In the palace of the most illustrious the Dukes of Urbirio, there is a picture by Timoteo della Vite, which is beautiful to a miracle; the subject is Apollo with two of his Muses, the figures partially undraped. This painting is in a retired study, or writing-chamber, used by the Dukes themselves. Timoteo executed many other paintings for the same princes, and produced numerous decorations, which are singularly beautiful,[1] for their apartments. He also contributed, with Genga, in whose company he worked, to the decoration of certain caparisons for horses, which were sent to the King of France; these he adorned with figures of various animals, so finely depicted, that they appear to the spectator to be possessed of life and movement. This master likewise prepared triumphal arches, resembling those of the ancients, for the reception of the most illustrious the Duchess Leonora, on her marriage with the Duke Francesco Maria. To that prince Timoteo was highly acceptable, as he was indeed to the whole court, and he consequently remained in the service of the ducal family for many years, receiving a very honourable provision.
This master was very bold in design, but was still more remarkable for the soft and pleasing character of his colouring, his works were indeed executed with a care and delicacy that could not be surpassed.[2] He was a man of a cheerful disposition, social and festive in his habits, very dexterous in all personal exercises, abounding in witticisms, and most acute as well as facetious in conversation; he delighted in music, and performed well on every kind of instrun^nt, but more particularly on the lyre, to which he sang improvisations, with the most extraordinary grace.
- ↑ Many paintings belonging to the Dukes of Urbino were transferred by inheritance to the Medici family, but the fate of the work here described is not known.
- ↑ In the Memorie di Timoteo Vite d'Urbino, published by Andrea Lazzari, at that city, in 1800, we have mention of many works not alluded to by Vasari: there was an Exaltation of the Cross for example, which was formerly in the church of San Francesco, at Pesaro, but was lost at sea by the wreck of the vessel in which it was about to be transported into foreign lands. An Urbinese gentleman, named Antaldo Antaldi, now (1838) resident in Pesaro, has a highly-finished and well-preserved miniature by this master, in his possession; the subject is Christ on the Mount of Olives, and the work is one of high value.—Masselli.
