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289:, which was used for reading at school. From the moment that I held the sheet lengthwise, in order to write with the left hand, many were astonished, thinking that I wrote "all'ebraica" and that could not be read later. . . . As I have already said, I draw better with the left hand, and once when I found myself drawing the "Arco di Trasi al Colosseo" , Michelangelo and
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I believe that
Raffaello, if he had undertaken great works, as he might have done, would have executed more things in art, and better, than he did. But he was too kindly and considerate, avoiding all conflict, and contenting himself with that wherewith fortune had provided him; and thus he neglected
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passed by and stopped to watch me. It should be prefaced that both of them, though naturally left-handed, did everything with their right hand, except actions requiring force. So they stayed a long time to watch me with great wonder, because, as far as is known, the two of them never made anything
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I will not omit to say that by nature I am left-handed, and, finding that hand more facile than the right one, I used to write with it, since my teacher did not mind, being satisfied that my handwriting was good. I have therefore always used the left hand, be it for writing, be it for drawing some
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many opportunities of making works of distinction. Raffaello was a very masterly draughtsman, and he had a much better knowledge of all matters of art that had been shown by his father Baccio.
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Raffaello da
Montelupo's autobiography published in Vasari–Milanesi (1906), vol. 6, pp. 551–62; Drawings of the Florentine Painters, Bernard Berenson, (1961) vol. 1, pp. 384–92.
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Raffaello da
Montelupo also worked as an architect and, among other projects, made both sculptural and architectural contributions to the Duomo in the Umbrian town of
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In the 1560s, Raffaello wrote something of a partial autobiography, recounting episodes from his youth, the sack of Rome in 1527 by the army of
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holding his sword, designed to stand atop the Castel. (Legend holds that in 590 the
Archangel appeared atop what was then the mausoleum of
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He returned to Rome, continuing to work as a sculptor under the direction of
Michelangelo. There he contributed to work on the
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San
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in 1753. His version may still be seen in an open court in the interior of the fortress.
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Link to on-line biography of Baccio and
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Raffaello da Montelupo from Vasari's
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Raffaello da Montelupo from Vasari's
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Raffaello da Montelupo from Vasari's
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Vita da Raffaello da Montelupo, Riccardo Gatteschi (1998), pp. 120–21.
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Shortly thereafter, according to Vasari, Raffaello began work in
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Lives of the Most Excellent Painters, Sculptors, and Architects
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Le Vite delle più eccellenti pittori, scultori, ed architettori
369:(Eyewitness Travel Guides) DK Publishing, London (2003) p. 242
67:(c. 1536) for the top of Castel Sant'Angelo, Rome.
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