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Updated: June 13, 2025
Now their good fortune was such, that in removing it there was broken a plank which contained 500 Roman ducats of gold; at which Pinturicchio was so displeased, and felt so aggrieved at the good luck of those poor friars, that it can hardly be imagined nay, he took it so much to heart, being unable to get it out of his thoughts, that it was the death of him. His pictures date about the year 1513.
"To think," she said very softly, the wonder breaking through the low tone of her voice, "to think that Michelangelo's own living hand has been where mine is now still more, he has been in this very room! Not alone he, but Raphael, Correggio, and Pinturicchio! And all this is called home by my own aunt. Mine!" A little quiver had come into her throat. "It is too wonderful!
To the various sights of Rome must be due that sudden enlarging of style, that kind of new classicism, which distinguishes the work of fifteenth-century masters after their visit to the Eternal City, enabling Ghirlandaio, Signorelli, Perugino, and Botticelli to make the Sixtine Chapel, and even the finical Pinturicchio, the Vatican library, into centres of fresh influence for harmony and beauty.
By the by, it was not Pinturicchio, as I have written above, but Giotto, assisted, I believe, by Cimabue, who painted these frescos. Our one-legged attendant had followed us also into this church, and again hastened out of it before us; and still we heard the dot of his crutch upon the pavement, as we passed from street to street.
The interior is dark and solemn, with much less gilding and meretricious ornament than is usual in Roman churches. It contains, in the side chapels, many objects of interest; frescoes and altar-pieces by Annibale Caracci, Pinturicchio, and Peruzzi; and splendid sepulchral monuments.
A companion and friend of Pinturicchio, although he was a much older man, was Benedetto Buonfiglio, a painter of Perugia, who executed many works in company with other masters in the Papal Palace at Rome.
The rich yellow harmony of its tones, and the graceful dignity of its emotion, conveyed no less by a certain Raphaelesque pose and outline than by suavity of facial expression, enable us to measure the distance between this painter and his quasi-pupil Pinturicchio.
Notice in particular, from the series of pictures illustrating the legend of S. Ursula, the very beautiful faces and figures of the saint herself, and her young bridegroom, the Prince of Britain. Attendant squires and pages in these paintings have all the charm of similar subordinate personages in Pinturicchio, with none of his affectation.
I see Pinturicchio in his face. I hear the reverberations of Beethoven's dreams in his voice. This man is kindred to the greatest souls. I know about the mystic chords myself. I have been in battle. I fought for Texas. Be that cause good or bad, it has now blossomed in me for the Union. I have followed Douglas for nationalism and progress.
During the first months of his reign following in the footsteps of predecessors who had made additions to the Vatican Alexander set about the building of the Borgia Tower. For its decoration he brought Perugino, Pinturicchio, Volterrano, and Peruzzi to Rome. Such a thing would have been horrible, revolting, sacrilegious.
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