I do not know to what
I should attribute his misfortune, for poor Raffaellino was not
wanting in industry, diligence, and application; yet they availed
him little. It is believed, indeed, that, becoming overburdened and
impoverished by the cares of a family, and being compelled to use
for his daily needs whatever he earned, not to mention that he was a
man of no great spirit and undertook to do work for small prices, in
this way he went on growing worse little by little; although there
is always something of the good to be seen in his works.

For the Monks of Cestello, on the wall of their refectory, he
painted a large scene coloured in fresco, in which he depicted the
miracle wrought by Jesus Christ with the five loaves and two fishes,
with which he satisfied five thousand people. For the Abbot de'
Panichi he executed the panel-picture of the high-altar in the
Church of S. Salvi, without the Porta alla Croce, painting therein
Our Lady, S. Giovanni Gualberto, S. Salvi, S. Bernardo, a Cardinal
of the Uberti family, and S. Benedetto the Abbot, and, at the sides,
S. Batista and S. Fedele in armour, in two niches on either hand of
the picture, which had a rich frame; and in the predella are several
scenes, with little figures, from the Life of S. Giovanni Gualberto.
In all this he acquitted himself very well, because he was assisted
in his wretchedness by that Abbot, who took pity on him for the sake
of his talents; and in the predella of the panel Raffaellino made a
portrait of him from life, together with one of the General who was
then ruling his Order. In S. Piero Maggiore, on the right as one
enters the church, there is a panel by his hand, and in the Murate
there is a picture of S. Sigismund, the King. For Girolamo
Federighi, in that part of S. Pancrazio where he was afterwards
buried, he painted a Trinity in fresco, with portraits of him and of
his wife on their knees; and here he began to decline into pettiness
of manner. He also made two figures in distemper for the Monks of
Cestello, a S. Rocco and a S. Ignazio, which are in the Chapel of S.
Sebastiano. And in a little chapel on the abutment of the Ponte
Rubaconte, on the side towards the Mills, he painted a Madonna, a S.
Laurence, and another saint.

In the end he was reduced to undertaking any work, however mean; and
he was employed by certain nuns and other persons, who were
embroidering a quantity of church vestments and hangings at that
time, to make desi