Two altar-pictures by Timoteo remain in the cathedral-sacristy of his native city,[*194] besides a St. Apollonia in the church of the Trinità. These exhibit much soft expression and devotional feeling, combined with considerable breadth of execution; yet they scarcely possess the simple sentiment of the earlier Umbrian artificers, the noble character of Sanzi, or the fervour and finish of Francia. During his residence at Urbino, he may not improbably have influenced the young Raffaele's opening genius; but, ere long, fame's many-tongued trumpet told him how much he had to learn of his countryman, from whom he soon received an invitation to assist in executing the commissions which were crowding upon him at Rome; and, like many other gifted artists, Timoteo deemed it no degradation to work under his younger but more matured genius. Although one of the latest painters who retained that devotional spirit which we have endeavoured to trace from the Umbrian sanctuaries, his manner, at an after period of his life, changed with the influences to which he was exposed in the atmosphere of the Vatican; and some of those works produced under the superintendence of Raffaele which are generally ascribed to his hand, such as the Sybils in the S. Maria della Pace,[*195] display a very decided tendency to "the new manner." Few paintings have given occasion to greater variety of opinion and conjecture than this fresco, both as to the share in it which belongs to Timoteo, and as to the source from which the conception was derived. The theme is unquestionably referable to an authority older than that of Michael Angelo; and it is remarkable that, instead of the charge of plagiarism from his great rival being brought home to Raffaele, as has been frequently asserted, the former must have owed to Perugino, Pinturicchio, and Andrea d'Assisi the idea of rendering the sybils of mythological fable subservient to religious representation.[*196] By all these artists, pagan pythonesses had been grouped with scriptural prophets, as foreshadowing the mysterious plan of human salvation, and the fresco of the Pace must be regarded as a felicitous adaptation of Umbrian feeling to the tastes of such a patron as Agostino Chigi, deeply imbued with the classic tendencies of the Roman court.[197] The repeated restorations to which this fine work has been subjected render criticism of its merits in a degree nugatory, but the inferiority of the Prophets to the Sibyls is generally admitted. [Footnote *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.]