obsequies of great men.

Among the disciples of Filippo, who all failed by a great measure to
equal him, was Raffaellino del Garbo, who made many works, as will
be told in the proper place, although he did not justify the
opinions and hopes that were conceived of him while Filippo was
alive and Raffaellino himself still a young man. The fruits, indeed,
are not always equal to the blossoms that are seen in the spring.
Nor did any great success come to Niccolo Zoccolo, otherwise known
as Niccolo Cartoni, who was likewise a disciple of Filippo, and
painted at Arezzo the wall that is over the altar of S. Giovanni
Decollato; a little panel, passing well done, in S. Agnesa; a panel
over a lavatory in the Abbey of S. Fiora, containing a Christ who is
asking for water from the woman of Samaria; and many other works,
which, since they were commonplace, are not mentioned.

[Illustration: THE ADORATION OF THE MAGI

(_After the panel by =Filippo Lippi (Filippino)=. Florence: Uffizi,
1257_)

_Alinari_]

BERNARDINO PINTURICCHIO

LIFE OF BERNARDINO PINTURICCHIO

PAINTER OF PERUGIA

Even as many are assisted by fortune without being endowed with much
talent, so, on the contrary, there is an infinite number of able men
who are persecuted by an adverse and hostile fortune; whence it is
clearly manifest that she acknowledges as her children those who
depend upon her without the aid of any talent, since it pleases her
to exalt by her favour certain men who would never be known through
their own merit; which is seen in Pinturicchio of Perugia, who,
although he made many works and was assisted by various helpers,
nevertheless had a much greater name than his works deserved.
However, he was a man who had much practice in large works, and ever
kept many assistants to aid him in his labours. Now, having worked
at many things in his early youth under his master Pietro da
Perugia,[1] receiving a third of all that was earned, he was
summoned to Siena by Cardinal Francesco Piccolomini to paint the
library made by Pope Pius II in the Duomo of that city. It is true,
indeed, that the sketches and cartoons for all the scenes that he
painted there were by the hand of Raffaello da Urbino, then a youth,
who had been his companion and fellow-disciple under the same
Pietro, whose manner the said Raffaello had mastered very well. One
of these cartoons is still to be seen at the present day in Siena,
and some of the sketches, by the