. The painters of the school of Ferrara. atesRaphael. Likewise early works of Timoteo are the , now in the ducal palace of Urbino, andthe little St. Margaret, in the Morelli collection atBergamo—two single figures very similar to each other,and somewhat resembling the allegorical woman whosymbolises Duty in Raphaels Knights Dream. Ofthe St. Margaret, Morelli writes: The head andattitude of the Saint involuntarily recall Francia toour mind, wliile the oval of the face resembles thatof Raphaels Madonna del Gran Duca. ^ To thisepoch in Timoteos career belongs also the small
. The painters of the school of Ferrara. atesRaphael. Likewise early works of Timoteo are the , now in the ducal palace of Urbino, andthe little St. Margaret, in the Morelli collection atBergamo—two single figures very similar to each other,and somewhat resembling the allegorical woman whosymbolises Duty in Raphaels Knights Dream. Ofthe St. Margaret, Morelli writes: The head andattitude of the Saint involuntarily recall Francia toour mind, wliile the oval of the face resembles thatof Raphaels Madonna del Gran Duca. ^ To thisepoch in Timoteos career belongs also the small , a rather feeble and insipid work, in theducal palace of Urbino. Morelli was the first toregard as early works of Timoteo the seventeen ex-ceedingly beautiful paintings of mythological subjects,including the story of Orpheus, on the series of majo-lica plates, probably from the Castel Durante factory,in the Museo Civico at Venice; they are certainlysuggestive of the school of Francia; but Morellis 4 0/. cit., p. 219. > « s >. Arulertion TiMOTEO VlTI (?) EURYDICE AND (Miijolic-aplate)Miiseo Civico, Venice To face page 122 TIMOTEO VITI 123 attribution, though highly plausible, is not universallyaccepted.^ After his marriage, Tinioteo settled down at Urbino,where, save for short visits to neighbouring towns, heseems to have spent the rest of his life. Vasaris story ofhis working under Raphael in the Madonna della Paceand elsewhere in Rome, though accepted unhesitatinglyby Crowe and Cavalcaselle,^ is now almost universallyrejected. Three fine altarpieces executed by Timoteo duringthe early years of the Cinquecento, and described byVasari, have come down to us. For the altar of theBonaventuri in San Bernardino, the church of theOsservanti outside Urbino, he painted quella tanto lodataopera, the Immaculate Conception, now in the BreraThis picture, which is rather cold in colour, somewhatresembles Francias representation of the same mysteryat Bologna, painted in
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