Volltext Seite (XML)
a suite of rooms in the Vatican to be built for his special use. Pinturicchio was instantly engaged to de corate the first that was ready, and not only finished it, but five others at intervals within two years. This suite, known as the Apartamento Borgia, has undergone very little alteration since that time. r The first room, or Sala, exactly beneath the present hall of Constantine, was de nuded of Pinturicchio’s frescos by order of Leo the Tenth, and redecorated by Giovanni da Udine and Perino del Vaga. 1 Five others, occupied at present as a library, are still in their original condition. Of these, three com municating with each other through the Sala, are lighted severally by one window opening on the Cortile di Bel vedere, and are longitudinally divided by an arch resting on pilasters; the fourth has also a window facing the Cortile, but no division; the fifth faces the Cortile at a less obtuse angle than the rest. First Room, next to the Sala of Giov. da Udine and Perino. On the wall facing the window, and divided into two lunettes, the Annunciation and the Nativity with the papal arms between them, in a rosette supported by three angels. In the two lunettes to the right, the'Adoration of the Magi and the Resurrection, with a fine kneeling portrait of Alexander the VI 1 ' 1 in the latter. In one lunette, to the left, the Assumption and a Cardinal kneeling by the tomb about which the apostles stand. In one lunette, above the window, the Ascension, and in the two ceilings a tasteful ornament of ani mals and devices on a blue ground, and eight half lengths in rounds. None of the compositions are remarkable. Some, as the Nativity and Ascension, are ill arranged. A certain breadth in the draperies of the annunciate angel reveals Pinturicchio’s partial familiarity with the Florentine examples of Domenico Ghirlandaio or Lippi. Coarseness characterises many forms in the Nativity. A certain rudeness is apparent in the execution, and the dull grey colour is but slightly relieved by light and shadow. Cold ness and lifelessness are combined in the colour and figures of the Adoration. Want of style and minuteness of detail are to be noted in the draperies of the Resurrection, and the Redeemer is altogether poor. The Ascension, being in the dark, is doubtless Vas. X. 144.