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Updated: June 13, 2025
Before the National Gallery was extended and rearranged, there was a little ``St Catherine'' by Pinturicchio that possessed my undivided affections. In those days she hung near the floor, so that those who would worship must grovel; and little I grudged it.
Leyden is equally remarkable for affectionate sentiment. Still more beautiful, and more dramatic and varied, is another composition by Pinturicchio in the Sala Borgia. Elizabeth, in the centre, take each other's hands. Behind the Virgin is St. Joseph, a maiden with a basket on her head, and other attendants. Behind St.
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.
Then recalling what Isabel had said I asked her: "Where is the face, Isabel, you wished to show me?" "There," she said. "Turn around." I did and saw a bronze bust on a pedestal. "That, you mean?" Isabel nodded. I walked closer to it. It was Pinturicchio. A deeper emotion than I had ever before felt before a work of art took possession of me. Such wisdom, benignity, genius!
Meanwhile Ghirlandaio and Perugino were painting the walls of the Sixtine; Pinturicchio was designing the blue and gold allegorical ceilings of the library; Bramante building the Chancellor's palace, and the Pollaiolas and Mino da Fiesole carving the tombs in St. Peter's, while learned men translated Plato and imitated Horace. Of this Rome there remains nowadays nothing, or next to nothing.
He sent Michelangelo to Florence to employ his talents upon the Medicean church of San Lorenzo. He dismissed Perugino, Pinturicchio and Piero Delia Francesca, although Raphael in tears pleaded for them all. Their frescos were destroyed, and Raphael was told to go ahead and make the Vatican what it should be. Near at hand is the famous "School of Athens."
Pinturicchio and Perugino painted for Alexander VI, and the most wonderful genius of the century, Leonardo da Vinci, did not hesitate to enter the service of Cæsar Borgia as his engineer, to erect fortresses for him in the same Romagna which he had appropriated by such devilish means.
The small monastery of Sant' Onofrio, where he spent the last short month of his life, used to be a lonely and beautiful place, and is remembered only for his sake, though it has treasures of its own the one fresco painted in Rome by Lionardo da Vinci, and paintings by Domenichino and Pinturicchio in its portico and little church, as well as memories of Saint Philip Neri, the Roman-born patron saint of Rome.
Two Periods in the True Renaissance Andrea Mantegna His Statuesque Design His Naturalism Roman Inspiration Triumph of Julius Caesar Bas-reliefs Luca Signorelli The Precursor of Michael Angelo Anatomical Studies Sense of Beauty The Chapel of S. Brizio at Orvieto Its Arabesques and Medallions Degrees in his Ideal Enthusiasm for Organic Life Mode of treating Classical Subjects Perugino His Pietistic Style His Formalism The Psychological Problem of his Life Perugino's Pupils Pinturicchio At Spello and Siena Francia Fra Bartolommeo Transition to the Golden Age Lionardo da Vinci The Magician of the Renaissance Raphael The Melodist Correggio The Faun Michael Angelo The Prophet.
Lemuel had almost as much as said that he would like to paint her portrait. Mr. Lemuel had also offered her, but she had refused to accept, a small but marvellous study by Pinturicchio, which most people considered the gem of his collection.
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