,doge1 who accompanied the fleet1 would not at first believe in the reality of the ,pope's illness1 and sent his physician to see if he were not feigning in order to escape the necessity of setting forth1 but the end was near4 ,it was at sunset on the #abth of ,august that the ,venetian ships entered the harbour2 at sunset on the #adth the ,pope passed away4 ,by his death he escaped the misery of failure2 the attempt came to a natural end1 and ,pius was surrounded with a halo of martyrdom and heroism--not all undeserved1 for1 unsuccessful as he was1 he yet was the only potentate who made any effort to stem the power of the infidel1 and his unsupported struggle and baffled aspirations form a pathetic close to his active and successful life4 ,in the fresco there is no hint of the sad and wasted moments4 ,pintoricchio's part was to glorify and dignify the memory of the ,pope1 and to please the house of ,piccolomini4 ,the ,pope is raised on high and borne forward by his followers4 ,in front1 dressed in gold brocade1 kneels ,christoforo ,morea1 the ,doge of ,venice4 ,on the opposite side kneels a ,turk1 and another fierce-looking ,oriental stands behind him4 ,these may be recollections of ,djem and his followers1 whom ,pintoricchio had already painted in the ,borgia rooms4 ,behind lie the town and harbour of ,ancona1 with the ,venetian fleet anchored in the bay4 ,there only remained for ,pintoricchio to leave a memorial of the coronation of the second ,pope of the ,house of ,piccolomini1 and this is placed over the door of the ,library4 ,it is something like the ,canonisation of ,st4 ,catherine1 in the way in which it is divided into two parts4 ,the perspective is not well managed4 ,the ,pope and the two ,cardinals who assist him to place the mitre on his head1 have the effect of a picture background to the busy scene below1 and the long rows of white-mitred bishops give a very inartistic impression4 ,below them is a crowd of spectators1 of all ages and both sexes--the whole confused and not well drawn1 and there is an unfortunate lack of proportion between the different figures4 ,illustration3 ,alinari photo ,library1 ,siena ,,pope ,,pius ,,ii4 ,,at ,,ancona ,the frescoes have been much retouched1 though1 on the whole1 they are in wonderful preservation4 ,where the yellows and blues have been most repainted the effect is hard and glaring2 but where the same colours are not meddled with1 as in the ,pope's blue robe1 and that of the ,doge of ,no4 ,x41 ,elizabeth's robe1 and the ,king's mantle in the meeting of the bridal pair1 and in most of the pinks and rose-reds1 the tones are much softer and more pleasing4 ,only in the hall itself can we appreciate the way in which the open-air and indoor scenes are arranged and balanced and the architectural setting worked in so as to give lightness and distinction4 ,the line of sight is high1 about two-thirds of the way up the picture2 this to some extent places the spectator in a wrong position1 but the whole goes back1 so that1 far from being oppressed with a feeling of covered walls1 a sense of space and withdrawal is conveyed that enlarges the room in a marvellous manner4 ,the repose of the hall in its entirety is very striking2 hardly a figure is in anything like violent action1 all move and stand with quiet dignity1 all the movement takes place well within the picture1 and the extraordinarily clever use made of the sky1 ceiling1 floor1 and wide retreating background1 give us breath and air1 and a sense of delight and freedom4 ,in as many as eight of these frescoes we have an enthroned figure1 yet treated with what variety and absence of monotony4 ,the first scene shows us a joyous youth setting out on a stormy journey2 the last1 an old man1 pale and careworn1 carried by loving friends1 and behind him1 an untroubled sea and the calm of sunset4 ,the ceiling is a curious mixture of sacred subjects and mythological ones1 after the manner of that in the ,colonna ,palace1 but not very appropriate to the ,pope's ,chapel2 sporting of fauns and nymphs1 ,cupid riding on a green dolphin1 grotesques1 recalling the choir of ,santa ,maria del ,popolo1 but richer in colour and more delicately harmonised4 ,the dark oak1 the blue and white-tiled floor1 with the yellow crescent of the ,piccolomini1 and the pilasters repeating the blue and white1 are all part of the design1 in which there is one guiding hand4 ,it is all well adapted to give brightness to the long room1 so slightly arched1 and lighted only from one end4 ,the room is so beautiful that it is hard to say that it is mechanical--yet assuredly there is something stiff and academic about it1 some loss of grace and the joyous sense of creation1 a feeling that the painter was growing old and tired1 and that the childlike enjoyment of beauty was less keen4 ,in the first fresco1 whether we owe it to the young ,raphael's help or to the natural interest at starting1 we recognise buoyancy and the love of experiment2 and we have something of it again in the fairy-tale tableau1 where the prince and the lady meet1 but the colour has become gaudier and cheaper1 the navet1 the enchantment1 the unconsciousness1 have in some measure passed away1 the tide of fancy is running lower1 and it is now that we chiefly feel the lack of that well of science from which the artist can drink ever deeper as the years go by4 ,,chapter ,x ,,panel ,,paintings ,it is difficult to arrange ,pintoricchio's pictures into distinct groups4 ,he wandered backwards and forwards between ,rome and ,umbria for so many years1 and his art1 during the whole time1 though showing variations1 never undergoes any radical change or development4 ,he arrived early at a point which satisfied his employers1 and there he remained4 ,he did not attempt to try experiments1 or to unravel new problems4 ,he was almost always engrossed by great undertakings1 and had little time to think of anything beyond getting them creditably executed in a given time4 ,la proccupation d'tre original n'empchait pas de dormir1 encore moins de travailler1 les artistes d'alors4 ,leur personalit ne s'laborait que sur le tard1 quand ils russissent sans le chercher beaucoup le faire clore4#cb #cb ,broussolle1 ,plerinages ombriens4 ,this constant employment on fresco accounts for the small number of panel paintings he has left1 nor do we hear of more than one or two1 other than those which have come down to us4 ,i have already noticed the ,st4 ,christopher and the ,madonna in the ,gallery at ,valencia4 ,his finest work in tempera is the great polyptych or ancona1 painted in #adih for the monks of ,santa ,maria dei ,fossi1 and which is an extraordinarily dainty piece of work4 ,the heavily-gilt framework is divided into compartments4 ,in the central one the ,madonna is enthroned1 the ,child sits upon a little cushion on her knee1 half-draped in a striped and brocaded mantle4 ,with one hand ,he offers the mystic pomegranate to ,his mother1 with the other grasps a jewelled cross1 held by the little ,st4 ,john ,baptist1 who1 with his cloak clasped upon the breast1 sandals on his feet1 his eyes uplifted in devotion1 strides forward1 with the air of one starting on a pilgrimage4 ,this attractive little figure is borrowed from the ,bernardino ,mariotto1 with whom ,pintoricchio was so often confused4 ,the ,virgin's eyes are cast down1 and both her face and that of the ,child are rather expressionless4 ,the upper part of the framework is filled by a ,piet1 which nearly equals the middle panel in size and importance4 ,the half-length of the dead ,christ is draped with a striped cloth1 above the open tomb4 ,it is reminiscent of ,perugino's beautiful ,piet in the same ,gallery4 ,the hands have the backs turned outwards1 displaying the palms instead of the backs1 as the northern painters usually represent them4 ,the arms are supported by angels1 who are adapted from the over-door by ,fiorenzo in the ,sala del ,censo4 ,the pathetic figure of the ,saviour is the most satisfactory rendering of the nude that ,pintoricchio produced4 ,the muscles are carefully modelled1 the flesh is firmly painted1 and the touch of the angels convincing1 the group is full of repose1 sad dignity1 and refinement4 ,the ,angel and ,virgin of the ,annunciation on either side are a reduced replica of those in the ,borgia ,apartments and at ,spello4 ,though painted in tempera1 this work is extremely full and vivid in colour1 almost resembling oils1 and is executed throughout with minute delicacy4 ,illustration3 ,alinari photo ,picture ,gallery1 ,perugia ,,the ,,madonna ,,and ,,child1 ,,with ,,st4 ,,john 7,from the ,large ,ancona7 ,the contract is dated ,february #ad1 from the house of ,diamantis ,alphani de ,alphanis4 ,messer ,bernardino de ,benedecto of ,perugia--il ,pintoricchio1 for himself and his heirs1 promises and agrees with ,brother ,jerome of ,francesco1 ,venice1 ,sindico and ,procurator of the ,frate ,capitulo and ,convent of ,santa ,maria dei ,fossi1 de ,porta ,san ,pietro1 to paint an altar-piece over the high altar of the said church with the here inscribed figures4 ,the picture divided into parts3 in the major part the image of our most glorious ,lady with the ,child4 ,on the right side of our ,lady1 the figure of the glorious ,san ,agostino in pontifical habit1 and in the left place1 ,san ,girolamo in cardinal's habit4 ,above the middle shall be a ,piet1 and on either side the ,angel and ,our ,lady of the ,annunciation4 ,above1 and in front1 the transmission of the ,holy ,spirit to the ,annunciation4 ,in the predella of this picture shall be painted eighteen figures4 ,in the first place1 on one side1 ,san ,baldo1 ,san ,bernardino1 in canonicals4 ,in a row the ,pope and five cardinals in state1 with five brothers at their feet4 ,all ornamented--to taste--with gold and colours1 at the charge of ,messer ,bernardino1 who also promises1 in the background of these pictures1 to paint a landscape1 etc4 ,though the contract was drawn up1 the master1 strong in the sense of his value to the ,papal ,court1 postponed its execution to his own convenience4 ,with his fame at its height1 he was called upon in all directions4 ,the ,council of ,orvieto saw the moment was come for securing the finishing of the fresco for which they had been waiting for four years4 ,on his way back from ,perugia1 ,pintoricchio once more took up his work in their cathedral1 under a fresh contract to add the two doctors to the two evangelists4 ,there thus to-day remain traces of a ,st4 ,mark and a ,st4 ,gregory on the right hand of the choir1 and traces of one or two angels so restored as to have lost all character1 but for which the work of the ,umbrian master has doubtless served as foundation4 ,the sum he agreed to take in payment in ,march was fifty ducats1 and the convent books record ,november #adif as the date of the last payment4 ,in the obscure little town of ,san ,severino in the ,marches1 we find another altar-piece which was probably produced about the same time4 ,no record of its acquisition is to be found in the archives of the cathedral1 though an accurate account is kept of commissions executed about this period by ,bernardino ,mariotto1 and others4 ,it is remarkable that1 considering ,pintoricchio's fame in his lifetime1 such a possession as an altar-piece from his hand should have remained unchronicled4 ,it seems most likely that it was produced at ,perugia1 and found its way later to its present position in the sacristy4 ,however this may be1 we must rejoice over this unmistakable and charming example of his art1 well preserved and not very much retouched4 ,it is the least known of all his pictures2 it has only recently been photographed1 and1 from the position of ,san ,severino1 far off the beaten track1 is not easily visited4 ,illustration3 ,private photo ,duomo1 ,san ,severino ,,the ,,madonna ,,and ,,child1 ,,with ,,angels ,,and ,a ,,donor ,the ,madonna della ,pace wears a blue mantle lined with a rich shade of green1 and a rose-red dress4 ,she bends over the ,child1 who1 clad in white with a grey and gold drapery1 stands on a little cushion on her knee4 ,he holds a transparent glass ball in ,his left hand1 and with the other blesses the donor1 who kneels on the right1 dressed in a scarlet robe4 ,an angel with hands crossed on the breast bends towards the ,child1 while another stands with folded hands behind the ,mother4 ,behind is a spring landscape1 a town1 and the usual rocky archway with a cavalcade passing under it4 ,the face of the ,madonna in this painting is indescribably soft1 young1 and tender 7even a good photograph does not do it justice74 ,the face and figure of the ,child are full of expression2 the angels are exquisite types1 reminding us of ,lorenzo di ,credi4 ,the ,cardinal-donor is a man in the prime of life1 with a firmly-drawn face1 brown complexion1 and strongly-marked features4 ,the face is rendered with great care1 the vein in the temple1 every mark and wrinkle1 the neck of one past youth1 are observed1 and as a portrait the head compares well with the painter's best efforts4 ,the colour of the panel is gay yet tender4 ,the faces have an exquisite transparency1 with melting shadows4 ,the face of the angel in the background is entirely in luminous shade4 ,the little landscape is delicately finished4 ,the fine1 decisive drawing1 and the feeling1 simple and unstrained1 show ,pintoricchio at his best4 ,in retouching1 the face of the donor has been thrown out against a dark ground1 which somewhat impairs the effect4 ,the ,madonna in the ,museum at ,naples is a full-length figure standing on the clouds1 surrounded by a mandorla of cherubs1 flanked by six angels playing musical instruments1 who recall those in the ,buffalini ,chapel4 ,the group below of the apostles1 ,st4 ,thomas kneeling in front1 clasping the sacred girdle1 is strongly reminiscent of ,perugino1 as in the background1 where the favourite features of ,fiorenzo have for once been abandoned4 ,the ,head of a ,boy at ,dresden must1 ,i think1 be an early work1 when ,perugino's manner was felt in all its freshness4 ,though the hair is hard and wiry1 and not worthy of the rest1 the morbidezza and elastic plumpness of youthful flesh are given by very subtle modelling1 and the moody1 young face is treated with most delicate tonality4 ,the landscape and receding distance and tall slender trees are in ,perugino's style4 ,the ,madonna and ,child1 in the ,national ,gallery1 ,i take to be a very early work4 ,it is dry and thin1 with a hard black line outlining the flesh1 a peculiarity of which ,pintoricchio is not often guilty4 ,the landscape is hard and dull in treatment1 and the expression of both ,mother and ,child is formal and precise4 ,the figures and the ,virgin's hands are stiff4 ,it cannot stand comparison with the beautiful group in the ,borgia ,hall of ,arts and ,sciences1 and hardly with the much more freely handled ,st4 ,catherine of ,alexandria1 with a ,donor1 which hangs beside it4 ,this last1 probably painted during the early part of his stay at ,siena1 judging by the glimpses of scenery and the likeness of the ,st4 ,catherine to the maid in the fresco of the ,baptistery1 is good in colour1 painted with a fuller brush and more viscous medium4 ,away from the sumptuous surroundings of the capital1 back among the plains and mountains of ,umbria and ,tuscany1 he returns to a simpler manner4 ,the little altar-pieces at ,spello are suitable to small parish churches4 ,they have something homely in their character4 ,the ,madonna in the little panel in ,santa ,maria ,maggiore has a gentle1 rustic countenance1 and no embroidery on her mantle4 ,the ,child is quite undraped4 ,the ,madonna in the larger panel is very beautiful1 and is more akin in face and the whole treatment to the figures personating the ,arts and ,sciences in the ,vatican1 but has none of the painter's usual richness of ornament4 ,in ,san ,andrea1 the neighbouring church of the ex-,minorites1 hangs the large altar-piece which ,pintoricchio was painting in #aejh when ,gentile ,baglioni summoned him to return to ,siena4 ,the ,madonna is raised on a throne which recalls the niches in which the ,arts in the ,borgia ,apartments and the sibyls in the ,baglioni ,chapel are placed4 ,the ,child stands on her knee1 clasping her neck4 ,st4 ,andrew1 with his cross1 stands by ,st4 ,louis of ,toulouse2 opposite are ,st4 ,francis and ,st4 ,laurence grasping his gridiron2 a little ,st4 ,john sits on the step on the middle4 ,on a carelessly-drawn wooden stool in the foreground lies the letter of ,cardinal ,baglioni1 legibly copied2 other small objects lie about--a knife and scissors1 an ivory seal1 a bottle of ink and a pencase--on the step by ,st4 ,john4 ,it is the only ,santa ,conversazione ,pintoricchio ever painted4 ,the figures are weak and unstructural1 and we recognise the repetition of old types in the saints and angels4 ,the little ,st4 ,john is bright and attractive4 ,the idea of his figure is borrowed from ,mariotto1 who1 though poor in colouring and draftsmanship1 was original in finding motifs1 and supplied ,raphael with many1 as well as his immediate contemporaries4 ,the ,coronation in the ,vatican was painted about #aeje for the nuns of ,la ,fratta 7,umbertide74 ,only the upper part is believed to be by the master's hand4 ,among the most beautiful of the ,madonna paintings is the ,assumption1 executed during the later years at ,siena for the monks of ,monte ,oliveto1 and now at ,san ,gemignano4 ,the ,madonna in this is an exquisite creation4 ,she sits on high1 surrounded by cherubs1 with a lovely smiling landscape behind her1 and is in ,fiorenzo's style4 ,her face is sweet and expressive1 and the colour of the whole is soft1 with rosy pinks and delicate greens of spring4 ,below kneels a ,pope with his tiara on the ground1 and a bishop in a white robe clasping his pastoral staff4 ,the foreground is dark and rich1 and contrasts with the clear and lovely tones beyond4 ,another thoroughly satisfactory work is the little panel painted for the nuns of ,campansi1 and now in the ,accademia at ,siena4 ,it is a small tondo1 in the painter's most nave and charming manner4 ,joseph and ,mary sit side by side1 in a flowery meadow4 ,he holds a barrel of wine and a loaf4 ,she has a book on her knee1 but is turning to speak to the two children--,st4 ,john in his little camel-hair garment1 and the ,christ-,child dressed in a white dress falling to the feet4 ,the two children are represented arm-in-arm1 carrying books and a pitcher1 and are wandering away from the side of their elders4 ,so poetic and innocent is their aspect1 they recall the old legend of the little ,st4 ,teresa and her brother going out into the world to seek martyrdom4 ,the figure of the ,divine ,child1 with long fair hair falling round the face1 and exquisitely drawn baby hands and feet1 is one of the sweetest imaginable4 ,mary's head is uncovered--a very rare variation with ,pintoricchio4 ,the folds of the draperies are unusually large and simple4 ,the composition1 the delicate restraint of gesture1 combined with natural feeling1 are very striking in this delightful little painting4 ,dr4 ,steinmann reminds us that ,raphael may have seen it when he visited ,siena1 and it may be remotely responsible for his ,madonna groups1 seated in the fields1 the idyllic feeling of which it certainly foreshadows4 ,illustration3 ,hanfstngl photo ,national ,gallery1 ,london ,,the ,,madonna ,,and ,,child ,in the ,reliquary at ,berlin1 the figures of the saints are too short4 ,the heads are of a type which had become rather hackneyed1 but the angels are lightly and crisply drawn1 and it is a solid little work4 ,the other panel at ,berlin1 a ,madonna and ,child1 is not ascribed without dispute to ,pintoricchio4 ,neither the face of the ,mother nor the figure of the ,child recall his manner1 and while it is most unusual for him to paint the ,virgin's head without the shading veil1 the hair here is dressed in the ,italian fashion of the time1 as nowhere else in his works4 ,the ,child's feet and the ,mother's hands1 however1 essentially remind us of ,pintoricchio2 the draperies have his lines1 and the gouged-out folds we find in some of his later panels1 and we see the peculiar1 dainty touch of fingers1 holding ,child and globe as if they were eggshells4 ,the ,madonna and ,saints of the ,louvre1 which ,mr4 ,berenson assigns to ,pintoricchio1 ,dr4 ,steinmann believes to be by the same painter who helped him with the ,descent of the ,spirit in the ,vatican4 ,the heads certainly differ widely from ,pintoricchio's type1 but if we apply ,morelli's test1 the very peculiar left hand is reproduced line for line1 in the ,penelope of the ,petrucci fresco4 ,notwithstanding1 it is difficult to believe this to be a genuine work of the master4 ,the little panel in the ,pitti 7the ,adoration of the ,magi7 is much too feeble to be anything but an imitation1 and the ,virgin and ,child are entirely unlike his type4 ,the others of his works which are not questioned are a ,madonna and ,cherubs at ,buda-,pesth2 ,st4 ,michael1 ,leipzig2 a ,madonna and a ,crucifix at ,milan2 ,st4 ,augustine and two ,saints at ,perugia4 ,mr4 ,berenson gives him a ,god the ,father at ,santa ,maria degli ,angeli1 near ,assisi1 and 7doubtfully71 the ,portrait of a ,boy at ,oxford4 ,illustration3 ,hanfstngl photo ,berlin ,gallery ,,st4 ,,augustine1 ,,st4 ,,benedict1 ,,and ,,st4 ,,bernard 7,from the ,reliquary7 ,his last known work is the very beautiful little panel in the ,palazzo ,borromeo at ,milan4 ,this was painted at ,siena in the last year of his life1 and is full of force and colour1 glowing like a jewel4 ,the background has an interesting effect of distant sunset behind trees and mountains2 all the notice is concentrated on the red-robed figure and white cross of the ,christ4 ,the greens of the ground and the lengthening shadows give a more than usual depth and harmony4 ,the group behind is confused and less well-drawn1 but the peasant leading the way is evidently a study from life4 ,on the arabesque in which the painting is set is a cartel inscribed with name and date4 ,illustration3 ,private photo ,picture ,gallery1 ,siena ,,the ,,christ-,,child ,,and ,,st4 ,,john ,,the ,,baptist 7,from the ,holy ,family7 99 99 99 99 99 ,although ,pintoricchio's art was so much admired during his lifetime1 it is difficult to show that it exercised much after-influence4 ,fascinating as it is in some ways1 it represents the last survival of a dying school4 ,the world to which he belonged1 the taste which delighted in his creations1 disappeared with him1 and was replaced by an age of conscious modernism which was eager to sweep aside all that seemed archaic in the immediate past4 ,the thirst for knowledge and for scientific research was waxing intense1 and the craze for the display of knowledge with its hidden seeds of decay soon followed4 ,among his pupils1 ,matteo ,balducci1 who we know from ,vasari worked with him in ,rome1 has left several pictures at ,siena4 ,these are all ,umbrian in treatment1 and show the influence of ,pintoricchio1 but they lack his delicate drawing2 the forms are long and weak1 and the colour dim and washy4 ,pietro di ,domenico1 a ,sienese1 has panels in imitation of him2 but the most notable example of his influence is to be found in that series of the ,story of ,griselda1 in the ,national ,gallery1 painted by an unknown artist1 who1 as ,miss ,cruttwell points out1 was also influenced by ,signorelli1 and in whom sense of form and feeling for originality are more developed than in other followers of the ,umbrian master4 ,gerino da ,pistoia is mentioned by ,vasari as a friend of ,pintoricchio1 who worked much with him and ,perugino1 and an altar-piece by him at ,pistoia has traces of both masters4 ,crowe and ,cavalcaselle see his co-operation in the ,last ,supper in ,sant' ,onofrio in ,florence1 and account thus for the signs it shows of ,pintoricchio's influence4 ,giovanni ,bertucci of ,faenza is another ,umbrian whose pictures have often been attributed to ,pintoricchio4 ,the ,mother and ,child in the ,glorification by him in the ,national ,gallery are not unlike our master's in ,sant' ,andrea at ,spello4 ,we can trace many suggestions afforded to ,raphael4 ,the ,dispute in the ,borgia ,apartments in all probability bent ,raphael's mind to the conception of the ,disputa in the ,stanze1 and inspired the idea of his beautiful classic and sacred medallions set in decorative framework1 and of the enthroned figures of ,music1 ,theology1 and the rest2 and the use made by ,pintoricchio of architectural interiors may have first inspired the supreme setting of the ,school of ,athens4 ,illustration3 ,marcozzi photo ,palazzo ,borromeo1 ,milan ,,christ ,,bearing ,,the ,,cross ,down to recent years ,pintoricchio was quite overlooked or treated with contempt1 and for the purely scientific school he has still little merit4 ,he certainly is not able to inspire that sort of interest that we feel in painters who worked1 looking backward to see what had been done1 and forward to discover what yet remained to do4 ,we do not strive with him and triumph with him over defeated difficulties4 ,he was a craftsman1 as were all artists worthy of the name at that day1 and his work is always painstaking and adequate1 with nothing sloppy or careless in its execution2 but painting as a craft1 with its secrets and its possibilities1 was not his first object1 so that1 without being able to divide his work into any distinct periods1 we find that his earlier life1 when he was still learning1 was on the whole the time when he was most successful in the artistic sense2 and in such frescoes as the ,journey of ,moses and the ,life of ,san ,bernardino he gives promise of an excellence which is not afterwards adequately realised4 ,he was an illustrator1 and as such1 perhaps1 never touched the highest side of painting4 ,we find in him the natural tendency of a decorator who undertakes large commissions as a matter of business1 to repeat forms and situations2 yet1 with every temptation to mechanical treatment and repetition1 it is the true artist in ,pintoricchio which saves him from becoming monotonous4 ,to the very last1 as in the ,return of ,ulysses1 or the ,holy ,family at ,siena1 his invention and fancy are alert1 varying every accessory1 displaying a freshness and an enjoyment in his creations which are irresistibly attractive4 ,in all his illustration the lyric faculty is his4 ,he follows the lives1 the history1 the fashions of his time with minute persistence1 but always with some charm added to prosaic actuality4 ,he is to painting what the ballad-singer is to poetry3 slight1 garrulous1 nave1 infectious1 he has a haunting melody of his own1 and through his eyes we watch the widening of one aspect of that golden day4 ,ruskin speaks of the value to us of the impression made by a scene upon the mind of the artist2 it is the impression stamped by the strange and enchanting grace of that world of the ,renaissance upon one man1 and handed on by him with spontaneity and undoubting delight1 which is so precious to us in his work4 ,,catalogue ,,of ,,the ,,works ,,of ,,pintoricchio ,,arranged ,,according ,,to ,,the ,,galleries ,,in ,,which ,,they ,,are ,,contained ,,note ,where numbers are given thus ,no4 #f1 they are the numbers of the ,catalogue of the ,gallery4 ,these cannot1 of course1 be guaranteed1 as alterations are not infrequently made in the arrangement of the pictures4 ,no pictures have been included1 other than those which the author accepts1 save in two well-known cases on pages #afj and #afa4 ,,catalogue ,,of ,,works ,except when in fresco1 the paintings are all in tempera on wood4 ,,austria-,,hungary ,,buda-,,pesth4 ,,madonna ,,and ,,child ,,and ,,angel4 ,no4 #fb4 #a ft4 #i in4 #a ft4 #f in4 ,,british ,,isles ,,london1 ,,the ,,national ,,gallery4 ,,st4 ,,catherine ,,of ,,alexandria4 ,no4 #fic4 ,on wood1 #a ft4 #i in4 #a ft4 #c in4 ,a monk kneeling in adoration4 ,landscape background4 ,bequeathed by ,lieut4-,gen4 ,sir ,w4 ,moore in #ahfb4 ,,the ,,madonna ,,and ,,child4 ,no4 #gjc4 ,in tempera1 on poplar1 #a ft4 #aj in4 #a ft4 #c in4 ,the ,infant stands on a carpeted parapet in front of its ,mother1 only half of whose figure is seen3 a rocky landscape in the background4 ,formerly in the ,wallerstein ,collection4 ,presented in #ahfc by ,her ,majesty the ,queen1 in fulfilment of the wishes of ,his ,royal ,highness the ,prince ,consort4 ,,the ,,return ,,of ,,ulysses ,,to ,,penelope4 ,no4 #iaa4 ,a fresco1 transferred to canvas1 #d ft4 #a in4 #d ft4 #i in4 ,penelope is seated at her loom2 on the floor at her right is a damsel winding thread on shuttles from a ball of yarn which a cat is playing with4 ,four suitors in gay costume have entered the room2 in the background ,ulysses himself is seen in the doorway1 just entering2 his bow and quiver of arrows are hanging up above the head of ,penelope4 ,from the open window is seen the ship of ,ulysses1 with the hero bound to the mast2 sirens are disporting themselves in the sea2 the palace of ,circe is on an island near1 with swine and other animals in its vicinity4 ,painted about #aeji4 ,formerly in the ,pandolfo ,petrucci ,palace at ,siena2 transferred from the wall for ,m4 ,joly de ,bammeville1 in #ahdd1 by ,pellegrino ,succi4 ,subsequently in ,mr4 ,barker's ,collection1 at whose sale it was purchased in #ahgd4 ,,oxford1 ,,taylorian ,,museum4 ,,portrait ,,of ,a ,,young ,,man 7874 ,no4 #bb4 ,,france ,,paris1 ,,the ,,louvre1 ,,mus,e ,,napoleon ,,iii4 ,,madonna ,,with ,,st4 ,,gregory ,,and ,,st4 ,,john ,,baptist4 ,no4 #adag4 #a ft4 #aa in4 #a ft4 #d in4 787 ,,germany ,,berlin ,,gallery4 ,,madonna ,,and ,,child4 787 ,,berlin1 ,,pyrker ,,collection4 ,,reliquary1 ,,st4 ,,augustine ,,and ,,two ,,saints4 ,no4 #acb;,a4 #a ft4 #e in4 #i in4 ,,dresden1 ,,the ,,gallery4 ,,portrait ,,of ,a ,,boy1 ,,with ,a ,,landscape ,,background4 ,no4 #da4 #a ft4 #h in4 #a ft4 #b in4 ,,leipzig1 ,,the ,,gallery4 ,,st4 ,,michael 7874 ,no4 #dhj4 ,,italy ,,assisi1 ,,church ,,of ,,santa ,,maria ,,degli ,,angeli 7,,chapel ,,of ,,st4 ,,bonaventura74 ,,god ,,the ,,father4 ,,milan1 ,,the ,,palazzo ,,borromeo1 ,,sala ,,cimballo4 ,,christ ,,bearing ,,the ,,cross4 ,no4 #cf4 #aeac4 ,see page #adh4 ,,milan1 ,,prince ,,pio ,,di ,,savoia4 ,,madonna4 #adig4 ,,milan1 ,,marchese ,,visconti-,,venosta4 ,a ,,small ,,painted ,,crucifix4 ,,naples1 ,,the ,,picture ,,gallery4 ,,the ,,madonna ,,in ,,glory4 ,,perugia1 ,,the ,,gallery1 ,,sala ,,xi4 ,,polyptych4 ,no4 #aj4 #adih4 ,the ,madonna and ,child with ,st4 ,john4 ,piet4 ,christ with two ,angels4 ,angel of the ,annunciation4 ,virgin4 ,st4 ,augustine4 ,st4 ,jerome4 ,predella4--,st4 ,mark4 ,st4 ,luke4 ,scene in the life of ,st4 ,augustine4 ,st4 ,matthew4 ,st4 ,john4 ,st4 ,jerome in the ,desert4 ,painted for the high altar of the church of ,santa ,maria dei ,fossi4 ,after the inroad of the ,french in #ahaj1 was preserved in small panels in the ,academy4 ,see page #aci4 ,,st4 ,,augustine ,,and ,,four ,,members ,,of ,,the ,,confraternity1 with their escutcheons below4 ,no4 #ab4 #aejj4 ,presented by ,cav4 ,silvestro ,baldrini 7d4 #ahgj71 ,president of the ,academy of ,arts in ,perugia4 ,,rome1 ,,the ,,borghese ,,gallery4 ,,christ ,,on ,,the ,,cross1 ,,with ,,st4 ,,christopher ,,and ,,st4 ,,jerome 7874 ,no4 #cgg4 #a ft4 #aa in4 #a ft4 #d in4 ,,rome1 ,,castel ,,st4 ,,angelo4 ,,fragments ,,of ,,frescoes4 #adig4 ,,rome1 ,,the ,,borgia ,,apartments ,,of ,,the ,,vatican4 ,,frescoes4 ,in great part by his own hand4 ,all done from his designs and under his superintendence4 #adib-adie4 ,first ,room--,hall of ,mysteries4 ,assumption4 ,annunciation4 ,nativity4 ,adoration of ,magi4 ,resurrection4 ,ascension4 ,coming of the ,holy ,ghost4 ,ceiling--,evangelists and ,fathers4 ,second ,room--,hall of ,saints4 ,the ,madonna and ,child4 ,scenes from lives of ,st4 ,susanna1 ,st4 ,barbara1 ,st4 ,antony ,abbot1 and ,st4 ,paul the ,hermit4 ,st4 ,catherine disputing with the ,philosophers4 ,ceiling ,decoration--,story of ,osiris and ,isis4 ,third ,room--,hall of ,arts and ,sciences4 ,over door--,madonna and ,child4 ,geometry4 ,arithmetic4 ,music4 ,rhetoric4 ,grammar4 ,fourth ,room--,hall of ,creeds4 ,the ,prophets4 ,fifth ,room--,hall of ,sibyls4 ,the ,sibyls4 ,see page #ic4 ,,rome1 ,,the ,,sixtine ,,chapel ,,of ,,the ,,vatican4 ,,journey ,,of ,,moses1 ,,and ,,baptism ,,of ,,christ4 ,frescoes4 #adhb-adhc4 ,see page #da4 ,,rome1 ,,the ,,belvedere1 ,,galleria ,,delle ,,statere4 ,,fragments ,,of ,,decorative ,,frescoes4 ,,rome1 ,,the ,,colonna ,,palace1 ,,great ,,hall4 ,,decorative ,,frescoes ,,in ,,spandrels4 ,,rome1 ,,the ,,palazzo ,,dei ,,penitenzieri4 ,,fragments ,,of ,,frescoes4 ,,rome1 ,,church ,,of ,,ara ,c,,oe,,li1 ,,buffalini ,,chapel4 ,frescoes of the ,,life ,,and ,,death ,,of ,,st4 ,,bernardino4 ,see page #ej4 ,,rome1 ,,santa ,,maria ,,del ,,popolo4 ,fourth ,chapel1 ,r4 ,frescoes--,,the ,,nativity4 ,five ,lunettes with scenes from the ,,life ,,of ,,st4 ,,jerome4 ,choir--,,ceiling ,,frescoes4 #aeje4 ,see page #ei4 ,,rome1 ,,the ,,vatican ,,gallery4 ,,the ,,coronation ,,of ,,the ,,virgin4 #aa ft4 #f ft4 #h in4 #aeje4 ,painted for the nuns of ,la ,fratta 7now ,umbertide74 ,see page #adf4 ,,san ,,gemignano1 ,,the ,,municipio4 ,,the ,,madonna ,,in ,,glory1 ,,with ,,saints4 ,painted for the monks of ,monte ,oliveto4 ,,san ,,severino1 ,,sacristy ,,of ,,the ,,duomo4 ,,the ,,madonna ,,and ,,child1 ,,with ,,the ,,donor ,,and ,,two ,,angels4 ,see page #adb4 ,,san ,,severino1 ,,the ,,pinacoteca1 ,,sala ,,ix4 ,,the ,,nativity4 ,no4 #bf4 #i ft4 #b in4 #f ft4 ,from the convent of ,campansi in ,siena4 ,,madonna ,,and ,,child ,,with ,,an ,,angel4 ,no4 #bh4 #b ft4 #a in4 #a ft4 #h in4 ,from the convent of ,santa ,maria ,maddalena4 ,these are attributed by some writers to ,pintoricchio1 but not accepted by the author4 ,,siena1 ,,the ,,accademia1 ,,sala ,,xi4 ,,holy ,,family4 ,no4 #de4 ,tondo4 ,diameter1 #b ft4 #i in4 ,from the convent of ,campansi4 ,see page #adf4 ,,siena1 ,,the ,,duomo1 ,,the ,,libreria4 ,frescoes--,ten frescoes1 illustrating ,,life ,,of ,,pius ,,ii4 #aejc-aejh4 ,lunette over door--,fresco1 ,,the ,,coronation ,,of ,,pius ,,iii4 ,,siena1 ,,the ,,cappella ,,di ,,san ,,giovanni4 ,frescoes--,,the ,,birth ,,of ,,st4 ,,john4 ,,portraits ,,of ,,alberto ,,aringhieri in youth and old age4 ,,siena1 ,,the ,,duomo4 ,,pavement--,,wisdom ,,and ,,fortune4 #aejd4 ,see page #aaj4 ,,spello1 ,,the ,,church ,,of ,,the ,,collegiata1 ,,second ,,altar1 ,r4 ,,the ,,madonna ,,and ,,child4 ,,spello1 ,,the ,,baglioni ,,chapel1 ,,church ,,of ,,the ,,collegiata4 ,frescoes--,,annunciation4 ,,adoration ,,of ,,magi4 ,,christ ,,among ,,the ,,doctors4 #aeja4 ,,spello1 ,,the ,,sacristy ,,of ,,the ,,church ,,of ,,the ,,collegiata4 ,,the ,,madonna ,,and ,,child4 #aeja4 ,,spello1 ,,the ,,old ,,sacristy ,,of ,,the ,,church ,,of ,,the ,,collegiata4 ,fresco of ,,an ,,angel4 ,,spello1 ,,the ,,church ,,of ,,sant' ,,andrea1 ,r4 ,,transept4 ,,the ,,madonna ,,and ,,child ,,enthroned4 ,,st4 ,,louis ,,of ,,toulouse1 ,,st4 ,,andrew1 ,,st4 ,,laurence ,,and ,,st4 ,,francis ,,of ,,assisi1 ,,with ,,angels4 #aejh4 ,,spello1 ,,san ,,girolamo1 ,,cloister ,,chapel4 ,,adoration ,,of ,,shepherds4 ,fresco--,remains of a ,,nativity4 ,behind the ,altar--,fresco of ,,the ,,marriage ,,of ,,the ,,virgin4 ,this is attributed by many critics to ,pintoricchio1 but not accepted by the author4 ,,spoleto1 ,,the ,,duomo1 ,,first ,,chapel1 ,r4 ,ruined frescoes--,,the ,,madonna ,,and ,,saints4 ,,god ,,the ,,father ,,and ,,angels4 ,,the ,,dead ,,christ4 ,see page #aje4 ,,spain ,,valencia4 ,,the ,,madonna ,,and ,,child1 ,,with ,,donor4 ,sent to ,xativ by ,cardinal ,borj4 ,see page #hg4 ,,chronological ,,table #aded 7circa74 ,date of birth4 #adhb4 ,goes to ,rome4 #adhg4 ,paints the ,palazzo di ,,ss4 ,apostoli4 #adib4 ,june4 ,recommended to the ,chapter at ,orvieto1 by one ,messer ,cristoforo4 #adib4 ,receives #ej ducats for work done at ,orvieto4 #adib4 ,protest from the ,cathedral authorities on the too lavish use of gold and ultramarine4 #adib4 ,november #ag4 ,in a legally drawn-up paper frees himself from any responsibility for not fulfilling his contract within the stipulated time4 #adib4 ,december4 ,begins work in the ,borgia ,apartments4 #adib4 ,december #ad4 ,order placed on minutes of ,orvieto ,cathedral for raising funds to buy more blue and gold for ceiling4 #adic4 ,march #bi4 ,brief from ,pope ,alexander asking the ,orvietans to await ,pintoricchio's return till the work in the ,vatican is finished4 #adid4 ,march #i4 ,brief from ,pope ,alexander to ,orvietans asking that ,pintoricchio be allowed to return to finish work in the ,vatican4 #adie4 ,january #ag4 ,the ,papal ,court leaves the ,vatican on the entry into ,italy of ,charles ,,viii4 #adie4 ,june4 ,the ,pope flies to ,orvieto and ,perugia4 #adie4 ,obtains a grant from the ,pope of two pieces of land at ,chiugi1 near ,perugia1 for an annual payment of thirty baskets of grain4 #adif4 ,february #ad4 ,signs a contract with the monks of ,santa ,maria degli ,angeli1 to supply an altar-piece4 #adif4 ,march #ae4 ,contracts with the ,chapter at ,orvieto to paint two figures of doctors for #ej ducats4 #adif4 ,november #ae4 ,last payment made for this fresco4 #adig4 ,july4 ,the rooms in ,castel ,sant' ,angelo being restored1 he went back to ,rome and painted the frescoes there4 #adig4 ,july #bh4 ,letter from the ,cardinal di ,san ,giorgio1 in answer to a petition from ,pintoricchio1 reducing the annual tax on land to two pounds of wax for three years4 #adig4 ,tax again enforced by the authorities of ,chiugi4 #adig4 ,first ,sunday in ,august4 ,restitution made by the authorities of the money extorted4 #adih4 ,may4 ,the exemption from taxation extended from three years to end of lease4 #adih4 ,in ,perugia4 ,painted altar-piece for ,santa ,maria dei ,fossi4 #adih4 ,october4 ,a brief from ,alexander ,,vi4 confirms possession of the lands at ,chiugi to him and his descendants1 even though he should omit the yearly payment of wax4 #aejj4 ,october #ad4 ,visits ,csar ,borgia's camp at ,deruta4 ,an order from the ,duke requests the ,vice-,chancellor to get permission for ,pintoricchio to sink a cistern in his house in ,perugia4 #aeja4 ,april4 ,elected ,decemvir of ,perugia in place of ,perugino4 #aeja4 ,contract in archives of ,spello for work undertaken for ,troilo ,baglioni4 #aeja-aejb4 ,may4 ,painting at ,spello4 #aejb4 ,june #bi4 ,contract signed with ,cardinal ,piccolomini for decorating the ,library at ,siena4 #aejc4 ,spring4 ,painting ,library at ,siena4 #aejc4 ,october4 ,pope ,pius ,,iii4 dies4 #aejd4 ,august #bc4 ,paid #gjj ducats for painting eight frescoes in ,st4 ,john's ,chapel in the ,cathedral at ,siena4 #aejd4 ,september #h4 ,an altar-piece unveiled in the ,piccolomini ,chapel in the church of ,san ,francesco at ,siena4 #aejd4 ,buys land to the value of #bjj florins from ,lucrezia ,paltoni1 widow of the painter ,neroccio4 #aejd4 ,end of4 ,continues ,library for six months4 #aeje4 ,march #ac4 ,is paid for the cartoon of ,fortune for the pavement of ,siena ,cathedral4 #aeje4 ,june4 ,cardinal ,andrea ,piccolomini dies2 work again stopped4 #aeje4 ,june4 ,leaves for ,rome4 ,paints choir of ,santa ,maria del ,popolo4 #aejf4 ,february4 ,back in ,siena4 #aejf4 ,matriculates at the ,college of ,painters1 ,perugia4 #aejf4 ,march4 ,recommences work in ,library4 #aejf4 ,march #bd4 ,acknowledges a debt of #ajj ducats to ,eusebio di ,san ,giorgio of ,perugia4 #aejf4 ,august #ah4 ,a further grant of land at ,chiugi by ,julius ,,ii4 #aejf4 ,november #cj4 ,a son born in ,siena1 named ,giulio ,cesare4 #aejf4 ,december #ae4 ,the magistracy of ,siena approves the donation of #bj moggie of land4 #aejg4 ,march4 ,appeal to the ,council to remit all taxes upon it4 #aejg4 ,march #bf4 ,a favourable answer from the ,council1 omitting all but the gate-tax4 #aejh4 ,april #bd4 ,letter from ,gentile ,baglioni to him at ,spello1 begging him to return to ,siena4 #aejh4 ,autumn4 ,short visit to ,rome4 #aeji4 ,january #g4 ,a son born at ,siena3 ,camillo ,giuliano4 #aeji4 ,january #ah4 ,receives of heirs of ,pius ,,iii41 #ae ducats1 being the last payment for the ,piccolomini frescoes4 #aeji4 ,siena4 ,painting for ,pandolfo ,petrucci4 #aeji4 ,october #h4 ,sells to ,pandolfo ,petrucci and ,paolo di ,vannoccio ,biringucci1 a house in the third ward of the city of ,siena1 for #dbj florins4 #aeji4 ,record of his inhabiting in the ward of ,san ,vincenzo in ,siena4 #aeji4 ,november #a4 ,makes first will4 #aeaj4 ,january #bg4 ,a daughter born in ,siena3 ,faustina ,girolama4 #aeaa4 ,september #bj4 ,sells land at ,chiugi to a lawyer named ,giulio ,cesare1 godfather to his son4 #aeaa4 ,november #ba4 ,buys of ,antonio ,primaticci1 of ,siena1 a piece of land called the ,cloister1 at ,pernina4 #aeac4 ,may #g4 ,being in corpore languens1 makes his last will4 #aeac4 ,september #ac4 ,a codicil4 #aeac4 ,october #ad4 ,a second codicil4 #aeac4 ,december #aa4 ,dies in ,siena1 and is buried in the church of ,,ss4 ,vincenzo and ,anastasia1 now the oratory of the ward of the ,ostrich4 #aead4 ,sigismondo ,tizio gives an account of his last illness and death4 #aeaf4 ,grania1 his widow1 sells to ,sigismondo ,chigi two-thirds of sundry pieces of land4 #aeaf4 ,grania petitions to sell part of the land forming the portion of her daughter ,faustina4 #aeah4 ,may #bb4 ,grania makes her will4 ,a daughter1 ,egidia 7year not known71 marries ,girolamo di ,paolo1 a soldier of the ,piazza of ,siena4 ,a daughter1 ,faustina1 marries ,filippo of ,deruta4 #aeai4 ,a daughter1 ,adriana1 dies4 ,had married ,guiseppe da ,giovanni of ,perugia4 ,,index ,adoration of the ,magi1 ,the 7,borgia ,apartments71 #fi1 #gj1 #aeh ,adoration of the ,shepherds1 ,the 7,spello74 ,see ,nativity ,alberti1 ,leo ,battista1 #bd ,alexander ,,vi41 ,pope1 #f1 #ag1 #ff2 portrait of1 #ga1 ill4 #gj1 #gb2 shuts himself in ,castel ,sant' ,angelo1 #if1 #ig ,angelis1 ,abb de1 #ae ,annunciation1 ,the 7,borgia ,apartments71 #fi1 #gj1 #aeh1 ill4 #fh2 7,spello71 #aja1 #ajc1 #afa1 ill4 #ajd2 7,perugia71 #ada1 #aeg ,aringhieri1 ,alberto1 ,pintoricchio's work for1 #aj1 #aji2 portraits of1 #aji1 #aaj1 #afj1 ill4 #aaj ,arithmetic 7,borgia ,apartments71 #ij1 #aeh1 ill4 #ij ,ascension1 ,the 7,borgia ,apartments71 #fi1 #ga1 #aeh ,assumption1 ,the 7,borgia ,apartments71 #fi1 #gb1 #ib1 #aeh1 ill4 #gd2 7,naples71 #af note1 #add1 #aeg2 7,san ,gemignano71 #adf1 #afj 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portrait of1 #ea ,camerlengo1 ,cardinal1 #h1 #ah ,carvajal1 ,cardinal1 #fc ,charles ,,viii41 ,invasion of ,italy by1 #if-ii ,christ bearing the ,cross 7,milan71 #ad1 #adh1 #aeg1 ill4 #aej ,christ disputing with the ,doctors 7,spello71 #aja1 #ajb1 #afa ,christ1 ,the ,dead 7,spoleto71 #aje1 #afb ,cibo1 ,cardinal ,innocenzio1 #ei ,coronation of the ,virgin1 ,the 7,s4 ,m4 del ,popolo71 #aab2 7,vatican71 #adf1 #aei ,costa1 ,cardinal1 #ei ,cross1 ,finding of the ,true 7,s4 ,croce in ,gerusalemme71 #fb ,crucifixion1 ,the 7,borghese ,gallery71 #bf1 #bh1 #aeh ,descent of the ,holy ,spirit1 ,the 7,borgia ,apartments71 #fi1 #gb1 #aeh ,dialectics 7,borgia ,apartments71 #ib ,djem1 ,prince1 #hc1 #if1 #ig ,donatello1 #aai ,duccio1 ,agostino di1 #be ,eusebio di ,san ,giorgio1 #aae1 #abc1 #acc ,farnese1 ,giulia1 #hf ,fiorenzo di ,lorenzo1 his ,miracle of ,san ,bernardino1 #be1 #fb1 ill4 #bd2 his influence on ,pintoricchio1 #d1 #ag1 #bb-bi1 #da1 #fa1 #fi1 #gb1 #ge1 #hf1 #ij1 #ajb1 #ajc1 #aab1 #adj1 #adf ,francesca1 ,piero della1 influence of1 #ba2 his ,flagellation1 #bd ,frederick ,,iii4 and ,eleanora of ,portugal1 ,meeting of1 #abh1 #abi2 7sketch for71 #abj ,frederick ,,iii4 crowning neas ,piccolomini as ,poet-,laureate1 #abf1 ill4 #abf2 7sketch for71 #aba ,frederick ,,iii4 sending neas ,piccolomini to ,pope ,eugenius ,,iv41 #abg1 ill4 #abh ,fungai1 ,bernardino1 #gb ,gatta1 ,bartolommeo della1 #ch ,genga1 ,girolamo1 #aac ,gentile da ,fabriano1 #bj ,geometry 7,borgia ,apartments71 #ij1 #aeh ,gerino da ,pistoia1 #aej ,god the ,father 7,assisi71 #adh1 #aeg2 7,spoleto71 #aje1 #afb ,gozzoli1 ,benozzo1 #ba1 #cj ,grammar 7,borgia ,apartments71 #ib1 #aeh ,grotesque1 ,the1 first appearance of1 in art1 #fh ,holy ,family1 ,the 7,siena71 #adf1 #aea1 #afj ,innocent ,,viii41 ,pope1 #e1 #ee1 #ef1 #hc ,julius ,,ii41 ,pope1 #ac1 #fd ,justice 7,borgia ,apartments71 #ib1 #aeh ,leonardo1 #aai1 #abj ,leubin1 ,hans1 #abi ,lorenzo di ,credi1 #adc ,lorenzo di ,mariano1 #ajg ,madonna and ,child 7,valencia71 #df1 #aci1 #afb2 7,borgia ,apartments71 #hf1 #aeh1 ill4 #hh2 7,perugia71 #aci-adb1 #aeg1 ill4 #adj2 7,national ,gallery71 #add1 #aee1 ill4 #adf2 7,s4 ,m4 ,maggiore1 ,spello71 #ade1 #afa2 7,san ,andrea1 ,spello71 #ade1 #afa2 7,berlin71 #adg1 #aef2 7,buda-,pesth71 #adh1 #aee2 7,milan71 #adh1 #aeg ,madonna and ,saints 7,spoleto71 #aje1 #afb2 7,louvre71 #adh1 #aef ,madonna in ,glory1 ,the 7,naples71 #add1 #aeg2 7,san ,gemignano71 #adf1 #afj ,madonna della ,pace 7,san ,severino71 #adc1 #afj1 ill4 #adb ,mantegna1 his description of ,prince ,djem1 #hd2 painting of children at ,padua by1 #hg ,mariotto1 ,bernardino1 ,pintoricchio confused with1 #d1 #aab1 #adj1 #adb1 #adf ,masolino1 #ha ,matteo di ,giovanni1 #aaj ,melozzo da ,forli1 court painter to the ,vatican1 #cf2 influence of on ,pintoricchio1 #ec1 #fj1 #ga1 #hh ,morea1 ,christoforo1 portrait of1 #acf ,morto da ,feltre1 #fa ,moses1 ,the ,journey of 7,sixtine ,chapel71 #cf1 #ch1 #da1 #db1 #aea1 #aei1 ill4 #db ,music 7,borgia ,apartments71 #ij1 #aeh1 ill4 #ib ,nativity1 ,the 7,s4 ,m4 del ,popolo71 compared with ,fiorenzo's ,adoration of the ,child1 #bc1 #fa1 #aei2 7,borgia ,apartments71 #fi1 #gj1 #aeh2 7,spello1 ,baglioni ,chapel71 #aja1 #ajb1 #afa1 ill4 #ajb2 7,san ,girolamo1 ,spello71 #ajd1 #afa ,niccol da ,foligno1 #ab ,nelli1 ,ottaviano1 #ba ,ormanni1 ,antonio1 #ajg ,orvieto1 ,pintoricchio's work at1 #e1 #f1 #g ,osiris and ,isis1 ,the ,story of 7,borgia ,apartments71 #hd ,pacchiarotto1 #abc ,paleologos1 ,andrea1 #ha1 #hc ,perino del ,vaga1 #ff ,perugia1 ,polyptych at1 #aci-adb1 #aeg1 ill4 #adj ,perugino1 #ac2 assisted by ,pintoricchio1 #ag1 #bg1 #cf-dj2 influence of on ,pintoricchio1 #db1 #dc1 #dd1 #fi1 #gb1 #gc1 #ia1 #ajd1 #abj1 #abe1 #add2 his painting of children1 #hg ,peruzzi1 #id ,petrucci1 ,pandolfo1 ,pintoricchio's paintings for1 #ad1 #aac ,piccolomini1 neas ,sylvius1 #ajf1 #aae2 scenes from the life of1 #aae1 #abc-ach1 ill4 #abj1 #abf1 #abh1 #acb1 #acd1 #acf ,piccolomini1 ,cardinal ,andrea1 #aj1 #aaa ,piccolomini1 ,cardinal ,francesco1 summons ,pintoricchio to ,siena1 #i1 #aj1 #ajf1 #ajg2 death of1 #ajh ,pietro d',andrea1 #id ,pietro di ,domenico1 #adi ,pintoricchio1 meagre history of his early life1 #b2 his work in ,rome1 #d1 #e2 at ,orvieto1 #e1 #f1 #g2 entrusted with the decoration of the ,borgia ,apartments1 #f2 commutation of tax on his land1 #g1 #h2 his marriage1 #h1 #aa2 in the service of ,csar ,borgia1 #i2 elected a ,decemvir of ,perugia1 #i2 called to ,siena1 #aj2 his wife and children1 #aa1 #af2 at ,spello1 #ac2 last visit to ,rome1 #ac2 his death1 #ad1 #ae2 reported neglect of his wife1 #ae2 portraits of himself1 #af1 #hd1 #ajd1 ill4 #ajd2 writing of his name1 #ah2 derivation of his art1 #bb2 influence of ,fiorenzo di ,lorenzo on1 #bc et seq42 influence of ,perugino on1 #bg2 character of his art1 #cj-cd2 his technique1 #cd2 his frescoes in the ,sixtine ,chapel1 #cf2 his greatness as a landscape painter1 #dc2 his decoration of the ,buffalini ,chapel in ,ara ,cli1 #dg2 his work for ,giuliano and ,domenico della ,rovere1 #ee1 #eg2 his decorations in ,s4 ,m4 del ,popolo1 #ei1 #aab2 other work in ,rome by1 #fb2 his decoration of the ,borgia ,apartments1 #fd-if2 drawings of ,turks by1 #hb1 #hc2 his study of the antique1 #he2 his painting of children1 #hg2 his merits and failings1 #id1 #ie2 his painting in the ,castel ,sant' ,angelo1 #ih1 #ii2 his work at ,spello1 #ajj-aje2 his frescoes at ,spoleto1 #aje2 summoned to ,siena by ,francesco ,piccolomini1 #ajg1 #ajh2 work in the ,cathedral at ,siena by1 #aji1 #aaj2 his frescoes in the ,library at ,siena1 #aae-ach2 evidence as to ,raphael's assistance of1 #aaf-abc2 his panel paintings1 #aci2 his polyptych at ,perugia1 #aci-adb2 other paintings by1 #adb-adh2 his influence1 #adi ,pius ,,ii41 ,pope1 see ,piccolomini1 neas ,sylvius ,pius ,,iii41 ,pope1 see ,piccolomini1 ,francesco ,poet ,crowned1 ,the1 #abf1 ill4 #abf2 7sketch for71 #aba ,pollaiuolo1 influence of on ,pintoricchio1 #bd ,portrait of a ,boy 7,dresden71 #bh1 #aef1 ill4 ,front42 7,oxford71 #adh1 #aef ,raphael1 #ac2 friendship of with ,pintoricchio1 #ag2 helped ,pintoricchio with the frescoes in the ,siena ,library1 #aaf-abc2 his ,three ,graces1 #aag2 his drawing of horses1 #aai2 the ,battle of the ,standard1 #aai1 #abj2 influenced by ,pintoricchio1 #aej ,resurrection1 ,the 7,borgia ,apartments71 #fi1 #gj ,rhetoric 7,borgia ,apartments71 #hi1 #aeh ,rome1 ,pintoricchio's work in1 #d1 #e1 #aeh1 #aei2 in the ,borgia ,apartments1 #f1 #fd-if2 in the ,sixtine ,chapel1 #cf-de2 in the ,chapel of ,ara ,cli1 #ci1 #dg-ed2 in the ,belvedere1 #ef2 in the ,colonna ,palace1 #ee2 in the ,palazzo dei ,penitenzieri1 #eg2 in ,santa ,maria del ,popolo1 #ei1 #fj1 #aab2 in ,castel ,sant' ,angelo1 #ih1 #ii ,rome1 ,the bambino of ,ara ,cli at1 #eb ,rovere1 ,domenico della1 #e1 #eg1 #ei ,rovere1 ,giovanni ,basso della1 #de1 #ei1 #fj ,rovere1 ,giuliano della1 #cg1 #ee1 #gb1 #hi1 #ij1 #if ,st4 ,anthony1 ,visit of1 to ,st4 ,paul the ,hermit 7,borgia ,apartments71 #gf1 #gg1 #aeh1 ill4 #gf1 #gh ,st4 ,augustine 7,perugia71 #adh1 #aeg ,san ,bernardino1 #b1 #dh2 frescoes of the life of1 by ,fiorenzo di ,lorenzo1 #be1 ill4 #bd2 frescoes of the life of1 by ,pintoricchio1 #ej-ec1 #ajb1 #aea1 ill4 #ej1 #ed ,santa ,barbara1 ,scenes from the ,life of 7,borgia ,apartments71 #gf1 #hj1 #ajb1 #aeh ,st4 ,catherine 7,national ,gallery71 #aji1 #add1 #aee ,st4 ,catherine1 ,the ,canonisation of 7,siena1 ,library71 #af1 #abc1 #acf ,st4 ,catherine1 ,the ,dispute of 7,borgia ,apartments71 #af1 #hj1 #abe1 #aeh1 ill4 #hj1 #hb ,st4 ,christopher 7,borghese ,gallery71 #bf1 #bg1 #aci1 #aeh ,san ,gemignano1 ,madonna at1 #adf1 #afj ,st4 ,jerome1 ,scenes from the ,life of 7,s4 ,m4 del ,popolo71 #fa ,st4 ,john1 ,birth of1 #aji ,st4 ,louis of ,toulouse1 #ec ,st4 ,michael 7,leipzig71 #adh1 #aef ,st4 ,sebastian 7,borgia ,apartments71 #gh1 #gi1 #hb1 ill4 #gh ,san ,severino1 ,altar-piece at1 #adb1 #afj1 ill4 #adb ,seitz1 ,signor ,lodovico1 #fe ,sforza1 ,giovanni1 #hj1 #hd ,sibyls1 ,paintings of 7,borgia ,apartments71 #ic1 #id1 #aeh2 7,spello71 #aja1 #aac ,siena1 ,pintoricchio at1 #aj1 #ac2 frescoes in the ,chapel of ,st4 ,john1 #aji1 #afj2 pavement of the ,cathedral1 #aaj1 #afa1 ill4 #aaj2 frescoes in the ,library at1 #ajg1 #ajh1 #aaa1 #aae-ach1 #afj2 drawings for1 #aah2 study by ,raphael for1 ill4 #aah2 ,holy ,family at1 #adf1 ill4 #adh ,signorelli1 ,luca1 with ,pintoricchio at ,siena1 #ac1 #ad1 #aac2 sponsor to ,pintoricchio's child1 #ag2 influence of1 on ,fiorenzo1 #bi2 and on ,pintoricchio1 #cj1 #gg2 the ,journey of ,moses1 formerly attributed to1 #ch ,sixtus1 ,pope1 #cg1 #de1 #ei ,sodoma1 possibly helped ,pintoricchio with the ,siena frescoes1 #abc ,spello1 ,cardinal of1 #i ,spello1 ,pintoricchio's work at1 #ajj-aje1 #afa2 altar-pieces at1 #ade1 #afa ,spoleto1 ,frescoes at1 #aje1 #afb ,susanna and the ,elders 7,borgia ,apartments71 #gd1 #aeh1 ill4 #gd ,symonds1 ,j4 ,a41 on ,pintoricchio1 #cj ,turks1 ,drawings of1 #hb ,ulysses1 ,the ,return of1 #ad1 #aac1 #aea1 #aee1 ill4 #aad ,umbrian ,art1 #ai1 #bj2 influenced by its scenery1 #be ,venetian ,sketch-,book1 previously attributed to ,raphael1 #ch1 #ci2 illustration from1 #dj ,verrocchio1 influence of1 on ,fiorenzo1 #bd2 his ,baptism1 #dd2 influence of on ,pintoricchio1 #gd2 his drawing of horses1 #aai ,visitation1 ,the 7,borgia ,apartments71 #gg ,,notice ,photographs of most of the works mentioned in this volume are to be obtained in various sizes from ,w4 ,a4 ,,mansell ,co4 ,art ,photograph ,publishers and ,dealers1 #dje1 ,,oxford ,,street1 ,,london1 ,w4 #af4 ,,pall ,,mall ,,east1 ,s4,w4 ,,permanent ,,carbon ,,prints1 ,,permanent ,,prints1 ,,photogravures1 ,,from ,,most ,,of ,,the ,,pictures ,,in ,,the ,galleries at ,,london4 ,,national ,,gallery4 ,,tate ,,gallery4 ,,dulwich ,,gallery4 ,,edinburgh4 ,,glasgow4 ,,brussels4 ,,milan4 ,,venice4 ,,munich4 ,,berlin4 ,,dresden4 ,,vienna4 ,,liechtenstein4 ,,belvedere4 ,,czernin4 ,,amsterdam4 ,hague1 ,haarlem4 ,,cassel4 ,,etc41 ,,etc4 ,royal ,collections at ,,buckingham ,,palace4 ,,windsor ,,castle4 ,private ,collections of ,,the ,,duke ,,of ,,devonshire4 ,,the ,,earl ,,spencer4 ,,the ,,earl ,,of ,,northbrook4 ,,art ,,books--,,art ,,albums--,,artistic ,,framing4 ,,franz ,,hanfst,,ngl #af1 ,,pall ,,mall ,,east1 ,s4,w4 ,lists and ,prospectuses ,free4 ,catalogues1 ,one ,shilling4 ,transcriber's ,note3 ,page #eb which saves from self-consciouness changed to which saves from self-consciousness ,page #abe much more natural and easy atitude changed to much more natural and easy attitude ,page #afh ,funga1 ,bernardino1 #gb changed to ,fungai1 ,bernardino1 #gb ,niccol da ,foligno1 #ab changed to ,niccol da ,foligno1 #ab