Although Pintoricchio's art was so much admired during his lifetime, it is difficult to show that it exercised much after-influence. Fascinating as it is in some ways, it represents the last survival of a dying school. The world to which he belonged, the taste which delighted in his creations, disappeared with him, and was replaced by an age of conscious modernism which was eager to sweep aside all that seemed archaic in the immediate past. The thirst for knowledge and for scientific research was waxing intense, and the craze for the display of knowledge with its hidden seeds of decay soon followed. Among his pupils, Matteo Balducci, who we know from Vasari worked with him in Rome, has left several pictures at Siena. These are all Umbrian in treatment, and show the influence of Pintoricchio, but they lack his delicate drawing; the forms are long and weak, and the colour dim and washy. Pietro di Domenico, a Sienese, has panels in imitation of him; but the most notable example of his influence is to be found in that series of the "Story of Griselda," in the National Gallery, painted by an unknown artist, who, as Miss Cruttwell points out, was also influenced by Signorelli, and in whom sense of form and feeling for originality are more developed than in other followers of the Umbrian master. Gerino da Pistoia is mentioned by Vasari as a friend of Pintoricchio, who worked much with him and Perugino, and an altar-piece by him at Pistoia has traces of both masters. Crowe and Cavalcaselle see his co-operation in the "Last Supper" in Sant' Onofrio in Florence, and account thus for the signs it shows of Pintoricchio's influence. Giovanni Bertucci of Faenza is another Umbrian whose pictures have often been attributed to Pintoricchio. The Mother and Child in the "Glorification" by him in the National Gallery are not unlike our master's in Sant' Andrea at Spello. We can trace many suggestions afforded to Raphael. The "Dispute" in the Borgia Apartments in all probability bent Raphael's mind to the conception of the "Disputa" in the Stanze, and inspired the idea of his beautiful classic and sacred medallions set in decorative framework, and of the enthroned figures of Music, Theology, and the rest; and the use made by Pintoricchio of architectural interiors may have first inspired the supreme setting of the "School of Athens." [Illustration: _Marcozzi photo_] [_Palazzo Borromeo, Milan_ CHRIST BEARING THE CROSS]