[20] Italian Masters in German Galleries, pp. 264-284.
It would take far too much space to go with Morelli through all the fifty-three drawings, with a circumstantial criticism which leaves only three (detached and on different paper) to the younger master. We must content ourselves with examining those which Pintoricchio used for figures in frescoes which remain to us. A number of these examples occur in “The Journey of Moses.” On one sheet is a sketch for the woman kneeling with outstretched arms, who performs the rite upon the little son of Moses. On another page is a study for the drapery of the seated woman. Again, the heads of four women are drawn on one sheet; no less than three of these are introduced in the fresco. One of the two upper heads is used for the woman bearing a jar, the position being very slightly altered; while of the two lower heads, that on the left is a study for Zipporah leading her child, the other for the head of the woman with the child upon her knee. The quaint head-dresses are reproduced to a nicety: one with outstanding bows on either side, and the loose, flying scarf, knotted in front, the other with the scrolled cornucopia-like ornament curling round the ear. For “The Baptism” we have a study of the seated woman in the background, and for two of the nude figures of youths. For Perugino’s fresco, “The Giving of the Keys,” Pintoricchio has left two drawings for St. John, standing with his hand upon his breast; one of the two is ruled in squares for transferring to the wall, and this is the one adopted by Perugino. From two other studies figures have been introduced; the cloaked man, third from the left, and two just above, in the background. There is also an elaborate drawing for the Madonna in the altar-piece in Santa Maria del Popolo, and a drawing for the lion in a scene from the life of St. Jerome in the same church. We thus have no fewer than thirteen heads and figures, clearly recognisable as studies for frescoes painted before Raphael was six years old.
Private photo] [Venice
STUDY OF HEADS FOR THE “JOURNEY OF MOSES”
The drawings, fine and delicate as they are, have the stiffness, the careful, square-crossed hatching which is found in others by Pintoricchio, also his shape of hand and foot, and the narrow, elongated forms and in-bent knees.
Pintoricchio was now twenty-eight. He must already have produced a great deal of work, but not only have we no trace of it, but what is left is almost all known to be of later date. However obscure his life before he came to Rome, his proceedings after that are well known, and there is hardly a year unaccounted for, or which cannot be almost certainly filled up from inference.
Rome had no cinque-cento painters of her own; but none the less, the great traditions of the past, which that century was fast reviving, made her the Mecca of the artists of Italy. That the two frescoes in the Sixtine Chapel were Pintoricchio’s first great commission is probable, and it must have been with exultation that he set to work to give free play to his decorative instincts on the large bare walls. Though the whole is imbued with Perugino’s spirit, and full of motifs copied from him, the composition is not the least like his calm, glowing landscapes and well-ordered, symmetrical groups. The background is all reminiscent of Fiorenzo—the toppling rocks, the little bushy trees, the joyous air of the little figures frolicking on the hillside, the palms and cypresses, the beautifully shaped hollow of the valley, the falcon in the air pursuing smaller birds. The crowded groups are in Pintoricchio’s style; the want of concentration of interest, the narrative spirit running through the whole are just what were most dear to his genius. There has been much discussion as to whether his master helped him. Did Perugino paint the figure of the woman busied with the rite of Circumcision, and of Moses looking on? Or did he execute the heads of any of the Florentine colony who are brought in, and who might have preferred to have their portraits from the hand of the master rather than from that of the pupil? I can find very little trace of Perugino’s own hand, unless it be in the head of Moses on the right, in which the execution of the hair is more in his manner, though not nearly as fine and rippling as he paints it in the frescoes of the keys. The action of the angel in the centre is quite in the manner of Pintoricchio, and Perugino never would have placed the hand of Moses in such an awkward attitude of expostulation. The children are like his in the Buffalini Chapel in the Libreria and Borgia apartments, and contrast favourably with Perugino’s fat, unshapely babes. As a whole, it would be difficult to find a more attractive piece of decorative painting than this. The various scenes, the shepherds dancing at the marriage feast, Jethro and his household taking leave of Moses, the departure of the leader of Israel with his family, and the rite of Circumcision are pressed into one harmonious scene. The background melts naturally into the foreground without appearing confused, and the vigorous white-robed messenger of God, with shimmering hair and wings, drawn sword and outstretched arm, divides the two foreground groups in a manner as original as it is sufficient. Moses, clad in the traditional yellow robe and green mantle, stopping at the angel’s command, is a fine, grave figure of marked personality. The two women occupied with the child on the right, Zipporah leading the little boy, the damsel on the left balancing her jar, are some of the most beautiful and graceful forms that Pintoricchio has given us. The draperies are less voluminous than in later pictures, and fall in straighter, simpler folds, resembling the more statuesque drapery such as we find in the “St. Thomas and the Saviour” of Or San Michele, and which Perugino, on his return from Florence, imparted to his pupil in place of Fiorenzo’s sharply-cut-up folds. Here, too, Pintoricchio proves himself to be, what he was evidently considered in Rome, a landscape-painter of the first rank; and it is especially by the landscape that Morelli tells us he made out the identity of the painter of this fresco. Nothing up to this time had been seen so lovely as this background,—on one side, the low purple hills, touched with golden gleams, running down into the soft distance, on the other, a clear, grassy space, giving a sense of air and gaiety to the little pastoral. Both the frescoes in the Sixtine have undergone such repeated cleanings and restorations that little of the original colour remains, and the effect is somewhat faded and grimy; but we are still able to see with what skill white robes are made use of—an art in which Pintoricchio excels in many of his paintings.
