Alinari photo] [Library, SienaFREDERICK III. CROWNING ÆNEAS PICCOLOMINI AS POET LAUREATE
The memoirs at this time show Æneas as a clever waiter on the favour of princes, not over-scrupulous in striving for advancement, watching the signs of the times, and chafing under his dependence and poverty. In 1445 he was sent by Frederick III. on an important mission to Pope Eugenius (fresco IV.), and from this time he becomes a figure in European history. He begins himself to plan definitely for the unity of the Church, and to desire to stem the forward movements of the Turks. His journey from Germany to Italy in the depths of winter was an arduous one. He encountered swollen torrents and broken bridges, and guided by peasants had “to scale most high and trackless ways, and precipitous, snow-clad mountains. On the road he visited his parents at Siena, and when they tried to dissuade him from approaching the fierce and unforgiving Pope Eugenius, declared that he would carry out his embassy to a prosperous end, or perish in the attempt.”
He was eminently successful in his negotiations, and effected a reconciliation between Rome and Germany, and the fresco represents him kneeling humbly before the Pope and kissing his foot. On either side sits the long row of cardinals; outside we see the busy life of the Papal Court. Here Pintoricchio has brought in a rather (for him) unusual harmony in greens on the carpeting, the baldacchino, and the Pope’s robes. The two figures in the foreground are said to be portraits of the Cardinals of Como and Amiens, who were both powerful friends of Æneas. The little scene throughthe arches on the right of the Pope brings in another episode, where the envoy receives (fresco V.) investiture as Cardinal.
After this successful mission the Secretary for the first time turned his mind to the ecclesiastical life, and began to reckon on all the bright prospects it was likely to open to him. He had hitherto had the honesty to regard the license of his life as a barrier to religious orders; but his passions were growing more controllable with advancing years, and his dislike to the idea of the priesthood had passed away. He writes that he has passed from the worship of Venus to that of Bacchus, and appears to think nothing more could be required of anyone. In 1446 he received the tonsure, and was speedily named Bishop of Trieste; and three years later was appointed to the See of Siena. It was in this capacity that he was chosen to welcome to Italy Leonora of Portugal (fresco VI.), the bride of his late patron. Frederick III. was to come to Siena to meet her, and to proceed to Rome for the wedding. After some delays, Æneas received the princess on her landing at Leghorn; and on her arrival at Siena she was met by Frederick, accompanied by a splendid retinue, which included a hundred citizens “in scarlet and samite,” a thousand knights under Duke Albert of Austria, the young King of Hungary, the precious relics of the city and clergy innumerable. The royal pair met outside the Camollia gate, and memoirs tell us that when the bride came in sight Frederick leapt from his horse and hastened to meet her, and that “he was rejoiced to see her so young and fair.”
Alinari photo] [Library, SienaÆNEAS PICCOLOMINI SENT BY FREDERICK III. TO POPE EUGENIUS IV.
This is the moment chosen for the fifth fresco, andgives the artist every scope for lively action and gay and brilliant colouring. Æneas, standing between the King and his young bride, is still the most prominent figure. The ladies of her train are grouped around the Infanta, as the attendant maidens round Mary in many a version of the “Sposalizio.” Behind the Bishop stands a dignitary with a white cross on his breast, who we identify from Pintoricchio’s lately finished portrait in the Baptistry, as Alberto Aringhieri, the Knight of Rhodes. The man on the left, with heavily-draped mantle and looped-up hat, is Hans Leubin, the King’s Court poet, who had been appointed to deliver an address of welcome, which he is represented as just beginning to recite. Behind the group is set up, by a pardonable anachronism, the marble column which was afterwards placed there as a memorial of the meeting-place. On either side is a tall, stately plane-tree and a fruit-bearing palm, typical of the bridal pair. The road winds up to the Camollia gate, beyond which we espy the tall towers of the city, “Siena of the rosy walls and rosy towers,” the cathedral with its dome and campanile, and the ground falling away into the ravine which lies between it and San Domenico.
Whether Raphael’s inspiration really was withdrawn at this period, or whether Pintoricchio’s own fancy flagged, it is undeniable that the remaining frescoes show a falling off, and are less satisfactory than the earlier ones. The next scene shows us “Æneas Silvius receiving the Cardinal’s hat.” On the ride to Rome with the bridal pair, Frederick had drawn rein as they came to the brow of the hill, from which they firstlooked down on the valley of the Tiber, and said to Æneas, “Look now—we go up to Rome; methinks I see thee a Cardinal, and in truth thy fortunes will not tarry there, thou shalt climb yet higher; St. Peter’s chair awaits thee; look not down on me when thou shalt have reached that pinnacle of honour.” And though Æneas modestly disclaimed such a prospect, he confessed afterwards how great were his efforts to enter the Sacred College. His hopes were frustrated by the reigning Pope Nicolas, who was notoriously unfriendly to him, and it was not till the election of Alonso da Borgia as Calixtus II. that he saw his way to further advancement. Calixtus, who was an old man and almost bedridden, appointed, among others, his kinsman, Roderigo Borgia (after Alexander VI.), as Cardinal. To this ambitious and intriguing man Æneas attached himself, and bade farewell to Germany and his royal patron.
It was shortly before this that he began to devote all his energy and eloquence to preaching a new crusade against the Turks, whose conquest of Constantinople and succeeding inroads into Europe began seriously to alarm the civilised world. 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 College, who dreaded his keen intelligence. Though the architectural drawing, as usual, is good, the flat wall with two white windows has a bad effect. The altar is loaded with heavily embossed gilding; the groups behind are confused, and the figure of Æneas himself is lacking in dignity and distinction. In the foreground standtwo Greek patriarchs, whose presence is intended to convey their satisfaction at the elevation of their champion and that of the cause of Christendom.
We now find the Cardinal of Siena working his way to the Papal throne. He had a powerful friend in Cardinal Borgia, with whom he was engaged in anything but reputable transactions in benefices, by which he contrived to amass sufficient wealth; but besides this he really worked hard in the cause of the Church, and his courtly manners and attractive personality, as well as his real kindliness, won him many friends. When the old Calixtus died, in August 1458, he was ready to come forward, and has left us a striking account of the incidents of the election. His only rival was the Cardinal Archbishop of Rouen, a Bourbon, rich and ambitious.
All the night before the election the principal of each party and his immediate supporters were holding secret meetings, passing from cell to cell with arguments and persuasion. When at length all met, pale and trembling with excitement, to deposit their votes in the chalice, Æneas was found to have nine votes and the Cardinal of Rouen six. Three Cardinals who had voted for another candidate were now to give casting votes. “Long the whole conclave sat in silence; the slightest rustle of a robe, the turn of a head, the movement of a foot, sent a thrill of anxiety round the whole circle. At last the fine figure of Roderigo Borgia was seen to rise. Amidst breathless stillness, he in the usual form declared that he acceded to the Cardinal of Siena.” After a short delay the two others followed, and thus,at the age of fifty-three, Æneas Sylvius Piccolomini became Pope, by the title of Pius II.
The fresco seizes the moment when the Pope, borne through the aisles of St. Peter’s, is stopped, according to ancient usage, by the Master of the Ceremonies, who kindles a piece of tow dipped in spirit, and, as the light dies away, delivers the solemn warning, “Sancte Pater, Sic transit gloria mundi.” The Pope, under the baldacchino, heavy with armorial bearings, and wearing the dark-blue mantle which accorded with the colours of his house, lifts his gloved fingers solemnly in blessing. He is painted here as an older man, already worn with anxiety. 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 himself. St. Peter’s is, of course, the old basilica which was destroyed by Julius II.
Fresco VIII. “Congress at Mantua.” In pursuance of his proposed crusade, Pius II., in 1459, summoned the powers of Christendom to hold a congress at Mantua to consider the necessary measures. It lingered on for eight months, when war against the Sultan was formally declared, but gave occasion for more intrigues and self-seeking on the part of those assembled than for any real sacrifices for the cause. Pius II. is here represented directing the deliberations of the Congress. The person of distinction pleading with the Pope is said to be the Greek Patriarch, the envoys of the persecuted Eastern Christians are grouped in the foreground, Cardinals sit on the Pope’s right hand, and others—princes, ecclesiastics, and suppliants—form acrowd behind. The arrangement of this scene is not happy. The figures are cut up in an awkward way and the perspective is questionable. It is redeemed by the airy arches and the charming landscape beneath them.
Alinari photo] [Library, SienaA GROUP OF MEN(A detail from Fresco IX.)
“A Sienese filling the Chair of St. Peter may well be the instrument to call a Sienese to sainthood, and that we do with holy joy.” So spoke Pius II. in pronouncing between the claims of three holy Virgins, Rosa of Viterbo, Francesca of Rome, and Catherine of Siena. The superior claims of St. Catherine have been fully acknowledged by history: her influence in healing the great schism of the Urbanists and the Clementists, her saintly life, her magnetic personality, are sufficient reasons without adding the miracles with which she was credited.
In fresco IX. the Pope is seated on the “high and well-appointed balcony,” which he had ordered should be erected in St. Peter’s, whence, after a discourse on her virtues, he might proceed to her solemn canonisation. The Cardinals are gathered round, the corpse of the saint lies at his feet, clad in the black and white of the Dominican order, her book upon her breast, and the lilies, which are her attribute, in her folded hands. Below stand a crowd of spectators bearing candles. In front is a long row of persons, said to be portraits. The first on the left we should guess to be Raphael, even without the traditional confirmation. Next him is Pintoricchio himself. The others have been variously named Andrea del Sarto, Fra Bartolommeo, etc. Steinmann suggests, with more probability, that one is intended for Eusebio di San Giorgio and anotherfor Bembo Romano, who were both working as assistants, especially as the initials of the last are to be discerned on several of the pilasters among the decorations. The composition in this scene is rather disjointed. The two halves do not seem to belong to each other, 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 life. The effigy of St. Catherine is taken from her monument in Santa Maria sopra Minerva in Rome. The Dominicans and Augustinians are prominent, as it was of their order that the saint was so great an ornament.
Pope Pius was one of the few Italians of that day in whom a great love for nature declared itself. Campana tells us of his visits to beautiful places, of his landscape gardening and planting, of his fondness for distant views, and for taking his food under the trees on some hill-side. It pleased him to chat with the peasants, to joke with his friends with “free and festive converse passing into moderate jest.” He loved to build and adorn in his native city, and for a time he seemed to be only a man of cultivated and artistic life and busy pleasures. But he had not forgotten his crusading enthusiasm, and as the news travelled to Rome of the repeated victories of the Turks, of the loss of Morea, Rhodes, Cyprus, and of the Moslem advance on every side, he laid before his Cardinals his resolve to take up a holy war, counting upon the Christian princes of Europe rallying to his support. He mediated between the different quarrelsome Powers, and signed a league by which he was tomeet the Venetians and an army of the Duke of Burgundy at Ancona; but the powers were half-hearted, only a small part of the promised forces arrived, and Ancona seems to have been a scene of rioting and mismanagement.
Alinari photo] [Library, SienaÆNEAS PICCOLOMINI ELECTED POPE UNDER THE NAME OF PIUS II.
On June 18, 1464, the Pope, “an aged man with head of snow and trembling limbs,” raised aloft the Cross at the altar of St. Peter’s, and vowing himself to the service of Christendom, set forth for Ancona. “Farewell, Rome,” he cried, as his barge passed down the Tiber, “living thou shalt never see me more.” He was very ill with fever, but the high spirit that had helped him all through life, did not forsake him. The weather was broiling hot, and the Pope suffered greatly on the journey. He was a month reaching Ancona, and had the added discouragement of meeting bands of deserting crusaders on the way. No ships had arrived from Venice, and when at last they appeared, the soldiers they were to embark had nearly all melted away. Pius realised at length that the undertaking had come to naught. Ill, disappointed, heartsick, he remained at Ancona, and when the Venetian fleet appeared, after long delay, he could just bear to be lifted to a window to see the long-watched-for sails.
The Doge, who accompanied the fleet, would not at first believe in the reality of the Pope’s illness, and sent his physician to see if he were not feigning in order to escape the necessity of setting forth, but the end was near. It was at sunset on the 12th of August that the Venetian ships entered the harbour; at sunset on the 14th the Pope passed away. By his death he escaped the misery of failure; the attempt came to a naturalend, and Pius was surrounded with a halo of martyrdom and heroism—not all undeserved, for, unsuccessful as he was, he yet was the only potentate who made any effort to stem the power of the infidel, and his unsupported struggle and baffled aspirations form a pathetic close to his active and successful life.
In the fresco there is no hint of the sad and wasted moments. Pintoricchio’s part was to glorify and dignify the memory of the Pope, and to please the house of Piccolomini. The Pope is raised on high and borne forward by his followers. In front, dressed in gold brocade, kneels Christoforo Morea, the Doge of Venice. On the opposite side kneels a Turk, and another fierce-looking Oriental stands behind him. These may be recollections of Djem and his followers, whom Pintoricchio had already painted in the Borgia rooms. Behind lie the town and harbour of Ancona, with the Venetian fleet anchored in the bay.
There only remained for Pintoricchio to leave a memorial of the coronation of the second Pope of the House of Piccolomini, and this is placed over the door of the Library. It is something like the “Canonisation of St. Catherine,” in the way in which it is divided into two parts. The perspective is not well managed. The Pope and the two Cardinals who assist him to place the mitre on his head, have the effect of a picture background to the busy scene below, and the long rows of white-mitred bishops give a very inartistic impression. Below them is a crowd of spectators, of all ages and both sexes—the whole confused and not well drawn, and there is an unfortunate lack of proportion between the different figures.
Alinari photo] [Library, SienaPOPE PIUS II. AT ANCONA
The frescoes have been much retouched, though, on the whole, they are in wonderful preservation. Where the yellows and blues have been most repainted the effect is hard and glaring; but where the same colours are not meddled with, as in the Pope’s blue robe, and that of the Doge of No. X., Elizabeth’s robe, and the King’s mantle in the meeting of the bridal pair, and in most of the pinks and rose-reds, the tones are much softer and more pleasing. 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 distinction. The line of sight is high, about two-thirds of the way up the picture; this to some extent places the spectator in a wrong position, but the whole goes back, so that, far from being oppressed with a feeling of covered walls, a sense of space and withdrawal is conveyed that enlarges the room in a marvellous manner.
The repose of the hall in its entirety is very striking; hardly a figure is in anything like violent action, all move and stand with quiet dignity, all the movement takes place well within the picture, and the extraordinarily clever use made of the sky, ceiling, floor, and wide retreating background, give us breath and air, and a sense of delight and freedom. In as many as eight of these frescoes we have an enthroned figure, yet treated with what variety and absence of monotony. The first scene shows us a joyous youth setting out on a stormy journey; the last, an old man, pale and careworn, carried by loving friends, and behind him, an untroubled sea and the calm of sunset. Theceiling is a curious mixture of sacred subjects and mythological ones, after the manner of that in the Colonna Palace, but not very appropriate to the Pope’s Chapel; sporting of fauns and nymphs, Cupid riding on a green dolphin, grotesques, recalling the choir of Santa Maria del Popolo, but richer in colour and more delicately harmonised. The dark oak, the blue and white-tiled floor, with the yellow crescent of the Piccolomini, and the pilasters repeating the blue and white, are all part of the design, in which there is one guiding hand. It is all well adapted to give brightness to the long room, so slightly arched, and lighted only from one end. The room is so beautiful that it is hard to say that it is mechanical—yet assuredly there is something stiff and academic about it, some loss of grace and the joyous sense of creation, a feeling that the painter was growing old and tired, and that the childlike enjoyment of beauty was less keen. In the first fresco, whether we owe it to the young Raphael’s help or to the natural interest at starting, we recognise buoyancy and the love of experiment; and we have something of it again in the fairy-tale tableau, where the prince and the lady meet, but the colour has become gaudier and cheaper, thenaïveté, the enchantment, the unconsciousness, have in some measure passed away, the tide of fancy is running lower, 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 by.
IT is difficult to arrange Pintoricchio’s pictures into distinct groups. He wandered backwards and forwards between Rome and Umbria for so many years, and his art, during the whole time, though showing variations, never undergoes any radical change or development. He arrived early at a point which satisfied his employers, and there he remained. He did not attempt to try experiments, or to unravel new problems. He was almost always engrossed by great undertakings, and had little time to think of anything beyond getting them creditably executed in a given time.
“La préoccupation d’être original n’empêchait pas de dormir, encore moins de travailler, les artistes d’alors. Leur personalité ne s’élaborait que sur le tard, quand ils réussissent sans le chercher beaucoup à le faire éclore.”[32]
[32]Broussolle,Pélerinages ombriens.
[32]Broussolle,Pélerinages ombriens.
This constant employment on fresco accounts for the small number of panel paintings he has left, nor do we hear of more than one or two, other than those which have come down to us. I have already noticed the “St. Christopher” and the “Madonna” in the Gallery at Valencia. His finest work intemperais the greatpolyptych or ancona, painted in 1498 for the monks of Santa Maria dei Fossi, and which is an extraordinarily dainty piece of work. The heavily-gilt framework is divided into compartments. In the central one the Madonna is enthroned, the Child sits upon a little cushion on her knee, half-draped in a striped and brocaded mantle. With one hand He offers the mystic pomegranate to His mother, with the other grasps a jewelled cross, held by the little St. John Baptist, who, with his cloak clasped upon the breast, sandals on his feet, his eyes uplifted in devotion, strides forward, with the air of one starting on a pilgrimage. This attractive little figure is borrowed from the Bernardino Mariotto, with whom Pintoricchio was so often confused. The Virgin’s eyes are cast down, and both her face and that of the Child are rather expressionless.
The upper part of the framework is filled by a Pietà, which nearly equals the middle panel in size and importance. The half-length of the dead Christ is draped with a striped cloth, above the open tomb. It is reminiscent of Perugino’s beautiful Pietà in the same Gallery. The hands have the backs turned outwards, displaying the palms instead of the backs, as the northern painters usually represent them. The arms are supported by angels, who are adapted from the over-door by Fiorenzo in the Sala del Censo. The pathetic figure of the Saviour is the most satisfactory rendering of the nude that Pintoricchio produced. The muscles are carefully modelled, the flesh is firmly painted, and the touch of the angels convincing, the group is full of repose, sad dignity, andrefinement. The Angel and Virgin of the “Annunciation” on either side are a reducedreplicaof those in the Borgia Apartments and at Spello. Though painted intempera, this work is extremely full and vivid in colour, almost resembling oils, and is executed throughout with minute delicacy.
Alinari photo] [Picture Gallery, PerugiaTHE MADONNA AND CHILD, WITH ST. JOHN(From the Large Ancona)
The contract is dated February 14, from the house of Diamantis Alphani de Alphanis. “Messer Bernardino de Benedecto of Perugia—il Pintoricchio, for himself and his heirs, promises and agrees with Brother Jerome of Francesco, Venice, Sindico and Procurator of the Frate Capitulo and Convent of Santa Maria dei Fossi, de Porta San Pietro, to paint an altar-piece over the high altar of the said church with the here inscribed figures. The picture divided into parts: in the major part the image of our most glorious Lady with the Child. On the right side of our Lady, the figure of the glorious San Agostino in pontifical habit, and in the left place, San Girolamo in cardinal’s habit. Above the middle shall be a Pietà, and on either side the Angel and Our Lady of the Annunciation. Above, and in front, the transmission of the Holy Spirit to the Annunciation. In the predella of this picture shall be painted eighteen figures. In the first place, on one side, San Baldo, San Bernardino, in canonicals. In a row the Pope and five cardinals in state, with five brothers at their feet. All ornamented—to taste—with gold and colours, at the charge of Messer Bernardino, who also promises, in the background of these pictures, to paint a landscape, etc.”
Though the contract was drawn up, the master,strong in the sense of his value to the Papal Court, postponed its execution to his own convenience. With his fame at its height, he was called upon in all directions. The Council of Orvieto saw the moment was come for securing the finishing of the fresco for which they had been waiting for four years. On his way back from Perugia, Pintoricchio once more took up his work in their cathedral, under a fresh contract to add the two doctors to the two evangelists. There thus to-day remain traces of a St. Mark and a St. Gregory on the right hand of the choir, and traces of one or two angels so restored as to have lost all character, but for which the work of the Umbrian master has doubtless served as foundation. The sum he agreed to take in payment in March was fifty ducats, and the convent books record November 1496 as the date of the last payment.
In the obscure little town of San Severino in the Marches, we find another altar-piece which was probably produced about the same time. No record of its acquisition is to be found in the archives of the cathedral, though an accurate account is kept of commissions executed about this period by Bernardino Mariotto, and others. It is remarkable that, considering Pintoricchio’s fame in his lifetime, such a possession as an altar-piece from his hand should have remained unchronicled. It seems most likely that it was produced at Perugia, and found its way later to its present position in the sacristy. However this may be, we must rejoice over this unmistakable and charming example of his art, well preserved and not very much retouched. It is the least known ofall his pictures; it has only recently been photographed, and, from the position of San Severino, far off the beaten track, is not easily visited.
Private photo] [Duomo, San SeverinoTHE MADONNA AND CHILD, WITH ANGELS AND A DONOR
The “Madonna della Pace” wears a blue mantle lined with a rich shade of green, and a rose-red dress. She bends over the Child, who, clad in white with a grey and gold drapery, stands on a little cushion on her knee. He holds a transparent glass ball in His left hand, and with the other blesses the donor, who kneels on the right, dressed in a scarlet robe. An angel with hands crossed on the breast bends towards the Child, while another stands with folded hands behind the Mother. Behind is a spring landscape, a town, and the usual rocky archway with a cavalcade passing under it.
The face of the Madonna in this painting is indescribably soft, young, and tender (even a good photograph does not do it justice). The face and figure of the Child are full of expression; the angels are exquisite types, reminding us of Lorenzo di Credi. The Cardinal-donor is a man in the prime of life, with a firmly-drawn face, brown complexion, and strongly-marked features. The face is rendered with great care, the vein in the temple, every mark and wrinkle, the neck of one past youth, are observed, and as a portrait the head compares well with the painter’s best efforts. The colour of the panel is gay yet tender. The faces have an exquisite transparency, with melting shadows. The face of the angel in the background is entirely in luminous shade. The little landscape is delicately finished. The fine, decisive drawing, and the feeling, simple and unstrained, showPintoricchio at his best. In retouching, the face of the donor has been thrown out against a dark ground, which somewhat impairs the effect.
The “Madonna” in the Museum at Naples is a full-length figure standing on the clouds, surrounded by a mandorla of cherubs, flanked by six angels playing musical instruments, who recall those in the Buffalini Chapel. The group below of the apostles, St. Thomas kneeling in front, clasping the sacred girdle, is strongly reminiscent of Perugino, as in the background, where the favourite features of Fiorenzo have for once been abandoned.
The “Head of a Boy” at Dresden must, I think, be an early work, when Perugino’s manner was felt in all its freshness. Though the hair is hard and wiry, and not worthy of the rest, themorbidezzaand elastic plumpness of youthful flesh are given by very subtle modelling, and the moody, young face is treated with most delicate tonality. The landscape and receding distance and tall slender trees are in Perugino’s style.
The “Madonna and Child,” in the National Gallery, I take to be a very early work. It is dry and thin, with a hard black line outlining the flesh, a peculiarity of which Pintoricchio is not often guilty. The landscape is hard and dull in treatment, and the expression of both Mother and Child is formal and precise. The figures and the Virgin’s hands are stiff. It cannot stand comparison with the beautiful group in the Borgia Hall of Arts and Sciences, and hardly with the much more freely handled “St. Catherine of Alexandria, with a Donor,” which hangs beside it.This last, probably painted during the early part of his stay at Siena, judging by the glimpses of scenery and the likeness of the St. Catherine to the maid in the fresco of the Baptistery, is good in colour, painted with a fuller brush and more viscous medium.
Away from the sumptuous surroundings of the capital, back among the plains and mountains of Umbria and Tuscany, he returns to a simpler manner. The little altar-pieces at Spello are suitable to small parish churches. They have something homely in their character. The “Madonna” in the little panel in Santa Maria Maggiore has a gentle, rustic countenance, and no embroidery on her mantle. The Child is quite undraped. The Madonna in the larger panel is very beautiful, and is more akin in face and the whole treatment to the figures personating the Arts and Sciences in the Vatican, but has none of the painter’s usual richness of ornament. In San Andrea, the neighbouring church of the ex-Minorites, hangs the large altar-piece which Pintoricchio was painting in 1508 when Gentile Baglioni summoned him to return to Siena. 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 placed. The Child stands on her knee, clasping her neck. St. Andrew, with his cross, stands by St. Louis of Toulouse; opposite are St. Francis and St. Laurence grasping his gridiron; a little St. John sits on the step on the middle. On a carelessly-drawn wooden stool in the foreground lies the letter of Cardinal Baglioni, legibly copied; other small objects lie about—a knife and scissors, an ivoryseal, a bottle of ink and a pencase—on the step by St. John. It is the only “Santa Conversazione” Pintoricchio ever painted. The figures are weak and unstructural, and we recognise the repetition of old types in the saints and angels. The little St. John is bright and attractive. The idea of his figure is borrowed from Mariotto, who, though poor in colouring and draftsmanship, was original in findingmotifs, and supplied Raphael with many, as well as his immediate contemporaries.
The “Coronation” in the Vatican was painted about 1505 for the nuns of La Fratta (Umbertide). Only the upper part is believed to be by the master’s hand. Among the most beautiful of the Madonna paintings is the “Assumption,” executed during the later years at Siena for the monks of Monte Oliveto, and now at San Gemignano. The Madonna in this is an exquisite creation. She sits on high, surrounded by cherubs, with a lovely smiling landscape behind her, and is in Fiorenzo’s style. Her face is sweet and expressive, and the colour of the whole is soft, with rosy pinks and delicate greens of spring. Below kneels a Pope with his tiara on the ground, and a bishop in a white robe clasping his pastoral staff. The foreground is dark and rich, and contrasts with the clear and lovely tones beyond.
Another thoroughly satisfactory work is the little panel painted for the nuns of Campansi, and now in the Accademia at Siena. It is a smalltondo, in the painter’s most naïve and charming manner. Joseph and Mary sit side by side, in a flowery meadow. He holds a barrel of wine and a loaf. She has a bookon her knee, but is turning to speak to the two children—St. John in his little camel-hair garment, and the Christ-Child dressed in a white dress falling to the feet. The two children are represented arm-in-arm, carrying books and a pitcher, and are wandering away from the side of their elders. So poetic and innocent is their aspect, they recall the old legend of the little St. Teresa and her brother going out into the world to seek martyrdom. The figure of the Divine Child, with long fair hair falling round the face, and exquisitely drawn baby hands and feet, is one of the sweetest imaginable. Mary’s head is uncovered—a very rare variation with Pintoricchio. The folds of the draperies are unusually large and simple. The composition, the delicate restraint of gesture, combined with natural feeling, are very striking in this delightful little painting. Dr. Steinmann reminds us that Raphael may have seen it when he visited Siena, and it may be remotely responsible for his Madonna groups, seated in the fields, the idyllic feeling of which it certainly foreshadows.
Hanfstängl photo] [National Gallery, LondonTHE MADONNA AND CHILD
In the “Reliquary” at Berlin, the figures of the saints are too short. The heads are of a type which had become rather hackneyed, but the angels are lightly and crisply drawn, and it is a solid little work. The other panel at Berlin, a “Madonna and Child,” is not ascribed without dispute to Pintoricchio. Neither the face of the Mother nor the figure of the Child recall his manner, and while it is most unusual for him to paint the Virgin’s head without the shading veil, the hair here is dressed in the Italian fashion of the time, as nowhere else in his works. The Child’s feet andthe Mother’s hands, however, essentially remind us of Pintoricchio; the draperies have his lines, and the gouged-out folds we find in some of his later panels, and we see the peculiar, dainty touch of fingers, holding Child and globe as if they were eggshells.
The “Madonna and Saints” of the Louvre, which Mr. Berenson assigns to Pintoricchio, Dr. Steinmann believes to be by the same painter who helped him with the “Descent of the Spirit” in the Vatican. The heads certainly differ widely from Pintoricchio’s type, but if we apply Morelli’s test, the very peculiar left hand is reproduced line for line, in the Penelope of the Petrucci fresco. Notwithstanding, it is difficult to believe this to be a genuine work of the master. The little panel in the Pitti (the “Adoration of the Magi”) is much too feeble to be anything but an imitation, and the Virgin and Child are entirely unlike his type. The others of his works which are not questioned are a “Madonna and Cherubs” at Buda-Pesth; “St. Michael,” Leipzig; a “Madonna and a Crucifix” at Milan; “St. Augustine and two Saints” at Perugia. Mr. Berenson gives him a “God the Father” at Santa Maria degli Angeli, near Assisi, and (doubtfully), the “Portrait of a Boy” at Oxford.
Hanfstängl photo] [Berlin GalleryST. AUGUSTINE, ST. BENEDICT, AND ST. BERNARD(From the Reliquary)
His last known work is the very beautiful little panel in the Palazzo Borromeo at Milan. This was painted at Siena in the last year of his life, and is full of force and colour, glowing like a jewel. The background has an interesting effect of distant sunset behind trees and mountains; all the notice is concentrated on the red-robed figure and white cross of the Christ. The greensof the ground and the lengthening shadows give a more than usual depth and harmony. The group behind is confused and less well-drawn, but the peasant leading the way is evidently a study from life. On the arabesque in which the painting is set is a cartel inscribed with name and date.
Private photo] [Picture Gallery, SienaTHE CHRIST-CHILD AND ST. JOHN THE BAPTIST(From the Holy Family)
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, disappeared 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. Among his pupils, Matteo Balducci, who we know from Vasari worked with him in Rome, has left several pictures at Siena. These are all Umbrian in treatment, and show the influence of Pintoricchio, but they lack his delicate drawing; the forms are long and weak, and the colour dim and washy. Pietro di Domenico, a Sienese, has panels in imitation of him; but the most notable example of his influence is to be found in that series of the “Story of Griselda,” in the National Gallery, painted by an unknown artist, who, as Miss Cruttwell points out, was also influenced by Signorelli, and in whom sense of form and feeling for originality are more developed than in otherfollowers of the Umbrian master. Gerino da Pistoia is mentioned by Vasari as a friend of Pintoricchio, who worked much with him and Perugino, and an altar-piece by him at Pistoia has traces of both masters. Crowe and Cavalcaselle see his co-operation in the “Last Supper” in Sant’ Onofrio in Florence, and account thus for the signs it shows of Pintoricchio’s influence. Giovanni Bertucci of Faenza is another Umbrian whose pictures have often been attributed to Pintoricchio. The Mother and Child in the “Glorification” by him in the National Gallery are not unlike our master’s in Sant’ Andrea at Spello. We can trace many suggestions afforded to Raphael. The “Dispute” in the Borgia Apartments in all probability bent Raphael’s mind to the conception of the “Disputa” in the Stanze, and inspired the idea of his beautiful classic and sacred medallions set in decorative framework, and of the enthroned figures of Music, Theology, and the rest; and the use made by Pintoricchio of architectural interiors may have first inspired the supreme setting of the “School of Athens.”
Marcozzi photo] [Palazzo Borromeo, MilanCHRIST BEARING THE CROSS
Down to recent years Pintoricchio was quite overlooked or treated with contempt, and for the purely scientific school he has still little merit. 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 andadequate, 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 periods, 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 frescoes as the “Journey of Moses” and the “Life of San Bernardino” he gives promise of an excellence which is not afterwards adequately realised. He was an illustrator, and as such, perhaps, never touched the highest 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 repetition, it is the true artist in Pintoricchio which saves him from becoming monotonous. To the very last, as in the “Return of Ulysses,” or the “Holy Family” at Siena, his invention and fancy are alert, varying every accessory, displaying a freshness and an enjoyment in his creations which are irresistibly attractive. In all his illustration the lyric faculty is his. He follows the lives, the history, the fashions of his time with minute persistence, but always with some charm added to prosaic actuality. He is to painting what the ballad-singer is to poetry: slight, garrulous, naïve, infectious, he has a haunting melody of his own, and through his eyes we watch the widening of one aspect of that golden day.
Ruskin speaks of the value to us of the impression made by a scene upon the mind of the artist; it isthe impression stamped by the strange and enchanting grace of that world of the Renaissance upon one man, and handed on by him with spontaneity and undoubting delight, which is so precious to us in his work.
CATALOGUE OF THE WORKS OFPINTORICCHIOARRANGED ACCORDING TO THE GALLERIES IN WHICH THEY ARE CONTAINEDNOTEWherenumbers are given thus [No. 6], they are the numbers of the Catalogue of the Gallery. These cannot, of course, be guaranteed, as alterations are not infrequently made in the arrangement of the pictures.No pictures have been included, other than those which the author accepts, save in two well-known cases on pages 160 and 161.Except when in fresco, the paintings are all in tempera on wood.AUSTRIA-HUNGARYBUDA-PESTH.Madonna and Child and Angel.[No. 62.] 1 ft. 9 in. × 1 ft. 6 in.BRITISH ISLESLONDON, THE NATIONAL GALLERY.St. Catherine of Alexandria.[No. 693.] On wood, 1 ft. 9 in. × 1 ft. 3 in.A monk kneeling in adoration. Landscape background.Bequeathed by Lieut.-Gen. Sir W. Moore in 1862.The Madonna and Child.[No. 703.] In tempera, on poplar, 1 ft. 10 in. × 1 ft. 3 in.The Infant stands on a carpeted parapet in front of its Mother, only half of whose figure is seen: a rocky landscape in the background.Formerly in the Wallerstein Collection.Presented in 1863 by Her Majesty the Queen, in fulfilment of the wishes of His Royal Highness the Prince Consort.The Return of Ulysses to Penelope.[No. 911.] A fresco, transferred to canvas, 4 ft. 1 in. × 4 ft. 9 in.Penelope is seated at her loom; on the floor at her right is a damsel winding thread on shuttles from a ball of yarn which a cat is playing with. Four suitors in gay costume have entered the room; in the background Ulysses himself is seen in the doorway, just entering; his bowand quiver of arrows are hanging up above the head of Penelope.From the open window is seen the ship of Ulysses, with the hero bound to the mast; sirens are disporting themselves in the sea; the palace of Circe is on an island near, with swine and other animals in its vicinity.Painted about 1509.Formerly in the Pandolfo Petrucci Palace at Siena; transferred from the wall for M. Joly de Bammeville, in 1844, by Pellegrino Succi. Subsequently in Mr. Barker’s Collection, at whose sale it was purchased in 1874.OXFORD, TAYLORIAN MUSEUM.Portrait of a Young Man(?). [No. 22.]FRANCEPARIS, THE LOUVRE, MUSÉE NAPOLEON III.Madonna with St. Gregory and St. John Baptist.[No. 1417.] 1 ft. 11 in. × 1 ft. 4 in. (?)GERMANYBERLIN GALLERY.Madonna and Child.(?)BERLIN, PYRKER COLLECTION.Reliquary, St. Augustine and two Saints.[No. 132A.] 1 ft. 5 in. × 9 in.DRESDEN, THE GALLERY.Portrait of a Boy, with a Landscape Background.[No. 41.] 1 ft. 8 in. × 1 ft. 2 in.LEIPZIG, THE GALLERY.St. Michael(?). [No. 480.]ITALYASSISI, CHURCH OF SANTA MARIA DEGLI ANGELI (CHAPEL OF ST. BONAVENTURA).God the Father.MILAN, THE PALAZZO BORROMEO, SALA CIMBALLO.Christ Bearing the Cross.[No. 36.] 1513.See page 148.MILAN, PRINCE PIO DI SAVOIA.Madonna.1497.MILAN, MARCHESE VISCONTI-VENOSTA.A Small Painted Crucifix.NAPLES, THE PICTURE GALLERY.The Madonna in Glory.PERUGIA, THE GALLERY, SALA XI.Polyptych.[No. 10.] 1498.The Madonna and Child with St. John. Pietà. Christ with two Angels. Angel of the Annunciation. Virgin. St. Augustine. St. Jerome.Predella.—St. Mark. St. Luke. Scene in the life of St. Augustine. St. Matthew. St. John. St. Jerome in the Desert.Painted for the high altar of the church of Santa Maria dei Fossi. After the inroad of the French in 1810, was preserved in small panels in the Academy.See page 139.St. Augustine and four Members of the Confraternity, with their escutcheons below. [No. 12.] 1500.Presented by Cav. Silvestro Baldrini (d.1870), President of the Academy of Arts in Perugia.ROME, THE BORGHESE GALLERY.Christ on the Cross, with St. Christopher and St. Jerome(?). [No. 377.] 1 ft. 11 in. × 1 ft. 4 in.ROME, CASTEL ST. ANGELO.Fragments of Frescoes.1497.ROME, THE BORGIA APARTMENTS OF THE VATICAN.Frescoes.In great part by his own hand. All done from his designs and under his superintendence. 1492-1495.First Room—Hall of Mysteries.Assumption. Annunciation. Nativity. Adoration of Magi. Resurrection. Ascension. Coming of the Holy Ghost.Ceiling—Evangelists and Fathers.Second Room—Hall of Saints.The Madonna and Child. Scenes from lives of St. Susanna, St. Barbara, St. Antony Abbot, and St. Paul the Hermit. St. Catherine disputing with the Philosophers.Ceiling Decoration—Story of Osiris and Isis.Third Room—Hall of Arts and Sciences.Over door—Madonna and Child.Geometry. Arithmetic. Music. Rhetoric. Grammar.Fourth Room—Hall of Creeds.The Prophets.Fifth Room—Hall of Sibyls.The Sibyls.See page 93.ROME, THE SIXTINE CHAPEL OF THE VATICAN.Journey of Moses, and Baptism of Christ.Frescoes. 1482-1483.See page 41.ROME, THE BELVEDERE, GALLERIA DELLE STATERE.Fragments of Decorative Frescoes.ROME, THE COLONNA PALACE, GREAT HALL.Decorative Frescoes in Spandrels.ROME, THE PALAZZO DEI PENITENZIERI.Fragments of Frescoes.ROME, CHURCH OF ARA C[OE]LI, BUFFALINI CHAPEL.Frescoes of theLife and Death of St. Bernardino.See page 50.ROME, SANTA MARIA DEL POPOLO.Fourth Chapel, R. Frescoes—The Nativity.Five Lunettes with scenes from theLife of St. Jerome.Choir—Ceiling Frescoes.1505.See page 59.ROME, THE VATICAN GALLERY.The Coronation of the Virgin.11 ft. × 6 ft. 8 in. 1505.Painted for the nuns of La Fratta (now Umbertide).See page 146.SAN GEMIGNANO, THE MUNICIPIO.The Madonna in Glory, with Saints.Painted for the monks of Monte Oliveto.SAN SEVERINO, SACRISTY OF THE DUOMO.The Madonna and Child, with the Donor and Two Angels.See page 142.SAN SEVERINO, THE PINACOTECA, SALA IX.The Nativity.[No. 26.] 9 ft. 2 in. × 6 ft.From the convent of Campansi in Siena.Madonna and Child with an Angel.[No. 28.] 2 ft. 1 in. × 1 ft. 8 in.From the convent of Santa Maria Maddalena.[These are attributed by some writers to Pintoricchio, but not accepted by the author.]SIENA, THE ACCADEMIA, SALA XI.Holy Family.[No. 45.] Tondo. Diameter, 2 ft. 9 in.From the convent of Campansi.See page 146.SIENA, THE DUOMO, THE LIBRERIA.Frescoes—Ten frescoes, illustratingLife of Pius II.1503-1508.Lunette over door—Fresco,The Coronation of Pius III.SIENA, THE CAPPELLA DI SAN GIOVANNI.Frescoes—The Birth of St. John.Portraits of Alberto Aringhieriin youth and old age.SIENA, THE DUOMO.Pavement—Wisdom and Fortune.1504.See page 110.SPELLO, THE CHURCH OF THE COLLEGIATA, SECOND ALTAR, R.The Madonna and Child.SPELLO, THE BAGLIONI CHAPEL, CHURCH OF THE COLLEGIATA.Frescoes—Annunciation.Adoration of Magi.Christ Among the Doctors.1501.SPELLO, THE SACRISTY OF THE CHURCH OF THE COLLEGIATA.The Madonna and Child.1501.SPELLO, THE OLD SACRISTY OF THE CHURCH OF THE COLLEGIATA.Fresco ofAn Angel.SPELLO, THE CHURCH OF SANT’ ANDREA,R. Transept.The Madonna and Child enthroned.St. Louis of Toulouse, St. Andrew, St. Laurence and St. Francis of Assisi, with Angels.1508.SPELLO, SAN GIROLAMO, CLOISTER CHAPEL.Adoration of Shepherds.Fresco—Remains of aNativity.Behind the Altar—Fresco ofThe Marriage of the Virgin.[This is attributed by many critics to Pintoricchio, but not accepted by the author.]SPOLETO, THE DUOMO, FIRST CHAPEL, R.Ruined frescoes—The Madonna and Saints.God the Father and Angels.The Dead Christ.See page 105.SPAINVALENCIA.The Madonna and Child, with Donor.Sent to Xativà by Cardinal Borjà.See page 87.
NOTE
Wherenumbers are given thus [No. 6], they are the numbers of the Catalogue of the Gallery. These cannot, of course, be guaranteed, as alterations are not infrequently made in the arrangement of the pictures.
No pictures have been included, other than those which the author accepts, save in two well-known cases on pages 160 and 161.
Except when in fresco, the paintings are all in tempera on wood.
AUSTRIA-HUNGARY
BUDA-PESTH.
Madonna and Child and Angel.[No. 62.] 1 ft. 9 in. × 1 ft. 6 in.
BRITISH ISLES
LONDON, THE NATIONAL GALLERY.
St. Catherine of Alexandria.[No. 693.] On wood, 1 ft. 9 in. × 1 ft. 3 in.
A monk kneeling in adoration. Landscape background.
Bequeathed by Lieut.-Gen. Sir W. Moore in 1862.
The Madonna and Child.[No. 703.] In tempera, on poplar, 1 ft. 10 in. × 1 ft. 3 in.
The Infant stands on a carpeted parapet in front of its Mother, only half of whose figure is seen: a rocky landscape in the background.
Formerly in the Wallerstein Collection.Presented in 1863 by Her Majesty the Queen, in fulfilment of the wishes of His Royal Highness the Prince Consort.
The Return of Ulysses to Penelope.[No. 911.] A fresco, transferred to canvas, 4 ft. 1 in. × 4 ft. 9 in.
Penelope is seated at her loom; on the floor at her right is a damsel winding thread on shuttles from a ball of yarn which a cat is playing with. Four suitors in gay costume have entered the room; in the background Ulysses himself is seen in the doorway, just entering; his bowand quiver of arrows are hanging up above the head of Penelope.
From the open window is seen the ship of Ulysses, with the hero bound to the mast; sirens are disporting themselves in the sea; the palace of Circe is on an island near, with swine and other animals in its vicinity.
Painted about 1509.Formerly in the Pandolfo Petrucci Palace at Siena; transferred from the wall for M. Joly de Bammeville, in 1844, by Pellegrino Succi. Subsequently in Mr. Barker’s Collection, at whose sale it was purchased in 1874.
OXFORD, TAYLORIAN MUSEUM.
Portrait of a Young Man(?). [No. 22.]
FRANCE
PARIS, THE LOUVRE, MUSÉE NAPOLEON III.
Madonna with St. Gregory and St. John Baptist.[No. 1417.] 1 ft. 11 in. × 1 ft. 4 in. (?)
GERMANY
BERLIN GALLERY.
Madonna and Child.(?)
BERLIN, PYRKER COLLECTION.
Reliquary, St. Augustine and two Saints.[No. 132A.] 1 ft. 5 in. × 9 in.
DRESDEN, THE GALLERY.
Portrait of a Boy, with a Landscape Background.[No. 41.] 1 ft. 8 in. × 1 ft. 2 in.
LEIPZIG, THE GALLERY.
St. Michael(?). [No. 480.]
ITALY
ASSISI, CHURCH OF SANTA MARIA DEGLI ANGELI (CHAPEL OF ST. BONAVENTURA).
God the Father.
MILAN, THE PALAZZO BORROMEO, SALA CIMBALLO.
Christ Bearing the Cross.[No. 36.] 1513.
See page 148.
MILAN, PRINCE PIO DI SAVOIA.
Madonna.1497.
MILAN, MARCHESE VISCONTI-VENOSTA.
A Small Painted Crucifix.
NAPLES, THE PICTURE GALLERY.
The Madonna in Glory.
PERUGIA, THE GALLERY, SALA XI.
Polyptych.[No. 10.] 1498.
The Madonna and Child with St. John. Pietà. Christ with two Angels. Angel of the Annunciation. Virgin. St. Augustine. St. Jerome.
Predella.—St. Mark. St. Luke. Scene in the life of St. Augustine. St. Matthew. St. John. St. Jerome in the Desert.
Painted for the high altar of the church of Santa Maria dei Fossi. After the inroad of the French in 1810, was preserved in small panels in the Academy.
See page 139.
St. Augustine and four Members of the Confraternity, with their escutcheons below. [No. 12.] 1500.
Presented by Cav. Silvestro Baldrini (d.1870), President of the Academy of Arts in Perugia.
ROME, THE BORGHESE GALLERY.
Christ on the Cross, with St. Christopher and St. Jerome(?). [No. 377.] 1 ft. 11 in. × 1 ft. 4 in.
ROME, CASTEL ST. ANGELO.
Fragments of Frescoes.1497.
ROME, THE BORGIA APARTMENTS OF THE VATICAN.
Frescoes.In great part by his own hand. All done from his designs and under his superintendence. 1492-1495.
First Room—Hall of Mysteries.
Assumption. Annunciation. Nativity. Adoration of Magi. Resurrection. Ascension. Coming of the Holy Ghost.Ceiling—Evangelists and Fathers.
Second Room—Hall of Saints.
The Madonna and Child. Scenes from lives of St. Susanna, St. Barbara, St. Antony Abbot, and St. Paul the Hermit. St. Catherine disputing with the Philosophers.Ceiling Decoration—Story of Osiris and Isis.
Third Room—Hall of Arts and Sciences.
Over door—Madonna and Child.
Geometry. Arithmetic. Music. Rhetoric. Grammar.
Fourth Room—Hall of Creeds.
The Prophets.
Fifth Room—Hall of Sibyls.
The Sibyls.
See page 93.
ROME, THE SIXTINE CHAPEL OF THE VATICAN.
Journey of Moses, and Baptism of Christ.Frescoes. 1482-1483.
See page 41.
ROME, THE BELVEDERE, GALLERIA DELLE STATERE.
Fragments of Decorative Frescoes.
ROME, THE COLONNA PALACE, GREAT HALL.
Decorative Frescoes in Spandrels.
ROME, THE PALAZZO DEI PENITENZIERI.
Fragments of Frescoes.
ROME, CHURCH OF ARA C[OE]LI, BUFFALINI CHAPEL.
Frescoes of theLife and Death of St. Bernardino.
See page 50.
ROME, SANTA MARIA DEL POPOLO.
Fourth Chapel, R. Frescoes—The Nativity.Five Lunettes with scenes from theLife of St. Jerome.
Choir—Ceiling Frescoes.1505.
See page 59.
ROME, THE VATICAN GALLERY.
The Coronation of the Virgin.11 ft. × 6 ft. 8 in. 1505.
Painted for the nuns of La Fratta (now Umbertide).
See page 146.
SAN GEMIGNANO, THE MUNICIPIO.
The Madonna in Glory, with Saints.
Painted for the monks of Monte Oliveto.
SAN SEVERINO, SACRISTY OF THE DUOMO.
The Madonna and Child, with the Donor and Two Angels.
See page 142.
SAN SEVERINO, THE PINACOTECA, SALA IX.
The Nativity.[No. 26.] 9 ft. 2 in. × 6 ft.
From the convent of Campansi in Siena.
Madonna and Child with an Angel.[No. 28.] 2 ft. 1 in. × 1 ft. 8 in.
From the convent of Santa Maria Maddalena.
[These are attributed by some writers to Pintoricchio, but not accepted by the author.]
SIENA, THE ACCADEMIA, SALA XI.
Holy Family.[No. 45.] Tondo. Diameter, 2 ft. 9 in.
From the convent of Campansi.
See page 146.
SIENA, THE DUOMO, THE LIBRERIA.
Frescoes—Ten frescoes, illustratingLife of Pius II.1503-1508.
Lunette over door—Fresco,The Coronation of Pius III.
SIENA, THE CAPPELLA DI SAN GIOVANNI.
Frescoes—The Birth of St. John.
Portraits of Alberto Aringhieriin youth and old age.
SIENA, THE DUOMO.
Pavement—Wisdom and Fortune.1504.
See page 110.
SPELLO, THE CHURCH OF THE COLLEGIATA, SECOND ALTAR, R.
The Madonna and Child.
SPELLO, THE BAGLIONI CHAPEL, CHURCH OF THE COLLEGIATA.
Frescoes—Annunciation.Adoration of Magi.Christ Among the Doctors.1501.
SPELLO, THE SACRISTY OF THE CHURCH OF THE COLLEGIATA.
The Madonna and Child.1501.
SPELLO, THE OLD SACRISTY OF THE CHURCH OF THE COLLEGIATA.
Fresco ofAn Angel.
SPELLO, THE CHURCH OF SANT’ ANDREA,R. Transept.
The Madonna and Child enthroned.
St. Louis of Toulouse, St. Andrew, St. Laurence and St. Francis of Assisi, with Angels.1508.
SPELLO, SAN GIROLAMO, CLOISTER CHAPEL.
Adoration of Shepherds.
Fresco—Remains of aNativity.
Behind the Altar—Fresco ofThe Marriage of the Virgin.
[This is attributed by many critics to Pintoricchio, but not accepted by the author.]
SPOLETO, THE DUOMO, FIRST CHAPEL, R.
Ruined frescoes—The Madonna and Saints.God the Father and Angels.The Dead Christ.
See page 105.
SPAIN
VALENCIA.
The Madonna and Child, with Donor.
Sent to Xativà by Cardinal Borjà.
See page 87.