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.