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Updated: May 27, 2025
He left behind him many pupils who became able masters. One, who went in his boyhood to learn the rudiments of art from Raffaellino, was the Florentine painter Bronzino, who afterwards acquitted himself so well under the wing of Jacopo da Pontormo, another painter of Florence, that he has made as much proficience in the art as his master Jacopo.
Neither Raffaellino del Garbo nor Giovanni Michi were employed, but the next letter of Granacci, dated July 24, 1508, mentions Giuliano Buggiardini and Jacopo L’Indaco, who were both tried. Vasari informs us that Granacci, Jacopo di Sandro, and the elder Indaco, Agnolo di Donnino, and Aristotile da Sangallo also accepted work.
How this may happen is seen in Raffaellino, since it appeared that in him nature and art did their utmost to set out from extraordinary beginnings, the middle stage of which was below mediocrity, and the end almost nothing.
And in truth Raffaellino was unfortunate in his connections, for he always mixed with poor and humble people, like a man who had sunk and become ashamed of himself, seeing that in his youth he had given such great promise, and now knew how distant he was from the extraordinary excellence of the works that he had made at that time.
Having returned to Florence, Filippo undertook to paint at his leisure the Chapel of the elder Filippo Strozzi in S. Maria Novella, and he actually began it; but, having finished the ceiling, he was compelled to return to Rome, where he wrought a tomb with stucco-work for the said Cardinal, and decorated with gesso a little chapel beside that tomb in a part of the same Church of the Minerva, together with certain figures, some of which were executed by his disciple, Raffaellino del Garbo.
The church is full of old frescoes by Cosimo Rosselli, Raffaellino del Garbo, and such, and is worth a visit, if only for the work of Mino and the S. Sebastian of Leonardo del Tasso. It is to another desecrated Benedictine convent you come when, passing through Via dei Pilastrati and turning into Via Farina, you come at last in Via della Colonna to S. Maria Maddalena de' Pazzi.
The portrait of Raffaellino was copied from a drawing that belonged to Bastiano da Monte Carlo, who was also his disciple, and who, for a man with no draughtsmanship, became a passing good master.
His master, Filippo, regarded him in some respects as a much better painter than himself; and Raffaellino had acquired Filippo's manner so well, that there were few who could distinguish the one from the other.
The other pictures here are two sunny panels by Ridolfo Ghirlandaio, high up, with nice easy colouring; No. 92, an Adoration of the Shepherds by Lorenzo di Credi, with a good landscape and all very sweet and quiet; No. 98, a Deposition by Filippino Lippi and Perugino, in collaboration, with very few signs of Filippino; and No. 90, a Resurrection by Raffaellino del Garbo, an uncommon painter in Florence; the whole thing a tour de force, but not important.
Now the family of the Capponi, having built a chapel that is called the Paradiso, on the hill below the Church of S. Bartolommeo a Monte Oliveto, without the Porta a S. Friano, wished to have the panel executed by Raffaellino, and gave him the commission; whereupon he painted in oils the Resurrection of Christ, with some soldiers who have fallen, as if dead, round the Sepulchre.
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