[186] British and Foreign Quarterly, vol. XIII.
[187] Yet this casino, begun in 1511, is by some said to have been completed several years before.
[188] It stood in front of St. Peter's, and was removed when the piazza was extended.
[189] Passavant treats the usual legends regarding the Fornarina as after inventions, and ascribes the earliest notice of her to Puccini's Real Galleria di Firenze, I., p. 6.
[190] British and Foreign Review, vol. XIII., p. 274.
[*191] Raphael seems to us to-day to have been a supreme portrait painter. His other easel pictures, splendid as they often are in "space composition," seem to lack sincerity. His frescoes have a perfect decorative value, but little force or real contact with life. If they sum up the Renaissance, they do so only in part, with much sacrifice of truth and of that virility and assured contact of life which were its most precious possessions.
[193] "On the 4th April, 1495, my dear Timoteo went away, to whom may God grant all good and success." He seems to have been received at first into Francia's "workshop" as a goldsmith, to work for the first year without pay, the second at sixteen florins a quarter, the last to be free, working by the piece. This indenture was, however, broken by mutual consent after fourteen months, on his wish to pass into the painters' studio.
[*194] In the Cathedral sacristy is the St. Martin and St. Thomas of 1504, with the founders beside them. In the Pinacoteca there is a half figure of S. Sebastian, the figures of S. Roch and of Tobias with the Angel. The S. Apollonia, once in S. Trinità is now in the Gallery. Of these, the S. Sebastian, S. Roch, and Tobias show the influence of Giovanni Santi, the other two the influence of Raphael.
[*195] Timoteo painted the Prophets above the Sibyls in S. Maria della Pace, in Rome.