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Updated: June 13, 2025
When Pinturicchio was working with Pietro Perugino and painting at Rome in the time of Pope Sixtus, he had also been in the service of Domenico della Rovere, Cardinal of San Clemente; wherefore the said Cardinal, having built a very beautiful palace in the Borgo Vecchio, charged Pinturicchio to paint the whole of it, and to make on the façade the coat of arms of Pope Sixtus, with two little boys as supporters.
The flower of Umbrian piety blossomed in the masterpieces of his youth, and faded into dryness in the affectations of his manhood. Nothing was left on the same line for his successors. Among these, Bernardo Pinturicchio can here alone be mentioned.
Meanwhile, when he had acquired very great fame by following his master's manner, Pope Pius II had given the commission for painting the library of the Duomo at Siena to Pinturicchio; and he, being a friend of Raffaello, and knowing him to be an excellent draughtsman, brought him to Siena, where Raffaello made for him some of the drawings and cartoons for that work.
In 1505 Pinturicchio was paid for a work on the floor: "To master Bernardino Pinturicchio, ptr., for his labour in making a cartoon for the design of Fortune, which is now being made in the Cathedral, on this 13th day of March, 12 Lires for our said Master Alberto."
A group of ecclesiastics have confounded a group of rabbis at a fountain which is the foundation of an altar; the old fervour burns in the eyes of the gallery servitor as he shows you the discomfited Hebrew doctors of the law. We may dismiss as harmless the Pinturicchio and other Italian attributions in these basement galleries.
But Pinturicchio, like the strange and whimsical man that he was, made such an outcry at this, and repeated it so often, that finally in despair the friars set themselves to carry it away.
He remembered how, by her sanctity, her humility, and her holy inspirations of soul, she had risen to the courts of princes, whither she had been sent as ambassadress to arrange for the interests of the Church; and then rose before his mind's eye the gorgeous picture of Pinturicchio, where, borne in celestial repose and purity amid all the powers and dignitaries of the Church, she is canonized as one of those that shall reign and intercede with Christ in heaven.
They illustrate Matarazzo's Perugian chronicle better than any other Renaissance pictures; for in frescoes like those of Pinturicchio at Siena the same qualities are softened to suit the painter's predetermined harmony, whereas Signorelli rejoices in their pure untempered character . These, then, form a second stage.
Alexander found employment for the great artists of the day in the Vatican, where Perugino executed some paintings for him, and where, under the picture of the holy Virgin, Pinturicchio, who was his court artist, painted the portrait of the adulteress, Giulia Farnese. He also painted portraits of several members of the Borgia family in the castle of S. Angelo.
The church is not architecturally handsome; but it is eminently picturesque, with its relics of centuries, its mosaic pulpits and floor, its frescoes of Pinturicchio and Pesaro, its antique columns, its rich golden ceiling, its Gothic mausoleum to the Savelli, and its medieval tombs.
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