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The Pope shrieked with amazement, for, although the splendid Pontifical vestments had become ragged fur, in every other respect the kneeling figure was the counterpart of the painted one, and the painted one was Pinturicchio's portrait of Pope Alexander the Sixth kneeling as a witness of the Resurrection.
Many, indeed, were the apprentices trained in the famous bottega at Perugia, but, among them all, Raphael and Pinturicchio took the lead. These were the two who honored their master by repeating, with modifications of their own, the beautiful composition of the Vatican. Pinturicchio's picture is in the Church of St. Andrea, at Perugia. A charming feature, which he introduced, is a little St.
The discovery, to the traveller returning from the East, robs the most romantic scenes of western Europe of half their charm: in the Piazza of San Marco, in the market-place of Siena, where at least the robes of the Procurators or the gay tights of Pinturicchio's striplings once justified man's presence among his works, one can see, at first, only the outrage inflicted on beauty by the "plentiful strutting manikins" of the modern world.
We have ourselves, perhaps not an hour before, sauntered through squares and dawdled beneath porticos like those which we see filled with the red-robed and plumed citizens and patricians, the Jews and ruffians whom Pinturicchio's parti-coloured men-at-arms are dispersing to make room for the followers of Æneas Sylvius; or clambered up rough lanes, hedged in between oak woods and oliveyards, which we might almost swear were the very ones through which are winding Sodoma's cavalcades of gallantly dressed gentlemen, with their hawks and hounds, and negro jesters and apes and beautiful pages, cantering along on shortnecked little horses with silver bits and scarlet trappings, on the pretence of being the Kings from the East, carrying gold and myrrh to the infant Christ.
Botticelli's crayon study for his Venus is almost antique; his tempera picture of Venus, with the pale blue scaly sea, the laurel grove, the flower-embroidered garments, the wisps of tawny hair, is comparatively mediæval; Pinturicchio's sketch of Pans and satyrs contrasts strangely with his frescoes in the library of Siena; Mantegna himself, supernaturally antique in his engravings, becomes comparatively trivial and modern in his oil-paintings.
How would his face look in bronze, ridged with reason and controversy; what could ever bring him out of the dust and noise of the levels where he was battling, even to the plateaus to which poor Serafino had climbed? After that I looked at everything of Pinturicchio's I could find in Rome. We found his Coronation of the Virgin, his frescoes of St. Antonio.
He leads us, unceasingly, through the little dreamy laurelwoods, where we meet crisp-haired damsels tied to pine-trees, or terrible dragons, or enchanted wells, through whose translucent green waters we see brocaded rooms full of fair ladies; he ferries us ever and anon across shallow streams, to the castles where gentil donzelle wave their kerchiefs from the pillared belvedere; he slips us unseen into the camps and council-rooms of the splendidly trapped Saracens, like so many figures out of Filippino's frescoes; he conducts us across the bridges where giants stand warders, to the mysterious carved tombs whence issue green and crested snakes, who, kissed by a paladin, turn into lovely enchantresses; he takes us beneath the beds of rivers and through the bowels of the earth where kings and knights turned into statues of gold, sit round tables covered with jewels, illumined by carbuncles more wonderful than that of Jamschid; or through the mazes of fairy gardens, where every ear of corn, cut off, turns into a wild beast, and every fallen leaf into a bird, where hydras watch in the waters and lamias rear themselves in the grass, where Orlando must fill his helmet with roses lest he hear the voice of the sirens; where all the wonders of Antiquity the snake-women, the Circes, the sirens, the hydras and fauns live, strangely changed into something infinitely quaint and graceful, still half-antique, yet already half-Arabian or Keltic, in the midst of the fairyland of Merlin and of Oberon live, move, transform themselves afresh; where the golden-haired damsels and the stripling knights, delicate like Pinturicchio's Prince Charmings, gallop for ever on their enchanted coursers, within enchanted armour, invincible, invulnerable, under a sky always blue, and through an unceasing spring, ever onwards to new adventures.
Save for Pinturicchio's brilliant frescoes in the Sacristy there are no pictures to speak of; but the pavement is covered with many elaborate designs in black and white mosaic after cartoons by Beccafumi. The patient skill of these compositions makes them a rare piece of decoration; yet even here the friend whom I lately quoted rejects this over-ripe fruit of the Sienese school.
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