Phillipps, Evelyn March: The frescoes in the Sixtine chapel (London: John Murray, 1901)

JOURNEY OF MOSES

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tant works were confided, was not even
named in the contract which the Pope
made with the painters, and it is only
within the last few years that he has
received the recognition he undoubtedly
deserves. Looking at these characteristic
and unmistakeable works of his brush, it is
almost impossible to believe that it was so
long before their real authorship was dis-
cerned, and this in spite of Vasari’s mention
that Pintoricchio worked with Perugino in
the Sixtine Chapel and took a third of the
payment.
In these frescoes the old fashion is adhered
to of bringing several scenes of an event into
the same composition. Accordingly, in the
centre of the background, Moses, clad in the
yellow robe and green mantle which the
Church decreed as his attire, is taking leave
of Jethro. Behind is a group of maidens,
one with a water-jar on her head. On the
left hand at the back, in one of Pintoricchio’s
idyllic landscapes, are the shepherds dancing,
for rejoicing at the wedding-feast. The fore-
ground illustrates the departure of Moses
B