PINTO. The remarkable brown, black and blue spots of discoloration of the whole body met with endemically in Mexico, Panama, Colombia and Venezuela, and known under the name of “ pinto ” or “ mal de los pintos,” were first claimed by Gastambide (Presse med. Belle, 1881, Nos. 33–41) as due to the presence of a vegetable parasite, whose spores and even mycelial filaments may be detected among the deeper rows of cells of the rete mucosum. The disease appears to be one of the many forms of morbus miseriae; but it is contagious, and is sometimes seen in the well-to-do. In some villages of the western districts of Tabasco (Mexico) it has been estimated that 9% of the inhabitants suffer from the pinto; M'Clellan says that in 1826 in the City of Mexico he saw a whole regiment of “ pintados.”
PINTURICCHIO (1454–1513), Italian painter, whose full name was Bernardino di Betti, the son of a citizen of Perugia, Benedetto or Betto di Blagio, was one of a very important group who inherited the artistic traditions and developed the style of the older Perugian painters, such as Bonfigli and Fiorenzo di Lorenzo. According to Vasari he was a pupil of Perugino; and
so in one sense no doubt he was, but rather as a paid assistant than as an apprentice. The strong similarity both in design and methods of execution which runs through the works of this later Perugian school is very striking; paintings by Perugino,
Pinturicchio, Lo Spagna and Raphael (in his first manner) may
often be mistaken one for the other. In most cases, especially
in the execution of large frescoes, pupils and assistants had a
large share in the work, either in enlarging the master's sketch
to the full-sized cartoon, in transferring the cartoon to the wall,
or in painting backgrounds, drapery and other accessories.
After assisting Perugino in the execution of his frescoes in the
Sistine Chapel, Pinturicchio was employed by various members
of the Della Rovere family and others to decorate a whole series
of chapels in the church of S. Maria del Popolo in Rome, where
he appears to have worked from 1484, or earlier, to 1492 with
little interruption. The earliest of these is an altarpiece of the
“ Adoration of the Shepherds,” in the first chapel (from the west)
on the south, built by Cardinal Domenico della Rovere; a portrait
of the cardinal is introduced as the foremost of the kneeling
shepherds. In the lunettes under the vault Pinturicchio painted
small scenes from the life of St ]erome, The frescoes which he
painted in the next chapel, that built by Cardinal Innocenzo Cibo,
were destroyed in 1700, when the chapel was rebuilt by Cardinal
Alderano Cibo. The third chapel on the south is that of Giov.
della Rovere, duke of Sora, nephew of Sixtus IV., and brother
of Giuliano, who was afterwards Pope Julius II. This contains
a fine altarpiece of the “ Madonna enthroned between Four
Saints, ” and on the east side a very nobly composed fresco of
the “Assumption of the Virgin.” The vault and its lunettes
are richly decorated with small pictures of the life of the Virgin,
surrounded by graceful arabesques; and the dado is covered
with monochrome paintings of scenes from the lives of saints,
medallions with prophets, and very graceful and powerfully
drawn female figures in full length in which the influence
of Signorelli may be traced. In the fourth chapel Pinturicchio
painted the Four Latin Doctors in the lunettes of the
vault. Most of these frescoes are considerably injured by
damp, but happily have suffered little from restoration; the
heads are painted with much minuteness of finish, and the whole
of the pictures depend very largely for their effect on the final
touchings a setco. The last paintings completed by Pinturicchio
in this church were the frescoes on the vault over the retro-choir,
a very rich and well-designed piece of decorative work, with
main lines arranged to suit their surroundings in a very skilful
way In the centre is an octagonal panel of the coronation of
the Virgin, and round it medallions of the Four Evangelists-the spaces between them being filled up by reclining figures of the
Four Sibyls. On each pendentive is a figure of one of the Four
Doctors enthroned under a niched canopy. The bands Which
separate these pictures have elaborate arabesques on a gold
ground, and the whole is painted with broad and effective
touches, very telling when seen (as is necessarily the case) from
a considerable distance below. No finer specimen of the decoration
of a simple quadripartite vault can anywhere be seen,
In 1492 Pinturicchio was summoned to Orvieto, where he
painted two Prophets and two of the Doctors in the duomo. In
the following year he returned to Rome, and was employed by
Pope Alexander VI. (Borgia) to decorate a suite of six rooms
in the Vatican, which Alexander had just built. These rooms,
called after their founder the Appartamenti Borgia, now form
part of the Vatican library, and five of them still retain the fine
series of frescoes with which they were so skilfully decorated
by Pinturicchio. The upper part of the walls and vaults, not
only covered with painting, but further enriched with delicate
stucco work in relief, are a masterpiece of decorative design
applied according to the truest principles of mural ornament-a
much better model for imitation in that respect than the more
celebrated Stanze of Raphael immediately over the Borgia
rooms. The main subjects are: (1) the Annunciation, the
Nativity, the Magi, and the Resurrection; (2) Scenes from the
lives of St Catherine, St Antony and other saints, (3) allegorical
figures of music, arithmetic and the like; (4) four figures in half
length, with rich arabesques; (5) figures of the planets, the
occupations of the various months, and other subjects. The
sixth room was repainted by Perino del Vaga.[1]
Though not without interruption, Pinturicchio, assisted by his pupils, worked in these rooms from 1492 till 1498, when they were completed. His other chief frescoes in Rome, still existing in avery genuine state, are those in the Cappella Bufalini at the south-west of S Maria in Ara Coeli, probably executed from 1497 to 1500. These are well-designed compositions, noble in conception, and finished with much care and refinement. On the altar wall is a grand painting of St Bernardino of Siena between two other saints, crowned by angels, in the upper part is a figure of Christ in a vesica-glory, surrounded by angel musicians; on the left wall is a la1 ge fresco of the miracles done by the corpse of St Bernardino, very rich in colour, and full of very carefully painted heads, some being portraits of members of the Bufalini family, for whom these frescoes were executed. One group of three females, the central figure with a child at her breast, is of especial beauty, recalling the grace of Raphael's second manner. The composition of the main group round the saint's corpse appears to have been suggested by Giotto's painting of St Francis on his bier in S. Croce at Florence. On the vault are four noble figures of the Evangelists, usually attributed to Luca Signorelli, but certainly, like the rest of the frescoes in this chapel, by the hand of Pinturicchio. On the vault of the sacristy of S. Cecilia in Trastevere, Pinturicchio painted the Almighty surrounded by the Evangelists. During a visit to Orvieto in 1496 Pinturicchio painted two more figures of the Latin Doctors in the choir of the duomo-now, like the rest of his work at Orvieto, almost destroyed. For these he received fifty gold ducats.
Among his panel pictures the following are the most important. An altarpiece for S Maria de' Fossi at Perugia, painted in 1496-1498, now moved to the picture gallery, is a Madonna enthroned among Saints, graceful and sweet in expression, and very minutely painted; the wings of the retable have standing figures of St Augustine and St Jerome; and the predella has paintings in miniature of the Annunciaticn and the Evangelists. Another fine altarpiece, similar in delicacy of detail, and probably painted about the same time, is that in the cathedral of San Severino-the Madonna enthroned looks down towards the kneeling donor. The angels at the sides in beauty of face and expression recall the manner of Lorenzo di Credi or Da Vinci. The Vatican picture gallery has the largest of Pinturicchio's panels-the Coronation of the Virgin, with the apostles and other saints below, Several well-executed portraits occur among the kneeling saints. The Virgin, who kneels at Christ's feet to receive her crown, is a figure of great tenderness and beauty, and the lower group is composed with great skill and grace in arrangement Other important panel paintings by Pinturicchio exist
- ↑ See Guattani, Quadri nell' appart. Borgia (Rome, 1820).
