We are expressly told that Pintoricchio was given the life of Æneas Sylvius by his secretary Campana, as a guide to his choice of events, but careful examination has shown certain variations and deviations from this life, pointing to some other authority in use; and on comparison we find that he certainly also had recourse to the Pope's own memoirs, which supplied certain details and particulars not included in Campana's work. Dr. Schmarsow has made a long and exhaustive study of these frescoes with special reference to Pintoricchio's relations with Raphael.[31] It is impossible to go as minutely into the question as this talented German has done, but it is one of great interest in artistic history, and no life of Pintoricchio would be complete without some reference to it. [31] _Raphael und Pinturicchio in Siena._ The possibility of Raphael having supplied drawings and designs has been a matter of heated controversy. Morelli casts scorn on the supposition; Crowe and Cavalcaselle stand aghast and declare that, believing it, the life of Raphael would have to be re-written. Bode says it is audacious to contend that the great master and _entrepreneur_ would adopt the designs of a young, untried painter. Vasari asks how we can suspect that the master of fifty would follow a twenty-year-old assistant: this is the general tendency of objections. While, naturally, regretting any conviction that tends to detract from the painter whose fascination I feel, and upon whose life I am engaged, having to the best of my power weighed all the rival criticisms, I cannot avoid the conviction that Schmarsow is right, and that Raphael did help with two or three at least of the frescoes, and perhaps, as he suggests, with others. The evidence that ascribes the drawings left for them to the young Urbinate appears to me too strong to resist. Raphael, to begin with, though only twenty when these drawings were executed, cannot be called unknown. He had already produced several noticeable works. Only three years later, in a contract of 1505, he is styled the best master in Perugia. The nuns of Monte Luce, wanting an altar-piece, "fere trovare el maestro el migliore, si posse consiglialo ... lo quale si chiamava Maestro Raphaello da Urbino." Pintoricchio would have had the wit to see what a gift he was dealing with; and, as for taking the designs of an assistant, had not he himself supplied several of the figures for Perugino's great work in the Sixtine?