The whole story of the French king's entry into the capital was made to redound to the glory of the Pope. Charles was represented kneeling at his feet, taking the oath, serving at Mass. The Pope was shown investing the French ecclesiastics with the Cardinal's hat. In a procession to San Paolo, the king stood at the Pope's bridle rein, and the final scene showed the departure for Naples, accompanied by the Sultan Djem. In comparing these in our mind with the frescoes in the Library of Siena, painted a few years later, it is possible to imagine what Pintoricchio would have made of these very similar themes. Here, as there, there is an endowment of the red hat, a Consistory, an act of homage to the enthroned Pope, and a gay procession. In the Louvre is a drawing of Pintoricchio's of three pages leaning on halberds, which may be part of the design for one of these frescoes. Djem he would have brought in again, as he depicted him in the Borgia Apartments. The number of contemporary portraits would have made this second great piece of work executed for the Borgia Pope of surpassing interest to historians. CHAPTER VII SPELLO In the beginning of 1501 Pintoricchio left Perugia and went off to Spello, the little town eighteen miles to the south of it. Here the prior of the chapel of the college, Troilo Baglioni, a son of the proudest house in Perugia, had lately been created a bishop; and, naturally enough, when he wished to decorate his cathedral, he sent for the painter of his native city, who had by now made himself so famous a name. This little chapel in Santa Maria Maggiore at Spello is dark and damp enough, but in its decay it is still possible to divine something of its whilom beauty. As Pintoricchio planned his designs for it, we can see that his mind was still running on the rich work he had left in Rome two years before, and again and again he has adapted ideas from the Borgia Apartments, suiting them, with his own delicate judgment, to the smaller position and to the provincial situation. So cleverly has he managed, that the narrow chapel gains air and space and outlook, and even in its dim ruin we have an instant sense of life going on all round us. He has here used the airy architectural surroundings which he had so happily dwelt upon in the Buffalini Chapel, with the result that his work gains greatly in aerial space, it acquires a freshness and a refinement which is well adapted to the country district in which it is placed, and we lose that sense, which almost oppresses us amid all the fascination of the Borgia rooms, of being shut into a succession of gorgeously-jewelled caskets.