Timoteo della Vite, of Urbino, after some years spent at Bologna in studying under Francesco Francia, returned to his native city, and from thence repaired to the academy which his countryman and relation Raffaello had opened in the Vatican. He assisted Raffaello at the Pace, in the fresco of the Sybils, of which he retained the cartoons; and after some time, from some cause or other, he returned to Urbino, and there passed the remainder of his days. He brought with him to Rome, a method of painting which partook much of the manner of the early masters, as may be seen in some of his Madonnas, at the palace Bonaventura, and the chapter of Urbino; and in a Discovery of the Cross in the church of the conventuals of Pesaro. He improved his style under Raffaello, and acquired much of his grace, attitudes, and colour, though he always remained a limited inventor, with a certain timidity of touch, more correct than vigorous. The picture of the Conception at the Osservanti of Urbino, and the Noli me Tangere, in the church of S. Angelo, at Cagli, are the best pieces that remain of Timoteo. Pietro della Vite, who is supposed to have been his brother, painted in the same style, but in an inferior manner. This Pietro is, perhaps, the relative and heir of Raffaello, whom Baldinucci mentions in his fifth volume. The same writer affirms, at the end of his fourth volume, that the artists of Urbino included amongst the scholars of Raffaello one Crocchia, and assign to him a picture at the Capuchins in Urbino, of which I have no further knowledge. Benvenuto Tisi, of Ferrara, or as he is generally called, Il Garofalo, also studied only a little time under Sanzio; but it was sufficient to enable him to become, as we shall notice hereafter, the chief of the Ferrarese School. He imitated Raffaello in design, in the character of his faces, and in expression, and considerably also in his colouring, although he added something of a warmer and stronger cast, derived from his own school. Rome, Bologna, and other cities of Italy, abound with his pictures from the lives of the apostles. They are of various merit, and are not wholly painted by himself. In his large pictures he stands more alone, and many of these are to be found in the Chigi gallery. The Visitation in the Palazzo Doria, is one of the first pieces in that rich collection. This artist was accustomed, in allusion to his name, to mark his pictures with a violet, which the common people in Italy call garofalo. It does not appear from Vasari, Titi, and Taja, that Garofalo had any share in the works which were executed by Raffaello and his scholars.