JULY, 1904 
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 PINTORICCHIO 
 
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 [203] 
 
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POKTHAIT OF PIJfTOHlCCHIO BT HIMSELF 
 CHUKCH OF SAJSTA MAMA MAGGIOKK, SPKJLLO 
 
 This portrait was introduced by Pintoricchio into his now much injured fresco of ' The 
 Annunciation' in the Church of Santa Maria Maggiore, Spello, where it figures as 
 a picture hanging on the wall of the Virgin's chamber. The blue background and 
 dark dress and cap have been blistered bv dampness ; the face, too, has suffered, but 
 the essential features remain intact, and enable us to form an idea of Pintoricchio' s 
 appearance at the age of forty-seven. 
 
 [274] 
 
MASTERS IN ART 
 
 ^etnarHino tri mntrtttto XH muQio 
 
 CALLED 
 
 ^intovitt^io 
 
 BORN 1454: DIED 15 13 
 UMBRIAN SCHOOL 
 
 BERNARDINO DI BENEDETTO (or BETTO) DI BIAGIO, 
 called Pintoricchio (pronounced Pin-tor-ik'ke-o), "the little painter," 
 was born in Perugia in the central Italian province of Umbria, in the year 
 1454. The name by which he is best known was written variously by his 
 contemporaries and by the painter himself, Pentoricchio, Pinturicchio, and 
 Pintoricchio. The latter form is here adopted as being the proper diminutive 
 of the old Italian word for painter — pintore. 
 
 So little is known of Pintoricchio's origin and youth that we are for the 
 most part left to conjecture the outlines of his early history. His father, 
 Benedetto di Biagio, was probably of humble station, and a tradition that his 
 home was near the Porto San Cristoforo, Perugia, leads to the inference that 
 Pmtoricchio's childhood was passed in his native city. 
 
 Certain qualities observable throughout Pintoricchio's work point to the 
 probability that his artistic career was begun under one of the miniature-paint- 
 ers of Perugia, of whom a flourishing college existed in that city in the mid- 
 dle of the fifteenth century. According to Vasari, he was at one time as- 
 sistant to Benedetto Bonfigli, who established a school of painting in Peru- 
 gia early in that same century, and gave to Perugian art an importance which 
 it had not previously possessed. In Pintoricchio's pictures we find sugges- 
 tions which testify to the probable truth of Vasari's statement; but the master 
 to whom he shows himself most nearly akin is the Umbrian painter Fiorenzo 
 di Lorenzo, in whose works we find the same anecdotic tendencies which 
 characterize Pintoricchio's — the same display of picturesque costumes, use 
 of architectural decorations, and rock-strewn landscape backgrounds. 
 
 But although Pintoricchio probably owed his artistic inspiration chiefly to 
 Fiorenzo di Lorenzo, whose influence, indeed, remained with him through- 
 out his career more strongly than did that of any other painter, his develop- 
 
 [275] 
 
24 MASTERS IN ART 
 
 ment is in some measure due to his contact with Pietro Perugino. This 
 painter, eight years his senior, was one whose influence could hardly fail to 
 leave its mark upon the younger man, who was associated with him not only 
 in their undertakings in the Sistine Chapel, Rome, but probably also prior to 
 that time. 
 
 Not until 1482, when Pintoricchio appeared in Rome as one of that im- 
 mortal company of artists assembled there to decorate the walls of the newly 
 built chapel of Pope Sixtus iv., are we able to follow with any certain knowl- 
 edge the steps of his career. Among the assistants of Perugino, it is recorded, 
 was one Bernardino di Benedetto, called Pintoricchio, and from the impor- 
 tant part he took in his master's work it seems probable that Perugino re- 
 garded him as his right-hand man, making use of several of the younger art- 
 ist's designs for figures, and even intrusting him with two of the principal 
 wall-paintings, 'The Journey of Moses 'and 'The Baptism of Christ.' These 
 frescos, probably Pintoricchio's first important achievement, established his 
 reputation, and henceforth he worked as an independent artist, himself em- 
 ploving assistants and receiving numerous commissions. 
 
 It is not known what was his next undertaking, but most authorities agree 
 that it was at this period that he decorated the Bufalini Chapel in the Church 
 of Aracoeli, Rome, with frescos illustrating scenes from the life of St. Ber- 
 nard. He also painted in the Colonna Palace, and in the Vatican in the 
 service of Innocent viii. We hear of him, too, as engaged with Perugino in 
 painting the interior of the spacious palace then called Sant' Apostolo, now 
 the Collegio dei Penitenzieri. Of these works scarcely a vestige remains. 
 Faint traces of heraldic devices, garlands, decorative designs, classic and myth- 
 ological, are still dimly discernible on these old palace walls, but time has 
 almost obliterated paintings which four hundred years ago helped to make the 
 name of Pintoricchio famous. 
 
 In the Church of Santa Maria del Popolo, Rome, which if its original dec- 
 orations had been preserved would be to-day a storehouse of the "little paint- 
 er's " art, Pintoricchio, with the help of assistants, decorated several chapels 
 in honor of different members of the Rovere family. Of these the frescos 
 in only one — the Chapel of St. Jerome — can now be attributed to his hand. 
 
 In 1492 he entered into an agreement to paint two evangelists and two 
 Tathers of the Church in the cathedral at Orvieto, the price settled upon 
 being one hundred ducats. To carry out this commission, and at the same 
 time attend to his work in Rome, necessitated much coming and going be- 
 tween the two places; but the decorations in Orvieto had not advanced very 
 ijirbefore the painter fell into a violent quarrel with the ecclesiastics, who 
 •deo^K^ that he had not executed the first part of his work in accordance 
 with his agreement. Their real objection, however, seems to have been that 
 Pintoricchio was using an alarming quantity of gold and ultramarine — far 
 more than the chapter could afford. 
 
 In consequence of this disagreement the work at Orvieto came to a stand- 
 still. Pintoricchio returned to Rome, well pleased, no doubt, to do so, for a 
 third pope had become his patron there, the great Alexander vi., who, as 
 
 [276] 
 
PINTORICCHIO 25 
 
 Cardinal Borgia, had already shown him favor, and who now commissioned 
 him to decorate his private apartments in the Palace of the Vatican. Em- 
 ployment at the papal court was more to Pintoricchio's taste than working 
 under the watchful eyes of parsimonious monks; but these same monks ap- 
 parently made their peace with him later, for he seems to have returned to 
 Orvieto to complete the decorations, and it is recorded that Pope Alexander 
 wrote to them in March, 1494, requesting that Pintoricchio be allowed to 
 come to Rome and proceed with the work in the Vatican. 
 
 The decoration of these rooms — known as the Borgia apartments — was 
 one of the most important undertakings of Pintoricchio's life. Assistants 
 were of necessity employed, but from the homogeneous character of the fres- 
 cos as a whole it is clear that the master's supervision must have been un- 
 tiring, and that all individuality in his pupils was made subordinate to his 
 guiding influence. No contract for the work has been discovered, so that 
 we have no means of knowing exactly when it was begun or when finished, 
 but it is supposed to have been completed when, early in 1495, Pope Alex- 
 ander VI. was driven by the invasion of Rome by the French to leave the 
 Vatican and take refuge in the fortified Castle of Sant' Angelo. Thither Pin- 
 toricchio, his court painter, followed him; and when, in the following sum- 
 mer, Alexander fled to Orvieto and Perugia, "the little painter" went; home- 
 wards among his master's followers. 
 
 At about this time, 1495, the pope had bestowed upon Pintoricchio a grant 
 of two pieces of land at Chiugi, near Perugia, in return for which an annual 
 payment of thirty baskets of grain was to be made. This tax was later com- 
 muted, upon Pintoricchio's claim that it was so heavy that it swallowed up 
 all the revenues, and the painter, who in the deed is spoken of as "a faith- 
 ful and devoted servant of Alexander and the Church," was merely called 
 upon to pay two pounds of white wax annually for three years. 
 
 In July, 1497, Pintoricchio was once more in Rome, engaged this time 
 in frescoing rooms in the Castle of Sant' Angelo for the pope. At the end 
 of a year, however, he was back in Perugia finishing a large altar-piece for 
 the monks of the Monastery of Santa Maria dei Fossi. 
 
 It is probable that at about this period, when he was somewhat over 
 forty years of age, his marriage with Grania, daughter of one Niccolo of 
 Bologna — or Modena — took place; a marriage which from contemporary 
 accounts seems to have been far from happy. 
 
 At the request of Troilo Baglioni, Bishop of Perugia, who desired that 
 Pintoricchio should decorate the chapel of his house in the Church of Santa 
 Maria Maggiore at Spello, the painter, early in 1501, went to that town, 
 some eighteen miles distant from Perugia, to carry out the wishes of his new 
 patron. Dampness and decay have sadly injured Pintoricchio's work in this 
 little chapel in the Spello church, but enough remains of his three frescos 
 *The Annunciation,' *The Nativity,' and 'Christ Disputing with the Doc- 
 tors' to show how great must have been their original beauty. 
 
 Before leaving home to execute this work in Spello, Pintoricchio was elected 
 Decemvir of the city of Perugia, an appointment which proves that he stood 
 
 [277] 
 
26 MASTERS IN ART 
 
 high in the estimation of his fellow-citizens, but which could not have en- 
 tailed upon him any great amount of work, as his continued absence from 
 home prevented the fulfilment of municipal duties there; moreover, early in 
 1502, after a year's sojourn at Spello, an event occurred which materially 
 changed the course of his life, involving as it did his leaving Perugia. This 
 was a summons to Siena from Cardinal Francesco Piccolomini — afterwards 
 Pope Pius III. — to decorate in fresco the Cathedral Library built there by the 
 cardinal in honor of his uncle, JEnezs Sylvius Piccolomini, who before his 
 death, about forty years prior to this time, had been made pope under the 
 title of Pius II. 
 
 Accordingly Pintoricchio journeyed across the hills and plains lying be- 
 tween his old home and the city which was now to be his abode, and after 
 an elaborate contract had been drawn up, having gathered together a sufficient 
 force of workmen and assistants, he set to work upon his task in the spring 
 of 1503. The subject assigned him was the principal events in the life of 
 JEne^s Piccolomini; and in accordance with the contract, the cartoons, their 
 transference to the walls of the Library, and all the heads of the figures 
 were to be by Pintoricchio's own hand. In payment of his services he was 
 to receive one thousand gold ducats, to be paid in instalments. A house was 
 also to be provided for him, "hard by the cathedral" — his goods, movables, 
 and fixtures being pledged as security for the due fulfilment of the contract. 
 
 The work had not advanced very far when the death of Francesco Picco- 
 lomini, three weeks after his election to the papacy, occurred to interrupt its 
 progress. His will, however, provided for its completion by his executors, so 
 that it was not long before Pintoricchio could proceed with the decorations. 
 In the meantime, feeling himself temporarily absolved from his promise to 
 undertake no other commissions while the decorations in the Library were 
 under way, he turned his attention to various other works. 
 
 No sooner had he resumed work in the Library in the following spring 
 than a further interruption occurred in the death of one of the late pope's 
 executors, and in June of that year, 1505, we find Pintoricchio once more 
 in Rome, busily employed in decorating the choir of the Church of Santa 
 Maria del Popolo, the scene of some of his earlier labors. At the end of ten 
 months, however, he had returned to Siena to continue work in the Library, 
 which now progressed without further hindrance, and reached completion in 
 the year 1508. 
 
 One more visit to Rome is recorded; made this time in obedience to a 
 summons from the then pope, Julius ii., at whose command Perugino, Sig- 
 norelli, Pintoricchio, and other artists met together to consider the decora- 
 tion of the Vatican rooms, eventually intrusted to Raphael. 
 
 Pintoricchio's last years were spent in Siena. Vasari, who is strangely un- 
 just in his estimate of the painter, gives the following improbable account of 
 his death. "When he had attained the age of fifty-nine," writes this biog- 
 rapher, "he received a commission to paint a picture of the 'Birth of the Vir- 
 gin' for San Francesco, in Siena, and having commenced the work, a room 
 was appropriated to his use by the monks, which was given up to him, as he de- 
 
 [278] 
 
PINTORICCHIO 27 
 
 sired it should be, entirely empty and denuded of everything, a massive old 
 chest alone excepted; this they left in its place, finding it too heavy for re- 
 moval. But Pintoricchio, like a strange self-willed man as he was, made so 
 much clamor, and repeated his outcries so often, that the monks set them- 
 selves at last, in very desperation, to carry the chest away. Now in dragging 
 it forth, such was their good fortune that one of the sides was broken, when 
 a sum of five hundred ducats in gold was brought to light. This discovery 
 caused Pintoricchio so much vexation, and he took the good fortune of those 
 poor friars so much to heart, that he could think of nothing else; and so griev- 
 ously did this oppress him that, not being able to get it out of his thoughts, 
 he finally died of vexation." 
 
 Those who knew Pintoricchio in Siena, however, make no allusion to any 
 such occurrence. The true version of the painter's death is far sadder than 
 Vasari's legend. Sigismondo Tizio, a Sienese historian and Pintoricchio's 
 friend, writes that when the painter fell ill, his wife Grania and her lover, 
 a soldier in the Sienese Guard, shut him up in his house and left him to die 
 of hunger and neglect; that some women of the neighborhood heard his cries 
 and went to his assistance, and it was from them that Tizio afterwards learned 
 the particulars of his friend's death. 
 
 Pintoricchio died on the eleventh of December, 1513, and was buried in 
 the Church of San Vincenzo, Siena. 
 
 Of the painter's personal appearance we can form an estimate from the 
 various portraits he has left us, and from the chronicler Matarazzo's remark 
 that he was "undersized and of insignificant appearance." That he was deaf 
 we gather from his nickname "il Sordicchio." 
 
 %\)t 9ixt of ^tntortccfjto 
 
 EVELYNMARCHPHILLIPPS 'PINTORICCHIO' 
 
 PINTORICCHIO is not one of the most famous painters of the Italian 
 Renaissance, and perhaps no painter who has left us such a mass of work, 
 and work of such interest, has attracted so little criticism or inquiry. It 
 would be idle to claim for him a place in the first rank; some may question 
 his right to stand in the second; in some of the greatest essentials he will 
 not pass muster. It would be absurd to claim for him sublime creative power, 
 tactile values, mastery over form and movement. He has none of these. 
 His persons rarely stand firmly upon both feet; his pages, his kings and 
 queens, are too often drawn and even colored like playing-cards; his crowds 
 are motley and ill-arranged. The dry and purely scientific student of the 
 schools of Italy will find it more than easy to demonstrate his shortcomings. 
 But it is less simple to analyze the charm that triumphs in spite of them, and 
 which gives keen pleasure to one side of the artistic nature. . . . 
 
 [279] 
 
28 MASTERS IN ART 
 
 There is in the art of Pintoricchio a direct simplicity of expression and ges- 
 ture that saves him from conventionality and cloying sweetness. His persons 
 are not above criticism as far as technicalities are concerned, but they have in 
 them this, that they are occupied and absorbed in the business in hand. You 
 may fancy at first that they are artificial, but that is merely their environment; 
 they themselves are simple; they do not pose or look upvi^ards or out of the pic- 
 ture with an aff^ected appeal for admiration. This quality gives to Pintoric- 
 chio a truthfulness where he lacks depth. To the last he has a sincerity which 
 underlies his conventionality, just as his dainty care in detail counterbalances 
 his want of freedom and rhythm. His forms lack the nobility of Perugino's, 
 his religious emotion is less deep, but he is not self-conscious, and he has a 
 freshness and raciness which saves him from fatiguing by monotonous sweet- 
 ness. He does not make his paintings a series of excuses for the solution of 
 scientific problems, so that they are more spontaneous, more the outcome 
 of the man's natural unfettered inclination, than are the works of some of 
 those who made greater discoveries in the field of painting. 
 
 In the picturesque qualities of his work Pintoricchio is completely a child 
 of the Renaissance. His feeling, sumptuous yet exquisite, his treatment, 
 naive yet distinguished, is the prerogative of that age of fresh perception, and 
 of unspoiled acquaintance with the beautiful. It is the fairy-tale spirit that 
 so endears him to us. Like the medieval singers of romance, he guides us 
 through scenes that have a glamour of some day of childhood, when they may 
 have seemed real and possible. The wistful, wide-eyed youths, the tender, 
 dainty Madonnas and angels, the grave, richly -dressed saints and bishops, 
 might all stand for princes, for maidens, and magicians in some enchanted 
 realm of fairy. He does not take us into the region of the tragic, but his 
 fancy, his invention, and resource are fertile and untiring; he leads us on, 
 dazzling us, entertaining us with a childlike amusement, disarming criticism 
 by a lovable quality which enlightens us as to the natural sensibility of the 
 painter's mind, a sort of penetrating sweetness with which he can endow his 
 creations. Perhaps the truest explanation of his charm is to be found in the 
 union of two incongruous elements: the artificial and mannered grace, the 
 search after the exquisite and the splendid, joined to the naive and childish 
 simplicity, the freshness and Arcadian fancy of the Umbrian school. 
 
 In his feeling for space and for space-decoration he was a worthy follower 
 of Fiorenzo di Lorenzo, the not unworthy second to Perugino, and a fore- 
 runner of Raphael. The ample and spacious setting of his groups takes off 
 from their cramped and crowded effect. Where the action is awkward, or 
 the color heavy, the whole spirit is lightened and lifted as you breathe the 
 air of those delicious landscapes, or wander in imagination under those high- 
 poised arcades, or look out from a palace chamber at the freedom of a moun- 
 tain distance. It is the more remarkable that Pintoricchio is able to give us 
 this charm of landscape, as he adheres to his early training, and finishes the 
 most distant parts in delicate detail. 
 
 It is as a decorator that he holds his own most successfully among his con- 
 temporaries. It soon became apparent that no one could cover the walls of 
 
 [280] 
 
PINTORICCHIO 29 
 
 palace or chapel with an ornamentation so rich and so gay, so advantageous 
 to the position, so homogeneous in character. . . . 
 
 When not painting fresco, he is constant to the use of distemper. Unfor- 
 tunately, he is too much given to sacrifice the transparency and depth of his 
 color by a lavish use of retouching a secco. In order to gratify his love for 
 brilliancy, he produces an opaque surface, and is apt to give us a sort of 
 splendid gaiety in exchange for real depth. His use of his gorgeous pigments 
 is extremely skilful, especially towards his middle period. In the Sistine 
 Chapel frescos he has hardly let himself go, and in the Siena Library he in- 
 clines to be gaudy and glaring; but in many of his scenes the greens and 
 peacock-blues, the rich, soft rose-pinks, the purples and autumn gold are those 
 of a man whose nature was keenly alive to the joy of color. His use of em- 
 bossed gold is dictated by the same natural bent towards the gay and deco- 
 rative. This small, mean-looking, deaf man was rarely sensitive to fullness 
 of life, to splendor, and the delight of the eye; and wherever he has covered 
 a wall with his work, or left a panel or an altar-piece, we get a glance back 
 at an age which was not afraid of frank magnificence, guided by a purer taste 
 than we can boast. . . . 
 
 Although Pintoricchio's art was so much admired during his lifetime, it is 
 difficult to show that it exercised much after-influence. Fascinating as it is 
 in some ways, it represents the last survival of a dying school. . . . The 
 world to which he belonged, the taste which delighted in his creations, dis- 
 appeared with him, and was replaced by an age of conscious modernism which 
 was eager to sweep aside all that seemed archaic in the immediate past. The 
 thirst for knowledge and for scientific research was waxing intense, and the 
 craze for the display of knowledge with its hidden seeds of decay soon 
 followed. . . . 
 
 Down to recent years Pintoricchio was quite overlooked or treated with 
 contempt. He certainly is not able to inspire that sort of interest that we 
 feel in painters who worked, looking backward to see what had been done, 
 and forward to discover what yet remained to do. We do not strive with 
 him and triumph with him over defeated difficulties. He was a craftsman, 
 as were all artists worthy of the name at that day, and his work is always 
 painstaking and adequate, with nothing sloppy or careless in its execution. 
 But painting as a craft, with its secrets and its possibilities, was not his first 
 object, so that, without being able to divide his work into any distinct peri- 
 ods, we find that his earlier life, when he was still learning, was on the whole 
 the time when he was most successful in the artistic sense; and in such 
 frescos as the 'Journey of Moses' and the scenes from the life of St. Ber- 
 nard, he gave promise of an excellence which was not afterwards adequately 
 realized. He was an illustrator, and as such, perhaps, never touched the high- 
 est side of painting. We find in him the natural tendency of a decorator who 
 undertakes large commissions as a matter of business, to repeat forms and 
 situations; yet, with every temptation to mechanical treatment and repeti- 
 tion, it is the true artist in Pintoricchio which saves him from becoming mon- 
 otonous. To the very last his invention and fancy are alert, varying every 
 
 [281] 
 
30 MASTERS IN ART 
 
 accessory, displaying a freshness and an enjoyment in his creations which are 
 irresistibly attractive. In all his illustrations the lyric faculty is his. He fol- 
 lows the lives, the history, the fashions of his time with minute persistence, 
 but always with some charms added to prosaic actuality. He is to painting 
 what the ballad-singer is to poetry: slight, garrulous, naive, infectious, and 
 with a haunting melody of his own. 
 
 BERNHARD BERENSON 'CENTRAL ITALIAN PAINTERS OF THE RENAISSANCE' 
 
 PINTORICCHIO'S natural endowments were great, and his beginnings 
 dazzling with promise. In the Sistine Chapel he holds his own with the 
 best of the fifteenth-century painters, and may be looked at even alongside 
 of Botticelli. Gentle feeling, lovely women and children, romantic landscape, 
 clear arrangement, splendid portraiture, do their best to absorb and please us. 
 As more serious tasks have been carefully avoided, there is nothing to sug- 
 gest a higher plane of artistic activity. We lazily enjoy these frescos as so 
 much refined genre. And we shall find the same characteristics in most of 
 his earlier works — all those in Rome which he executed with his own hand 
 and without too much hurry. What lovely faces those of the angels in the 
 Church of Aracceli! What pretty women in the Borgia apartments, or in 
 Santa Maria del Popolo! What splendid portraits, what romantic landscape 
 everywhere! And, in addition to all this, how much of that peculiarly Cen- 
 tral Italian feeling for arrangement and space! 
 
 But if mere prettiness pleased so well, why, then, the more pretty faces, 
 the more splendid costumes and romantic surroundings per square foot, the 
 better! And so Pintoricchio, never possessing much feeling for form or 
 movement, now, under the pressure of favor and popularity, forgot their very 
 existence, and tended to make of his work an olla podr'ida rich and savory, but 
 more welcome to provincial palates than to the few gourmands. And when 
 such an opulent and luxurious half-barbarian as Pope Alexander vi. was his 
 employer, then no spice nor condiment nor seasoning was spared, and a more 
 gorgeously barbaric blaze of embossed gold and priceless ultramarine than in 
 the Borgia apartments you shall not soon see again ! 
 
 Pintoricchio's later work, seriously considered, is all tinsel and costume- 
 painting, a reversion to the worst Umbrian art of the beginning of the cen- 
 tury — and, writing this, I do not forget the famous frescos in the Cathedral 
 Library at Siena. These frescos, recounting the life and adventures of the 
 great journalist and diplomat, afterwards Pope Pius ii., bring me to the one 
 further point I wish to make. As figure-painting, they scarcely could be 
 worse. Not a creature stands on his feet, not a body exists; even the beauty 
 of his women's faces has, through carelessness and thoughtless, constant repe- 
 tition, become soured; as color, these frescos could hardly be gaudier or 
 cheaper. And yet they have an undeniable charm. Bad as they are in every 
 other way, they are almost perfect as architectonic decoration. Pintoricchio 
 had been given an oblong room of no extraordinary dimensions; but what 
 did he not make of it! Under a ceiling daintily enameled with cunninglv 
 
 [282] 
 
PI NTORICCHIO 31 
 
 set-in panels of painting, grand arches open spaciously on romantic land- 
 scapes. You have a feeling of being under shelter, surrounded by all the 
 splendor that wealth and art can contrive, yet in the open air — and that 
 open air not boundless, raw, but measured ofF, its immensity made manifest 
 by the arches which frame it, made commensurate with your own inborn 
 feeling for roominess, but improved upon, extended, and harmonized, until 
 you feel that there at last you can breathe so that mere breathing shall be 
 music. Now it happens that certain processions, certain ceremonies, rather 
 motley, not over-impressive, are going on in this enchanted out-of-doors. 
 But you are so attuned that either you notice nothing unpleasant at all, or 
 you take it as you would a passing band of music on a spring morning when 
 your own pulses are dancing. 
 
 The last word, then, about Pintoricchio is that he was a great space-com- 
 poserj even here not the equal of Perugino, and not to be admitted to the 
 inner sanctuary where Raphael reigns supreme, yet great enough to retain 
 in his worst daubs so much of this rare, tonic quality that, if you are not 
 over-subtle in the analysis of your enjoyment, you will be ready to swear that 
 these daubs are not daubs, but most precious pictures. 
 
 EUGENE MUNTZ <HISTOIRE DE L'ART PENDANT LA RENAISSANCE 
 
 PINTORICCHIO delighted in the most minute execution, in the rich 
 display of colors and lavish use of ornament. Fond of portraying scenes 
 partaking of the nature of "genre," keeping to the old method of distemper 
 painting, a follower of Fiorenzo di Lorenzo rather than of Perugino, it 
 seemed, as Burckhardt has aptly said, as if his true vocation were that of a 
 miniaturist. Fate willed otherwise, however, and he was called upon to paint 
 a succession of monumental frescos equaling in number, if not exceeding, 
 those of the most prolific among fresco-painters. 
 
 Vasari has often been censured for the severity of his judgment of Pinto- 
 ricchio. "Although he performed many labors," he says in his biography of 
 the painter, "and received aid from many persons, Pintoricchio had never- 
 theless a much greater name than was merited by his works." The fact is 
 that if Perugino's pictures are often weak, lacking in freedom, and incorrect 
 in drawing, Pintoricchio's are still weaker; sometimes, indeed, wretched. 
 The harmony of proportions, sweep of outlines, rhythm of movement — all 
 these were alike unknown to him. What saves him is the variety of his pic- 
 torial resources, the ingenuity of his mise en scene — I dare not add his skill 
 in grouping, for in Pintoricchio's grouping there is always something coldly 
 formal and angular. He seems to be unable to bring about any connection 
 between his figures, and this for two reasons — first, because he never care- 
 fully studied the laws of composition, as Fra Bartolommeo and Raphael were 
 to do with such success early in the following century; secondly, because he 
 never had a thorough understanding of the rules of aerial perspective, to a 
 knowledge of which Perugino owed his ability to conceal how slight was his 
 skill in arrangement, properly so called. Indeed, Perugino, not knowing how 
 
 [283] 
 
32 MASTERS IN ART 
 
 to unite his figures by means of gesture, effect of drapery, or even with the 
 help of angels or cherubim, did nevertheless unite them by enveloping them 
 all in the same vi^arm, serene atmosphere — an artifice w^hich to the end re- 
 mained an insoluble enigma to poor Pintoricchio. 
 
 As to the expression of the faces in Pintoricchio's works, it is seldom elo- 
 quent or marked by any lofty feeling. His personages have a peevish, dis- 
 contented, jaded look. The portraits alone are interesting, and these the 
 painter has introduced everywhere, and with as much skill as profusion. 
 
 And now, having shown that Pintoricchio's invention lacks distinction, that 
 his drawing is weak and incorrect, and his color crude, we are at liberty to do 
 justice to his good points; for his inferiority in many of the qualifications of 
 art must not make us unmindful of his very real merits; and if Pintoricchio 
 was not a great artist he was certainly an entertaining one, owing to his real- 
 ism, which led him to introduce into the various subjects that he painted in- 
 numerable details illustrative of the manners and costumes of his day. . . . 
 
 Perugino and Pintoricchio are as widely separated as the antipodes; it would, 
 indeed, be difficult to think of a greater contrast. Perugino, a true stylist, 
 excels only in the portrayal of calm, contemplative scenes; his compositions 
 contain but few figures, and those are represented in only the simplest atti- 
 tudes. There are times, however, when he invests these figures, so serene 
 and so unmoved, with surprising warmth and feeling. Pintoricchio, on the 
 other hand, cares only for crowded and brilliant scenes; the individual pos- 
 sesses but slight interest for him; he must have the whole human race! 
 Worldly by nature, he shrinks from any expression of deep feeling and is 
 only at ease when in the midst of splendid costumes, surrounded by a motley 
 crowd, and in a sumptuous setting. He seldom centers his attention upon 
 any one figure or strives to attain to any lofty idea. In Perugino's pictures 
 we seem to hear the sublime accents of religion, whereas Pintoricchio enter- 
 tains us with his stories, more remarkable for volubility than for wit. To 
 spend his talent with lavish extravagance, to amuse, to dazzle — that was his 
 ambition; and it is one in which he often succeeds. Saltavit et placuit — he 
 danced and gave pleasure. — from the French 
 
 EDWIN HOWLAND BLASHFIELD 'SCRIBNER'S MAGAZINE' 1903 
 
 WAS Pintoricchio as great a man as he has been called by some authors? 
 Probably not. Has he been overpraised? Probably not. Was Vasari 
 as unjust to him as modern critics declare? Probably not. Was Vasari just 
 to him? Unquestionably not. As a draftsman was he skilful? Not exactly; 
 at any rate not always or even often, though at times his drawing has great 
 charm and now and then a firmness quite foreign to his habit. Usually there 
 is an unsureness, a kind of poverty about his drawing, but it has elegance and 
 style of its own, and many of his figures have that charm which seems to hover 
 about the path that leads from missal illumination to wall-paintings. Was he 
 a colorist? Yes; a master at least of the effects attained from colors if not 
 from color. . . . Certain critics have said much of his landscape and its depth; 
 if it sometimes deserves praise, it sometimes goes quite undeserving and not 
 
 [2841 
 
PINTORICCHIO 33 
 
 always because of restoration. Was he a composer? By no means in the strict 
 sense of the word ; his groups are often thrown together confusedly, crowded, 
 yet full of holes. But in another sense of the word "composer," as designer 
 and combiner, he was really great, and here we have reached and saluted the 
 crux of the whole situation. When we praise the Borgia apartments in the 
 Vatican as the culmination of Pintoricchio's accomplishment, it is the system 
 of treatment which we praise; and the man who, believing in that system, 
 loving it, indeed (we see this upon every square yard of the walls), held fast 
 to it just when all others were abandoning it, and pushed it to its ultimate 
 expression. 
 
 What is the result of these same Borgia apartments? It is delight of the 
 eye through richness and splendor of color and a sense that these rooms are 
 decorated perhaps more sumptuously than any which one has ever seen be- 
 fore or even imagined. The spectator does not trouble himself with the forms 
 upon the walls, he is submitting to the enchantment of the effect. Later he 
 notes that the forms charm him also, because if meager they have elegance, 
 and if the individual figures are not compositionally related, the groups are. 
 Gradually as his lagging logic follows his quicker perceptives he realizes that 
 this rich tangle of forms, not emphasized or focused unduly, but playing in 
 patterns almost equally over lunettes, pendentives, and vaulting, is exactly 
 suited to this particular kind of richness of color, and that therefore he has 
 before him a decoration in its own way impeccable. . . . 
 
 The treatment of the Borgia apartments is that usual to fifteenth-century 
 decoration in fresco, but it is unusually developed in special directions in 
 accordance with the predilections of Pintoricchio. The factor which most 
 of all emphasizes his point of view is that consisting in the use of gold upon 
 objects modeled in relief. The early centuries loved gold; the holiest picture 
 of all, the altar-piece, was all ablaze with gold; gold was a staple with the 
 illuminator, but upon the great wall-painting there could be no such reckless 
 outlay; not even papal resources would have sufficed; still a good deal of 
 the metal could be afforded, and it was stinted or lavished in accordance with 
 the temperament of the artist and client. . . . 
 
 A Leonardo anatomizing expression or analyzing light, a Michelangelo 
 using the naked human body as his one supreme, artistic means, a Raphael 
 concentrating his thought upon rhythm and balanced masses, may eschew, 
 may even avoid, a gilded surface as unsuited to his end; but a man who, like 
 Pintoricchio, is thinking first of all of achieving a general effect which, while 
 he runs a gamut extending from elegance to splendor, and from brilliancy to 
 depth and richness, shall yet be always harmonious, knows that he has a re- 
 doubtable assistant in the gold, an ally which will not desert him. The gold- 
 leaf or powder lights up dark corners, breaks his masses of color as he wishes, 
 and, above all, exercises a powerful harmonizing effect upon juxtapositions 
 of color which would otherwise seem crude. Pintoricchio was a decorator, 
 pure and simple, before everything else, and he loved the gold. . . . 
 
 And gold was given to Pintoricchio and used by him with more effect than 
 anywhere else in the history of Renaissance art. A poor composer, when it 
 
 [285] 
 
34 MASTERS IN ART 
 
 came to making up groups of figures he had an immense sense of decorative 
 pattern; so strong an instinct indeed for this enormously important element 
 in decoration that wherever he has covered a wall-space, whether in Siena, 
 Spello, or Rome, he has made that wall immediately delightful to even the 
 hastiest glance. Symmetry becomes even more forceful than usual in his 
 hands, and by the strong thrust and counter-thrust of his little gilded gypsum 
 thrones and temples, placed exactly in the centers of his lunettes and vault- 
 ing spaces, and made far more emphatic by their relief than are his flat painted 
 surfaces, Pintoricchio, at one and the same time a cunning conjurer and a 
 true artist, doing the very best with his resources, makes it quite easy for the 
 spectator to overlook the poverty of his ordonnance and the openwork char- 
 acter of his figure composition. . . . 
 
 Never was there franker conventionalism than Pintoricchio's; the artist 
 means first that his gold and relief shall mark out the architectonic distribu- 
 tion of his general scheme of decoration, his main patterning, and for this, 
 as has been said, he uses his temples, porticos, thrones, pillars — nota bene, 
 nearly always background, or at most middle-ground, objects. Next he pro- 
 poses that bits of gilded gypsum shall spangle all his vacant spaces thickly 
 enough to at once enrich them and put them into proper relation with his 
 larger gilded masses. He is the most free-handed of decorators in this cheer- 
 ful dredging of angels and people, mountains and plains, with fine plaster and 
 finer gold, and the angular movements of Fiorenzo di Lorenzo's school are 
 angularized yet more by stiff rows of large gilded buttons outlining the armored 
 limbs of youthful soldiers. In the foreground of a lunette, St. Barbara, her 
 palms joined, her face looking as though some one had struck it awry, jostling 
 each feature a little out of place, yet not quite destroying its charm, is painted 
 flatly. Near by a soldier is painted flatly, too, save for a helmet modeled in 
 relief, while another man holds a scimitar which looks like a real one half 
 embedded in the plaster. Above in the vaulting, little bulls, little griffins, little 
 monuments of every sort and shape, jut from the painted surface, and perhaps 
 in the background a tiny castle upon a mountain supposed to be miles away 
 sticks out in gilded relief like a wasp's nest against a wall and takes its place as 
 a foreground object. For Pintoricchio does not care a button — certainly not a 
 gilded button — for the atmospheric relation of his pamted people and things; 
 to this we must get used, and the adjustment is not difficult, because at first, 
 in these big rooms with their multiplication of small forms, you do not notice 
 these relations at all, but feel instead those larger relations for which the artist 
 has cared a very great deal — the relations of his patterns and his colors. 
 
 For the superb result of the decoration Pintoricchio is responsible; for the 
 execution of much of the detail he is not, save as impresario; many of the 
 figures are ignoble, far below his lowest mark; a few of them on the con- 
 trary seem to rise above his best capacity for firm and correct drawing. . . . 
 The decoration of the Borgia apartments is a vast inter-provincial patchwork 
 where in the same rooms, sometimes even the same lunettes, Lombards, 
 Florentines, Umbrians, and Sienese have painted together and — all honor be 
 to Pintoricchio as designer, decorator, and director — have created a harmo- 
 nious ensemble. . . . 
 
 [286] 
 
PINTORICCHIO 35 
 
 But whoever may have been the others among Pintoricchio's assistants, 
 there is one whom we can identify beyond all peradventure, and who has done 
 more for the Borgia rooms than Tuscan or Lombard or Umbrian, than has 
 Perugino even. Hie coronavlt opus and his name is Time. The more subtle 
 color is, either in its brilliancy or its depth, the less time can do for it; but 
 the stronger and more varied the pigments in their juxtaposition to gold or 
 silver, the more chance there is for the chemistry of darkness and light, damp- 
 ness and dryness. In all Europe elsewhere it is doubtful whether lapse of 
 days has brought such wealth of change, of patina veiling the crude and rec- 
 onciling the antagonistic, of red weathering into orange, blue running into 
 green, gold turning to copper, brass, verdigris, or remaining gold, but of a 
 dozen different tonings. 
 
 Close at Pintoricchio's hand and painted but a dozen years later are the 
 two most famous cycles of frescos of all time, the cycles of Raphael and 
 Michelangelo. With these he has nothing to do, nothing to do with the power 
 and loftiness of Del Sarto in the Scalzi cloister of Florence. Or if we take 
 two master-decorators, Rubens and Tiepolo, they are at the antipodes as to 
 methods, should we compare them with Pintoricchio. But there are many 
 paths up Parnassus, and some which do not lead straight to the very summit, 
 yet leave the pilgrim at a vantage-point where he may be seen and praised 
 of all men. In their own way the Borgia apartments are unequaled; and the 
 candid critic admits that Pintoricchio, Pope Alexander vi,, and Time have 
 among them left to us the richest and most splendid fresco decoration in 
 Europe. 
 
 Ci)e 3^orfes of ^intortccfjto 
 
 DESCRIPTIONS OF THE PLATES 
 'PORTRAIT OF A BOY' PLATE I 
 
 MORELLI regards this portrait of an unknown boy, now in the Royal 
 Gallery, Dresden, as "a first-rate work of Pintoricchio's early period" 
 — painted probably about 1480. Charmingly delicate in execution, it is rem- 
 iniscent of Perugino's manner in all its freshness. The modeling is excel- 
 lent, and the brownish flesh-tones and chestnut hair are admirably offset by 
 the blue cap and red tunic. The landscape background with its slender trees 
 is in Perugino's style. 
 
 The picture measures one foot eight inches high by a trifle more than a 
 foot wide, and, like all Pintoricchio's panel pictures, is painted in distemper. 
 
 'THE HOLY FAMILY' PLATE II 
 
 THIS picture, now in the Siena Academy, is an early work of Pinto- 
 ricchio's painted in his most naive and charming manner. Mary and 
 Joseph are seated side by side in a flowery meadow. Joseph wears a blue 
 tunic and yellow mantle flecked with gold and lined with red, and holds a 
 
 [287] 
 
36 MASTERS IN ART 
 
 small cask of wine and two loaves of bread. The Virgin is dressed in a red 
 gown, embroidered with gold, and a blue cloak. The two children — St. John 
 in his little camel's-hair garment, and the flaxen-haired Christ-child in a long 
 white robe brocaded with gold — are represented, arm-in-arm, starting off with 
 book and pitcher as if to play. The background is delicately painted; under 
 the trees on the right St. Jerome in prayer and on the left St. Francis are 
 dimly discernible. 
 
 Although full of defects in composition and in drawing, this picture is de- 
 lightful in its simplicity and grace. It is painted in distemper and measures 
 two feet nine inches in diameter. 
 
 <THE MADONNA OF SAN SEVERING' PLATE III 
 
 THIS altar-piece was painted for the cathedral of the little Italian town 
 of San Severino, where it still adorns the sacristy. The Madonna, in a 
 rose-colored dress and dark blue mantle lined with green, clasps the Child, 
 who stands on a red cushion upon her knee. He is clad in a gold-embroid- 
 ered white tunic and gray and gold drapery. In one hand he holds a crystal 
 globe, and with the other blesses the donor of the picture, Liberate Bartelli, 
 who kneels before him dressed in a scarlet robe. Angels, wearing garments rich 
 with gold and embroidery, stand in adoring attitudes beside the Madonna. A 
 landscape with hills, delicately outlined trees, and a rocky archway, through 
 which a cavalcade passes, forms the background, and over all is a soft twi- 
 light glow. 
 
 "If Pintoricchio had continued to paint like this," writes Dr. Corrado 
 Ricci; "if the vast quantity of decorative work which he undertook had not 
 subsequently made him careless and sometimes even coarse in his technique; 
 if, in short, his art, having attained this lofty height, had succeeded, if not 
 in rising higher, at least in maintaining its level of excellence, no Umbrian 
 painter, and few among the Italians of his time, would have deserved warmer 
 praise for grace, refinement, and beauty." 
 
 'SCENES FROM THE LIFE OF jENEAS PICCOLOMINI' PLATES IV AND V 
 
 BETWEEN 1502 and 1509 Pintoricchio decorated in fresco the Library 
 of the Siena Cathedral, where, in a series of ten "histories," he illustrated 
 the chief events in the life of JEnezs Sylvius Piccolomini — scholar, cardinal, 
 and finally pope. The question as to whether Pintoricchio was assisted in the 
 decorations of the Library by Raphael, then a youth of twenty, and, if so, to 
 what extent, has long been a subject of controversy among critics. While the 
 majority are now agreed that Raphael had no hand in the work. Dr. Schmar- 
 sow, who has devoted much study to the question, is of the opinion that in 
 the designs for two or three at least of the frescos Pintoricchio was helped 
 by the younger artist — an opinion in which Miss Phillipps, Pintoricchio's 
 recent biographer, concurs. 
 
 The first fresco, and one of the most brilliant in its bright color and lavish 
 use of gold ornamentation, is reproduced in plate iv. It shows us i^neas Pic- 
 
 [288] 
 
PINTORICCHIO 37 
 
 colomini when a youth accompanying Domenico Capranica, Bishopof Fermo, 
 to whom he had been made secretary, on his journey to the anti-papal coun- 
 cil of Basle. JEneas, wearing a blue cloak with stiff green cape striped with 
 gold, green stockings, yellow boots, and a large red hat, is mounted on a white 
 horse in the foreground in the midst of a gay cavalcade. The bishop in a 
 red robe and cap rides a bay horse in front. In the background is the Med- 
 iterranean, with the town of Genoa rising on the right. Storm clouds are in 
 the sky, but a rainbow is seen, and already the sun is shining as the proces- 
 sion advances. 
 
 In the second fresco ^Eneas is received by King James i. of Scotland, to 
 whom he had been sent as envoy. The third shows us his coronation as 
 a poet by the Emperor Frederick iii. of Austria. In the fourth he pays 
 homage to the pope in the emperor's name. The fifth scene represents the 
 betrothal of Frederick iii. and Eleonora of Portugal at Siena by iEneas, 
 then a bishop, who in the sixth is created a cardinal, and in the seventh is 
 elected pope under the title of Pius ii. The eighth scene shows him as pope 
 at the diet of princes; in number nine he canonizes St. Catherine of Siena. 
 The tenth and last fresco of the series, 'Pope Pius ii. at Ancona' (plate v), 
 represents ^neas, now old and careworn, robed in white, with a blue cloak, 
 carried aloft by his followers, while Cristoforo Moro, Doge of Venice, in a 
 mantle of gold brocade, and a Turk richly clad in green and blue, kneel be- 
 fore him. Behind are the town and harbor of Ancona, and in the bay the 
 Venetian fleet is waiting to bear Pope Pius on the crusade which he had vowed 
 to undertake, but which his death on the night after his arrival at Ancona pre- 
 vented. 
 
 The effect of this Library, with its mosaic pavement, elaborately decorated 
 ceiling, and brilliantly painted walls, is most striking in its splendor, and in 
 the gaiety of its decorative completeness. So fresh and bright are the colors 
 that it seems impossible that these frescos were painted four hundred years 
 ago. "Surely," writes Mr. Blashfield, "Pintoricchio came down from the 
 scaffoldings but yesterday. This is how the hardly dried plaster must have 
 looked to pope and cardinals and princes when the boards were removed, and 
 when the very figures on these walls — smart youths in tights and slashes, 
 bright-robed scholars, ecclesiastics caped in ermine, ladies with long braids 
 bound in nets of silk — crowded to see themselves embalmed in tempera for 
 curious after-centuries to gaze upon." Here Pintoricchio had ample oppor- 
 tunity for the display of all his most characteristic qualities — for his love of 
 pageantry, of gorgeous costumes, lavish use of gold, elaborate decorative de- 
 tails, and picturesque effect; above all, for the exercise of his gifts as one of 
 the most entertaining and fascinating story-tellers of all time. 
 
 •THE DISPUTE OF ST. CATHERINE' PLATE VI 
 
 FOR a period of three years, beginning probably in December, 1492, Pin- 
 toricchio was engaged in decorating for the Borgian pope, Alexander vi., 
 that pontiff's private rooms in the Vatican Palace, Rome. These rooms, 
 known as the Borgia apartments, having now, after centuries of neglect, 
 
 [289] 
 
38 MASTERS IN ART 
 
 been restored as far as was possible to their original magnificence, were in 
 1897 thrown open to the public. Of the suite of six rooms, five were decorated 
 by Pintoricchio and his assistants, but of these only three — the Hall of Mys- 
 teries, the Hall of Saints, and the Hall of Arts and Sciences — show to any 
 extent the actual work of the master; in the last two — the Hall of Creeds 
 and the Hall of Sibyls — the frescos are for the most part by inferior hands, 
 though from Pintoricchio's designs. 
 
 Of the whole suite the Hall of Saints is the most richly decorated, and 
 that in which Pintoricchio's hand is most evident. Upon the walls are painted 
 scenes from sacred history and from the lives of the saints; of these the 
 largest and the finest, indeed, notwithstanding the injuries it has sustained, 
 the most splendid of all Pintoricchio's frescos, is that reproduced in plate vi, 
 representing 'The Dispute of St. Catherine.' 
 
 In a sunny landscape, divided in the center by a triumphal arch, a vast 
 concourse of people is gathered — philosophers, courtiers, Turks, and East- 
 ern potentates, with pages, and soldiers, and richly caparisoned horses — 
 the reds, blues, and greens of their apparel, heavy with gold embroidery and 
 gleaming with jewels, mingling in a gorgeous yet subdued glow of color. To 
 the left, seated on a marble throne, is the Emperor Maximinus in a robe that 
 glitters with gold ornaments, listening to the discourse of the youthful St. 
 Catherine of Alexandria, who, clad in a red gown embroidered in gold and 
 with a long blue mantle, her fair hair falling over her shoulders, earnestly 
 expounds the doctrines of her faith. 
 
 Tradition has it that the painter took for his model for this slim, girlish 
 figure, Lucrezia Borgia, the beautiful and dearly loved daughter of Pope Al- 
 exander, and that the Emperor Maximinus — though this is extremely doubt- 
 ful — is a portrait of her brother, the infamous Cesare Borgia. The man on 
 the white horse (or, as some say, the turbaned man near the throne) is Prince 
 Djem, son of Sultan Mahommed ii., who was held as a hostage in Rome 
 at this time; and at the extreme left, in the slight figure beside the man who 
 wears a gold chain, Pintoricchio has introduced his own portrait. 
 
 <THE JOURNEY OF MOSES' PLATE VII 
 
 THIS fresco, formerly ascribed by some to Signorelli and by others to 
 Perugino, who is still believed by some authorities to have executed cer- 
 tain parts of it, is now almost universally acknowledged to be the work of 
 Pintoricchio. 
 
 Although crowded in composition and wanting in concentration, 'The 
 Journey of Moses' is yet one of the most attractive examples of the artist's 
 decorative paintings. The subject is taken from the fourth chapter of Ex- 
 odus, and illustrates different incidents related there. On the left, Moses, in 
 the traditional yellow robe and green mantle, starting forth with wife, chil- 
 dren, and attendants upon his journey into Egypt, is stopped by the com- 
 manding figure of the messenger of God. The white-robed angel with shim- 
 mering wings, standing in the center of the foreground, divides this group 
 
 [290] 
 
PINTORICCHIO 39 
 
 from the one on the right, where the ceremony of circumcision, in obedi- 
 ence to divine command, takes place. 
 
 In the middle distance, Jethro and his household are taking leave of Moses 
 before his departure from the land of Israel, and at the left, shepherds dance 
 in an open meadow. The landscape background with its low purple hills 
 and verdant valleys, its masses of rocks, dark palms and cypresses, and little 
 bushy trees — all reminiscent of Pintoricchio's early master, P'iorenzo di Lo- 
 renzo — is one of the loveliest seen in Umbrian art up to this time; and al- 
 though frequent cleanings and restorations have damaged the colors so that 
 the general effect is now somewhat dim and faded, enough of the original 
 beauty remains to show that this is one of Pintoricchio's greatest works. 
 
   THE RETURN OF ULYSSES* \ PLATE VIII 
 
 PINTORICCHIO'S last frescos were three classic subjects painted for 
 the palace of Pandolfo Petrucci at Siena. Of these 'The Return of Ulys- 
 ses' is the only one which still exists. It has been transferred from the wall 
 to canvas, and is now in the National Gallery, London. 
 
 According to the story as told in Homer's 'Odyssey,' Penelope, wife of 
 the Greek hero, Ulysses, being beset during the long absence of her husband 
 by numerous suitors, declared that before she would accept any one of them 
 she must finish weaving a long robe for Laertes, her aged father-in-law, and 
 that her decision might be indefinitely postponed she unraveled each night 
 what she had woven by day — a stratagem which was finally revealed by her 
 servants, whereupon she was beset by her lovers even more than before. After 
 an absence of twenty years, however, Ulysses returned, slew the importunate 
 suitors, and put an end to her grief and perplexity. 
 
 In Pintoricchio's fresco Penelope is seated at her loom. Her maid sits be- 
 side her, and above, on the wall, hangs the famous bow of Ulysses which he 
 alone could bend. Engaged in her daily task, Penelope is surprised by the 
 entrance of the suitors eagerly pressing forward to urge their claims, uncon- 
 scious of the presence of Ulysses, who, disguised as a beggar, appears in the 
 doorway. Through the open window his galley is seen with the hero him- 
 self bound to the mast to prevent his being enticed by the songs of the sirens 
 sporting in the blue waves, while on the shore close at hand rises the en- 
 chanted palace of Circe. 
 
 "The painting in this fresco," writes Miss Phillipps, "is rough and slight; 
 the figures have little modeling, but are almost like patterns upon the back- 
 ground; the limbs of the suitors are unstructural even for Pintoricchio, yet 
 the whole effect is charming. . . . Here the artist is once more fresh and 
 unconventional, and fertile in his fancy. The attitudes and relations of the 
 figures are full of originality, and the uncompromising square of the win- 
 dow lets in a flood of light upon the foreground so full of movement." 
 
 The fresco measures about four feet high by four feet nine inches wide. 
 
 [291] 
 
40 MASTERS IN ART 
 
 •THEFUNERALOFST. BERNARD' PLATEIX 
 
 IT was probably soon after he had completed his paintings in the Sistine 
 Chapel that Pintoricchio decorated in fresco the little Gothic chapel of 
 the Bufalini family, in the Church of Santa Maria in Aracoeli, Rome, This 
 work ranks among his most important achievements. Upon the walls, framed 
 in by decorative designs, are painted scenes from the life of St. Bernard, of 
 which the one reproduced in plate ix is generally conceded to be the finest. 
 
 In a marble-paved city square, where arcades on either side lead up to a 
 temple with a gilded dome, the peaceful figure of the dead saint, dressed 
 in the white habit of his order, and with his head resting upon a red pillow, 
 is extended upon a bier covered with a green cloth. Monks in prayer are 
 gathered around him, and«groups of men, women, and children, prominent 
 among whom are a fair-haired boy on the right, dressed in red, and beside 
 him a young man in a long pink robe — both members of the Bufalini family. 
 On the left, preceded by a page bearing his sword, is the stately figure of the 
 donor, Lodovico Bufalini, wearing a flowing gown of yellow brocade with 
 ermine-bordered sleeves, and a close-fitting red cap. In the extreme fore- 
 ground of the picture Pintoricchio has placed two children playing together, 
 and near them, a baby in swaddling-clothes lying in a sort of basket. This 
 little object, "stuck in as an afterthought, without meaning, and without per- 
 spective," is probably intended to represent the miraculous Santo Bambino, 
 or Holy Child, of Aracoeli, an image still preserved in the church and held 
 in the highest veneration. 
 
 "The grouping in this fresco," writes Miss Phillipps, "is more success- 
 ful than usual with Pintoricchio, and the light and shade are more massed. 
 The effect of aerial space is very remarkable. The people gather round, life 
 goes its way, and the whole is set in so peaceful and spirit-lifting an environ- 
 ment that it does not need the little sky episode of the saint received in glory 
 to give it spirituality." 
 
 'ARITHMETIC PLATE X 
 
 THIS emblematic figure of 'Arithmetic,' holding a compass and the Pyth- 
 agorean tables, is one of a series of seven frescos similar in design painted 
 on the walls of that one of the Borgia rooms in the Vatican Palace, Rome, 
 which is known as the Hall of Arts and Sciences. Although less rich in dec- 
 orative effect than the Hall of Saints (see the description of plate vi), and in- 
 jured in many parts by dampness and restoration, this room, probably the 
 study of Pope Alexander vi., is yet very beautiful in the harmony of its col- 
 oring and the homogeneity of its scheme of decoration. The ceiling is pro- 
 fusely ornamented with heraldic devices; everywhere the gilded Borgian bull 
 and the golden crown with radiating sun-rays modeled in high relief shine 
 forth upon a dark blue ground. In lunettes upon the walls, the arts and sci- 
 ences — Rhetoric, Geometry, Arithmetic, Music, Astrology, Grammar, and 
 Dialectics — are personified by figures seated upon high-backed thrones and 
 surrounded by their devotees. 
 
 [292] 
 
PINTORICCHIO 41 
 
 "None of the seven sisters," writes Miss Phillipps, "is so beautiful as 
 'Arithmetic' Here Pintoricchio trusts his own inspiration, and we have a 
 finely-drawn head with all his freshness of pose and expression. This dreamy 
 face, with its transparent veil half covering the flowing hair, the gold em- 
 bossed robe, over-sleeves, mantle hanging in softly accentuated folds, and the 
 beautifully proportioned figures standing by, have a larger share than almost 
 any other of the lunettes of the master's hand, and here, more than in any, 
 we have the many colored garments, rich pinks, harmonious greens, that Pin- 
 toricchio loved." 
 
 A LIST OF THE PRINCIPAL PAINTINGS BY PINTORICCHIO, 
 WITH THEIR PRESENT LOCATIONS 
 
 ENGLAND. Cambridge, FiTZWiLLiAM Museum: Madonna and Child — London, 
 National Gallery: St. Catherine; Madonna and Child; The Return of Ulysses 
 (fresco) (Plate viii) — GERMANY. Berlin Gallery: Reliquary, with Three Saints — 
 Dresden, Royal Gallery: Portrait of a Boy (Plate i) — ITALY. Milan, Borromeo 
 Palace: Christ bearing the Cross — Milan, Owned by Prince Pio of Savoy: Madonna 
 — Milan, Owned by Marchese Visconti-Venosta: Painted Crucifix — Naples Mu- 
 seum: Assumption of the Virgin — Perugia Gallery: Ahar-piece of Santa Maria 
 dei Fossi; St. Augustine and Members of his Confraternity — Rome, Capitoline Gal- 
 lery: Madonna and Angels (fresco) — Rome, Castle of Sant' Angelo: Fragments of 
 frescos — Rome, Church of Aracceli, Bufalini Chapel: (frescos) Scenes from the Life 
 of St. Bernard (see plate ix); Evangelists; Decorative Frescos — Rome, Church of Santa 
 Maria del Popolo, Chapel of St. Jerome: (frescos) Nativity; Scenes from the Life 
 of St. Jerome. [Choir] Ceiling Frescos — Rome, Colonna Palace: Decorative Frescos 
 in Spandrels — Rome, Collegxo dei Penitenzieri: Fragments of frescos — Rome, Vat- 
 ican, The Belvedere: Fragments of frescos — Rome, Vatican, Borgia Apartments 
 (frescos):^ [Hall of Mysteries] Annunciation; Nativity; Adoration; Ascension; De- 
 scent of Holy Spirit; Assumption; Resurrection. [Ceiling] Evangelists and Prophets. 
 [Hall of Saints] Madonna and Child; Susanna; St. Barbara; St. Anthony and St Paul; 
 St. Sebastian; Dispute of St. Catherine (Plate vi); Visitation. [Ceiling] Story of Osiris 
 and Isis. [Hall of Arts and Sciences] Rhetoric; Geometry; Arithmetic (Plate x); 
 Music; Astrology; Grammar; Dialectics. [Hall of Creeds] The Prophets. [Hall of 
 Sibyls] The Sibyls — Rome, Vatican Gallery: Coronation of the Virgin — Rome, 
 Vatican, Sistine Chapel: Journey of Moses (fresco) (Plate vii); Baptism of Christ 
 (fresco) — San Gimignano, Palazzo Pubblico: Madonna in Glory — San Severino, 
 Cathedral: The Madonna of San Severino (Plate iii) — Siena, Academy: Holy Fam- 
 ily (Plate ii) — Siena Cathedral, Chapel of San Giovanni: (frescos) Birth of St. 
 John; Portrait of Alberto Aringhieri; A Knight of St. John — Siena Cathedral, Li- 
 brary: (frescos) Ten Scenes from the Life of JEnezs Sylvius Piccolomini (see plates iv 
 and V). [Over Entrance] Coronation of Pius iii. — Spello, Church of Santa 
 Maria Maggiore: Madonna (fresco). [Baglioni Chapel] (frescos) Annunciation; 
 Adorationof Magi; Christ among the Doctors. [Sacristy] Madonna. [Old Sacristy] 
 Fresco of an Angel — Spello, Church of Sant' Andrea: Madonna Enthroned; Saints 
 and Angels — Spello, Church of San Girolamo, Cloister Chapel: Adoration of 
 Shepherds; Nativity (fresco) — Spoleto Cathedral, Eroli Chapel: (frescos) Madonna 
 and Saints; God the Father and Angels; Dead Christ — SPAIN. Valencia Academy: 
 Madonna and Child. 
 
 ^ The frescos in these apartments are in great part by Pintoricchio himself, and were all done from his 
 designs. 
 
 [293] 
 
42 MASTERS IN ART 
 
 ^intortcc|)to 3Btbliograpi)5 
 
 A LIST OF THE PRINCIPAL BOOKS AND MACJAZINE ARTICLES 
 DEALING WITH PINTORICCHIO 
 
 THE important general studies of the life and works of Pintoricchio are by Evelyn March 
 Phillipps (London, 1901), by Corrado Ricci, translated from the Italian by Florence Sim- 
 monds (London, 1902), and by Ernst Steinmann (Leipsic, 1898J. For specific studies of 
 his frescos in Rome, Siena, and in Spello, the writings of Schmarsow, Layard, and Ehrle 
 and Stevenson are notable. 
 
 ALEXANDRE, A. Histoire populaire de la peinture: ecole italienne. Paris [1894] — 
 .. Berenson, B. Central Italian Painters of the Renaissance. London, 1902 — Blanc, 
 C. Histoire des peintres de toutes lesecoles: ecole ombrienne et romaine. Paris, 1870 — 
 Blashfield, E. H. and E. W. Italian Cities. New York, 1901 — Bourget, P. Sen- 
 sations d'ltalie. Paris, 1891 — Boyer d'Agen, A. J. Le Peintre des Borgia. Paris, 
 1 901 — Burckhardt, J. Der Cicerone. Leipsic, 1898 — Crowe, J. A., and Caval- 
 CASELLE, G. B. History of Painting in Italy. London, 1866 — Destree, J. Notes sur 
 les primitifs Italiens. Brussels, 1900 — Eh RLE, F., and Stevenson, E. Gli afFreschi del 
 Pinturicchio neir Appartamento Borgia. Rome, 1897 — KiTCHiN, G. W. Life of Pope 
 Pius II. as illustrated by Pinturicchio' s Frescos. London, 1881 — Kugler, F. Italian 
 Schools of Painting. Revised by A. H. Layard. London, 1900 — Lafenestre, G. La 
 Peinture italienne. Paris [1885] — Lafenestre, G., and Richtenberger, E. La Pein- 
 ture en Europe: Rome, le Vatican et les eglises. Paris, 1903 — Layard, A. H. Frescos 
 by Pinturicchio in the Church of 8. Maria Maggiore at Spello. London [1858] — Lupa- 
 telli, a. Storia della pittura in Perugia. Foligno, 1895 — Mariotti, A. Lettere pit- 
 toriche perugine. Perugia, 1788 — Middleton, J. H. Pinturicchio (in Encyclopaedia 
 Britannica). Edinburgh, 1883 — Milanesi, G. Documenti per la storia dell' arte senese, 
 Siena, 1854-56 — Morelli, G. Italian Masters in German Galleries. Trans, by Louise 
 M. Richter. London, 1883 — Muntz, E. Les Arts a la cour des papes. Paris, 1898 — 
 MiJNTZ, E. Histoire de I'art pendant la Renaissance. Paris, 1891 — Pascoli, L. Vite 
 de' pittori perugini. Rome, 1732 — Phillipps, E. M. Pintoricchio. London, 1901 — 
 Potter, M. K. The Art of the Vatican. Boston, 1903 — Ricci, C. Pintoricchio, his 
 life, work, and time. From the Italian by Florence Simmonds. London, 1902 — Rio, 
 A, F. De I'art chretien. Paris, 1861 — Rumohr, C. F. v. Italienische Forschungen. 
 Berlin, 1827-31 — Schmarsow, A. Raphael und Pinturicchio in Siena. Stuttgart, 1880 
 — Schmarsow, A. Pinturicchio in Rom. Stuttgart, 1883 — Steinmann, E. Pintu- 
 ricchio. Leipsic, 1898 — Steinmann, E. Rom in der Renaissance. Leipsic, 1902 — 
 Symonds, J. A. Renaissance in Italy. London, 1897 — Urbini, G. Le opere d'arte di 
 Spello. Rome, 1898 — Vasari, G. Le vite de' piu eccellenti pittoire, etc. Edited by G. 
 Milanesi. Florence, 1878 — Vasari, G. Lives of the Painters. Edited by E. H. and 
 E. W. Blashfield and A. A. Hopkins. New York, 1897 — Vermiglioli, G. B. Di 
 Bernardino Pinturicchio, Memorie. Perugia, 1837 — Volpini, S. L' appartamento Borgia 
 nel Vaticano. Rome, 1887. 
 
 magazine articles 
 
 ARCHIVIO STORico dell' arte, 1890: Bernardino Pinturicchio, nuovi documenti — 
 i-L'Archivio STORICO ITALIAN©, 1851: Cronaca di Perugia dal 1492 al 1503 — 
 L'Arte, 1898: A. Venturi; Disegni del Pinturicchio per I'appartamento Borgia — Jahr- 
 BUCH der Preussischen Kunstsammlungen, 1880: H. Grimm; Zur Entstehung des 
 Breviarium Grimani. 1881: A. Schmarsow; Der Eintritt der Grotesken in die Dekora- 
 tion der italienischen Renaissance. 1899: F. WickhofF; Uber einige italienische Zeich- 
 nungen im British Museum — Revue des Deux Mondes, 1870: E. Montegut; Impres- 
 sions de voyage et d'art (part 111) — Scribner's Magazine, 1903: E. H. Blashfield; The 
 Rehabilitation of Pinturicchio. 
 
 [294] 
 
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