Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 3.djvu/116

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The manner of Vincenzio was very carefully considered, his colouring was soft and harmonious, his figures were of very pleasing aspect; in short, he did his utmost continually to imitate the manner of Raphael da Urbino, an evidence of which may be seen in the same Borgo, on the façade of a house which stood opposite to the palace of the Cardinal of Ancona, and was built by Messer Giovanni Antonio Battiferro, of TJrbino. The design for that fa§ade was obtained from Raphael by Messer Giovanni Antonio because of the intimate friendship subsisting between them; the master likewise procured Battiferro many other advantages, and even obtained for him a large revenue from the court for the same reason. In one part of the design just alluded to, Raphael included the Cyclops preparing thunderbolts for Jove, in allusion to the name of the Battiferro family; and in another portion he represented Vulcan forging the arrows for Cupid with many beautiful nude figures, various historical delineations, and several statues, all of which are likewise exceedingly beautiful.

On the Piazza of St. Louis of the French, also, in the city of Rome, this same Vincenzio painted numerous stories on another façade, the death of Ccesar namely, and a Triumph of Justice, with a frieze whereon there is a combat of horsemen, exhibiting remarkable spirit, and executed with extreme care; between the windows immediately beneath the roof of this building there are certain allegorical figures of the Virtues, moreover, which are exceedingly well done. On the front of the Epifani, which stands behind the Curia of Pompey, and near the Campo di Fiore, Vincenzio painted in like manner a representation of the Magi, whom he has depicted in the act of following the star. He executed a large number of other works in that city, the air and position whereof would seem to be well calculated for causing the minds of men to produce beautiful and admirable labours. Experience has indeed amply taught us, that the same master has not always the same manner in different places, he cannot produce works of equal beauty in all situations, but rather accomplishes some better, and others worse, according to the quality of the air and place wherein he is labouring.