For the same patron
he made some scenes in marble, which are in Palermo. He left behind him
a son who is also a sculptor at the present day, and no less excellent
than was his father.

[Illustration: TOMB OF RAFFAELE MAFFEI

(_After_ Silvio Cosini [Silvio da Fiesole]. _Volterra: S. Lino_)

_Alinari_]

FOOTNOTE:

[1] See note on p. 57, Vol. I.

VINCENZIO DA SAN GIMIGNANO AND TIMOTEO DA URBINO

[Illustration: TIMOTEO DA URBINO (TIMOTEO VITI): A MUSE

(_Florence: Corsini Gallery. Panel_)]

LIVES OF VINCENZIO DA SAN GIMIGNANO AND TIMOTEO DA URBINO

[_TIMOTEO DELLA VITE_]

PAINTERS

Having now to write, after the Life of the sculptor Andrea da Fiesole,
the Lives of two excellent painters, Vincenzio da San Gimignano of
Tuscany, and Timoteo da Urbino, I propose to speak first of Vincenzio,
as the man whose portrait is above,[2] and immediately afterwards of
Timoteo, since they lived almost at one and the same time, and were both
disciples and friends of Raffaello.

Vincenzio, then, working in company with many others in the Papal Loggie
for the gracious Raffaello da Urbino, acquitted himself in such a manner
that he was much extolled by Raffaello and by all the others. Having
therefore been set to work in the Borgo, opposite to the Palace of
Messer Giovanni Battista dall' Aquila, with great credit to himself he
painted on a facade a frieze in terretta, in which he depicted the Nine
Muses, with Apollo in the centre, and above them some lions, the device
of the Pope, which are held to be very beautiful. Vincenzio showed great
diligence in his manner and softness in his colouring, and his figures
were very pleasing in aspect; in short, he always strove to imitate the
manner of Raffaello da Urbino, as may also be seen in the same Borgo,
opposite to the Palace of the Cardinal of Ancona, from the facade of a
house that was built by Messer Giovanni Antonio Battiferro of Urbino,
who, in consequence of the strait friendship that he had with Raffaello,
received from him the design for that facade, and also, through his good
offices, many benefits and rich revenues at the Court. In this design,
then, which was afterwards carried into execution by Vincenzio,
Raffaello drew, in allusion to the name of the Battiferri, the Cyclopes
forging thunderbolts for Jove, and in another part Vulcan making arrows
for Cupid, with some most beautiful nudes and other very lovely scenes
and statues. The same Vincenzio