The Adventures of Enea, Part 1 of 13
(In the early years of the 16th century,
the artist Pinturicchio was employed by
Cardinal Piccolomini to decorate the
library of Siena Cathedral with fresco
scenes from the life of his ancestor, Enea.)
The Contract
The Cardinal requires Ser Bernardino,
as high contracting party to the tasks,
to paint ten histories in damasceno,
in gold, vermilion: also asks
that other pleasing colours be employed,
the whole to be so handsome, beautiful
and lively, as will fill the present void
with fantasies. He should be dutiful
and diligent, and supervise the work.
Designs will all reveal The Master's hand
(though pupils may fill spaces). He'll not shirk
in imitating latest fashions. And
(this is insisted on) the Master shan't
dodge off to paint some panel here or there,
but shall remain engaged on this. He can't
retouch, restore, revivify, repair
or otherwise (without grave loss of honour)
adapt, adulterate, or amplify
some tuppeny hapenny Umbrian Madonna,
without The Cardinal demanding why.
The frescoes should contain protagonists
appropriate to the life herein depicted,
with landscapes, trees and mountains, mists
and such (for instance, like the storm inflicted
on Enea by the gods at Piombino).
Each pose and gesture, such as may amuse
and fascinate. This done, Ser Bernardino
may add whatever detail he may choose.
The Master binds himself and his garzoni
to purchase olive oil and best verdicchio,
all flour, figs, cheese, fruit, maccaroni,
with vouchers I'll supply. Signed, Pinturicchio.
Copyright © Michael Coy | Year Posted 2017
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