[Footnote 167: That Raffaello was at this time well versed in perspective it is unreasonable to doubt, as Bottari has done: he proceeded from the school of Perugino, who was very eminent in that science; and he left a good specimen at Siena, where he remained some time before he came to Florence.] [Footnote 168: Vol. iii. p. 126.] [Footnote 169: This is conspicuous in a S. Raffaello with Tobias, which was transferred from the royal gallery of Florence to the imperial gallery of Vienna.--See Rosa Scuola Italiana, p. 141.] [Footnote 170: Plin. Hist. Nat. lib. xxxv. cap 10.] [Footnote 171: "Any excellence he possessed was stolen from the admirable manner of our Florentine painter, Rosso; a man truly of wonderful genius." Cellini, in his life, as quoted by Baldinucci, tom. v. p. 72. He who writes thus of the ablest pupil of Giulio Romano, either was unacquainted with his works in Bologna, and in Mantua, executed before he knew Rosso, or blinded by party rage, was incapable of appreciating them.] [Footnote 172: Page 81.] [Footnote 173: About the time when Michele taught, there resided in Spain one Tommaso Fiorentino; one of whose portraits is mentioned by the Sig. Ab. Conca, (tom. i. p. 90,) belonging to the Royal Palace at Madrid. In the Ducal Palace of Alva, there are also galleries of grotesques, where we read the name of Tommaso Fiorentino, the author, to which is added (tom. ii. p. 362) "The name of this professor of the art is quite new to me; in his grotesques we meet with the exact style of the sons of Bergamasco, &c." I hardly know how the name can appear new to the Ab. Conca, when he had already mentioned it elsewhere; nor how the composition of an artist, who painted in 1521, could resemble that of others who were still young in the year 1570, in which their father died.] [Footnote 174: Vasari, in his Life of Morto, says, that he came to Florence in order to improve his skill in figures, in which he was deficient, by studying the models of Vinci and of Michelangiolo. In despair, however, he returned to his grotesques. Now I shall elsewhere produce an unedited document shewing his ability in figure painting, which I should not have occasion to do if the beautiful portrait of Morto, in the Royal Gallery at Florence, was, as is conjectured, by his hand. But I am inclined to think that it is the likeness of an unknown person, who, as I have seen in other portraits, caused himself to be drawn with a finger pointing to a death's head, in order to remind him of his mortality, but in this picture the head has been capriciously interpreted as a symbol of the name of Morto, and the painting given as the portrait and work of Feltrese; of whom Vasari gives a very different one.] [Footnote 175: They wrought from the designs of Pontormo, and still more those of Bronzino. They also wrought for the Duke of Ferrara after the designs of Giulio Romano, published by Gio. Battista Mantuano, among his prints.]