"Pintoricchio" by Evelyn March Phillipps. Published by Good Press. Good Press publishes a wide range of titles that encompasses every genre. From well-known classics & literary fiction and non-fiction to forgotten−or yet undiscovered gems−of world literature, we issue the books that need to be read. Each Good Press edition has been meticulously edited and formatted to boost readability for all e-readers and devices. Our goal is to produce eBooks that are user-friendly and accessible to everyone in a high-quality digital format.
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Evelyn March Phillipps. Pintoricchio
Pintoricchio
Table of Contents
BIBLIOGRAPHY
PINTORICCHIO. CHAPTER I. BIOGRAPHICAL
CHAPTER II. DERIVATION AND CHARACTER OF HIS ART
CHAPTER III. FIRST PERIOD IN ROME
CHAPTER IV. LIFE IN ROME—CONTINUED
CHAPTER V. THE BORGIA APARTMENTS
CHAPTER VI. THE BORGIA APARTMENTS—CASTEL SANT’ ANGELO
CHAPTER VII. SPELLO
CHAPTER VIII. SIENA AND THE LAST OF ROME
CHAPTER IX. THE LIBRARY AT SIENA
CHAPTER X. PANEL PAINTINGS
CATALOGUE OF THE WORKS OF. PINTORICCHIO. ARRANGED ACCORDING TO THE GALLERIES IN WHICH THEY ARE CONTAINED
CHRONOLOGICAL TABLE
INDEX
Отрывок из книги
Evelyn March Phillipps
Published by Good Press, 2019
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[5] Vasari, iii. p. 498, note “Milanesi.”
A document in the archives of the cathedral at Orvieto, as to which Vasari knew nothing, or was silent, dated 1492, informs us of an agreement made with the chapter to paint two evangelists and two Fathers in the cathedral. The price was to be a hundred ducats. There was a good deal of coming and going between Rome and Orvieto, and in that year he was paid fifty ducats for the portion of work done, and also began a small picture in the tribune, but fell into a violent quarrel with the ecclesiastics, who averred that the first part of the work was not painted according to agreement. Their real objection seems to have been that they were getting frightened at the quantity of gold and ultramarine employed, which was more than the chapter could afford. There was some talk of taking the work from him, and it was certainly interrupted for a time.[6] He was probably very willing to return to Rome, for a third Pope was now providing him with work—no less a personage than Alexander VI., who, as Cardinal Borgia, had already given great encouragement to the artist in Rome, and who now entrusted Pintoricchio with the decoration of his private apartments. The quarrel with the monks at Orvieto must, however, have been made up, and he returned to finish their transept, for we find Pope Alexander writing to the Orvietans in March 1494 to beg that they will release Pintoricchio and let him come back to Rome to finish what he had begun in the Borgia rooms.
