[Illustration: BERNARDINO DEL LUPINO (LUINI): S. CATHARINE BORNE TO HER TOMB BY ANGELS (_Milan: Brera, 288. Fresco_)] LIVES OF LORENZETTO SCULPTOR AND ARCHITECT OF FLORENCE AND OF BOCCACCINO PAINTER OF CREMONA It happens at times, after Fortune has kept the talent of some fine intellect subjected for a period by poverty, that she thinks better of it, and at an unexpected moment provides all sorts of benefits for one who has hitherto been the object of her hatred, so as to atone in one year for the affronts and discomforts of many. This was seen in Lorenzo, the son of Lodovico the bell-founder, a Florentine, who was engaged in the work both of architecture and of sculpture, and was loved so dearly by Raffaello da Urbino, that he not only was assisted by him and employed in many enterprises, but also received from the same master a wife in the person of a sister of Giulio Romano, a disciple of Raffaello. Lorenzetto[4]--for thus he was always called--finished in his youth the tomb of Cardinal Forteguerra, formerly begun by Andrea Verrocchio, which was erected in S. Jacopo at Pistoia; and there, among other things, is a Charity by the hand of Lorenzetto, which is not otherwise than passing good. And a little afterwards he made a figure for Giovanni Bartolini, to adorn his garden; which finished, he went to Rome, where in his first years he executed many works, of which there is no need to make any further record. Then, receiving from Agostino Chigi, at the instance of Raffaello da Urbino, the commission to make a tomb for him in S. Maria del Popolo, where Agostino had built a chapel, Lorenzo set himself to work on this with all the zeal, diligence, and labour in his power, in order to come out of it with credit and to give satisfaction to Raffaello, from whom he had reason to expect much favour and assistance, and also in the hope of being richly rewarded by the liberality of Agostino, a man of great wealth. Nor were these labours expended without an excellent result, for, assisted by Raffaello, he executed the figures to perfection: a nude Jonah delivered from the belly of the whale, as a symbol of the resurrection from the dead, and an Elijah, living by grace, with his cruse of water and his bread baked in the ashes, under the juniper-tree. These statues, then, were brought to the most beautiful completion by Lorenzetto with all the art and diligence at his command, but he did not by any means obtain for them that reward which his great labours and the needs of his family called for, since, death having closed the eyes of Agostino, and almost at the same time those of Raffaello, the heirs of Agostino, with scant respect, allowed these figures to remain in Lorenzetto's workshop, where they stood for many years. In our own day, indeed, they have been set into place on that tomb in the aforesaid Church of S. Maria del Popolo; but Lorenzo, robbed for those reasons of all hope, found for the present