In the remaining fresco of the "Assumption," the composition is entirely Umbrian, and may be compared with that in Santa Maria del Popolo, and in the Vatican. In St. Thomas, and in the angels on the right, Schmarsow sees the style of Perugino, but that master was a _protégé_ of Cardinal Giuliano della Rovere, and at this time was busied on work for his patron; in any case, he would not have been likely to take service under his old pupil. Of course, Pintoricchio must have had designs by him in his possession. The Madonna in some degree recalls the much more beautiful one Pintoricchio afterwards painted for the monks of Monte Oliveto. But the figure which gives its artistic importance to the fresco is that of the man in black who kneels on the right of the open tomb, facing St. Thomas. This figure alone, in grandeur and simplicity of attitude, in intensity of expression, in fine drawing and handling, and in depth of colour, would vindicate Pintoricchio's claim to be called a great painter--taken in conjunction with the Pope on the opposite wall, it carries conviction of the power and the insight of the man who could produce two such diverse and striking types, though the art that produced them may be empirical rather than scientific. We do not know who this last may be. There are no signs of his rank in his dress, no cardinal's hat by his side; but it is evident that he must have been a person of importance. It is conjectured that he is Francesco Borgia, the Pope's brother, who, in 1493 became Bishop of Teano, and Papal treasurer.[24] [24] E. Steinmann, _Pintoricchio_, p. 54. A wonderful softness broods over the whole decoration of this room; the details, elaborate as they are, are subordinated to a quiet and restful effect. All absence of violent action or emotion contributes to the impression; the same peaceful types are repeated; the same character of landscape: all modifies the pictorial to the decorative effect. We may notice here a feature which Pintoricchio shares very strikingly with Perugino--it is that feeling for restraint, the instinct to keep all of small size and well within the picture which gives these painters such a peculiarly refined character, especially in contrast with those who followed, copyists of Raphael and Michael Angelo. Everywhere in the decorative part of the rooms we see the bull's head, the appropriate device of the savage representative of the House of Borgia, a device which the House--which was of Spanish extraction--had borne since the thirteenth century. The decoration is repeated over and over again, and does not show much resource or ingenuity, but the subdued tone of the whole is very happy and thoroughly appropriate. [Illustration: _Anderson photo_] [_Borgia Apartments, Vatican, Rome_ FIGURE OF THE POPE (A detail from "Pope Alexander VI. adoring the Risen Christ")]