ture,
in that his ways of life, his inclination for painting, and his other
qualities brought it about that Raffaello da Urbino took him into his
house and educated him together with Giulio Romano, looking on both of
them ever afterwards as his children, and proving at his death how much
he thought both of the one and of the other by leaving them heirs to his
art and to his property alike. Now Giovan Francesco, who began from his
boyhood, when he first entered the house of Raffaello, to be called Il
Fattore, and always retained that name, imitated in his drawings the
manner of Raffaello, and never ceased to follow it, as may be perceived
from some drawings by his hand that are in our book. And it is nothing
wonderful that there should be many of these to be seen, all finished
with great diligence, because he delighted much more in drawing than in
colouring.

The first works of Giovan Francesco were executed by him in the Papal
Loggie at Rome, in company with Giovanni da Udine, Perino del Vaga, and
other excellent masters; and in these may be seen a marvellous grace,
worthy of a master striving at perfection of workmanship. He was very
versatile, and he delighted much in making landscapes and buildings. He
was a good colourist in oils, in fresco, and in distemper, and made
excellent portraits from life; and he was much assisted in every respect
by nature, so that he gained great mastery over all the secrets of art
without much study. He was a great help to Raffaello, therefore, in
painting a large part of the cartoons for the tapestries of the Pope's
Chapel and of the Consistory, and particularly the ornamental borders.
He also executed many other things from the cartoons and directions of
Raffaello, such as the ceiling for Agostino Chigi in the Trastevere,
with many pictures, panels, and various other works, in which he
acquitted himself so well, that every day he won greater affection from
Raffaello. On the Monte Giordano, in Rome, he painted a facade in
chiaroscuro, and in S. Maria de Anima, by the side-door that leads to
the Pace, a S. Christopher in fresco, eight braccia high, which is a
very good figure; and in this work is a hermit with a lantern in his
hand, in a grotto, executed with good draughtsmanship, harmony, and
grace.

Giovan Francesco then came to Florence, and painted for Lodovico Capponi
at Montughi, a place without the Porta a San Gallo, a shrine with a
Madonna, which is much extolled.

Raffaello