Then, having returned to Rome, he was appointed by Tiberio Crispo, at that time Castellan of the Castello di S. Angelo, as architect of that great structure; whereupon he set in order many rooms there, adorning them with carvings in many kinds of stone and various sorts of variegated marbles on the chimney-pieces, windows, and doors. In addition to this, he made a marble statue, five braccia high, of the Angel of that Castle, which is on the summit of the great square tower in the centre, where the standard flies, after the likeness of that Angel that appeared to S. Gregory, who, having prayed that the people should be delivered from a most grievous pestilence, saw him sheathing his sword in the scabbard. Later, when the said Crispo had been made a Cardinal, he sent Raffaello several times to Bolsena, where he was building a palace. Nor was it long before the very reverend Cardinal Salviati and Messer Baldassarre Turini da Pescia commissioned Raffaello, who had already left the service of the Castle and of Cardinal Crispo, to make the statue of Pope Leo that is now over his tomb in the Minerva at Rome. That work finished, Raffaello made a tomb for the same Messer Baldassarre in the Church of Pescia, where that gentleman had built a chapel of marble. And for a chapel in the Consolazione, at Rome, he made three figures of marble in half-relief. But afterwards, having given himself up to the sort of life fit rather for a philosopher than for a sculptor, and wishing to live in peace, he retired to Orvieto, where he undertook the charge of the building of S. Maria, in which he made many improvements; and with this he occupied himself for many years, growing old before his time.

S. DAMIANO
(After Raffaello da Montelupo.
Florence: New Sacristy of S. Lorenzo)
Alinari
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I believe that Raffaello, if he had undertaken great works, as he might have done, would have executed more things in art, and better, than he did. But he was too kindly and considerate, avoiding all conflict, and contenting himself with that wherewith fortune had provided him; and thus he neglected many opportunities of making works of distinction. Raffaello was a very masterly draughtsman, and he had a much better knowledge of all matters of art than had been shown by his father Baccio. In our book are some drawings by the hand both of the one and of the other; but those of Raffaello are much the finer and more graceful, and executed with better art. In his architectural decorations Raffaello followed in great measure the manner of Michelagnolo, as is proved by the chimney-pieces, doors, and windows that he made in the aforesaid Castello di S. Angelo, and by some chapels built under his direction, in a rare and beautiful manner, at Orvieto.

But returning to Baccio: his death was a great grief to the people of Lucca, who had known him as a good and upright man, courteous to all, and very loving. Baccio's works date about the year of our Lord 1533. His dearest friend, who learnt many things from him, was Zaccaria da Volterra, who executed many works in terra-cotta at Bologna, some of which are in the Church of S. Giuseppe.

LORENZO DI CREDI