33. 1483. _Guidoccio di Giovanni Cozzarelli._
This artist must not be confused with the more famous Giacomo di Bartolommeo di Marco Cozzarelli, who was a sculptor and worker in metal, nor do we know, whether or no, he was related in any way to the engineer Giovanni Cozzarelli, a notice of whose work on a bridge at Macereto, we find under date 3rd of November, 1487.[205] This man was a painter of considerable ability, whose pictures may be studied in the Picture Gallery, and who executed some of the miniatures in the Duomo Antiphonaries. We read that in 1447, he was employed with Sano di Pietro, to decorate the Chapel (now destroyed) of the Madonna delle Grazie in the Cathedral; and that in 1481, he was employed on the decoration of the interior of the Cupola. Professor Luigi Mussini[206] suggests that the Tavoletta di Biccherna (No. 34 of those preserved in the Archivio di Stato), representing _The Presentation of the Virgin in the Temple_, is by him.
35. 1484. _Cristofano di Pietro Paolo del Quarantotto._
Of these men nothing is known but the reference to them here.
36. 1505–6. _Bernardino di Benedetto or Betto_ (_Il Pinturicchio_).
Of this painter, and his work, so much has been written elsewhere, that I shall only attempt the briefest sketch of his life here.
He was a native of Perugia, was the son of a certain Betto or Benedetto, and was born in 1454. He had six children by his wife Grania: Adriana, who married Giuseppe, son of Giovanni of Perugia, and died in 1518: Clelia or Egidia, who married Girolamo, son of Paolo of Perugia, called _Paffa_, a soldier of the guard of Siena; Giulio Cesare (b. 1506); Camillo (b. 1509); Faustina Girolama (b. 1510); and Faustina, who married Filippo, son of Paolo of Perugia, or of Deruta. His frescoes in the Libreria of the Duomo, and the chapel of S. Giovanni, are among the most celebrated of Italian works of art. Vasari relates many more or less fictitious stories about his life and doings, which, though amusing to read, are not borne out by fact. He died in 1513, and was buried in the Church of SS. Vincenzo and Anastasia, the Chapel of the _Contrada of the Porcupine_ (_Istrice_).
Of this artist, nothing is known, but the notice already quoted, which states that he was employed to execute Pinturicchio’s design of the _Allegory of Fortune_. (No. 36.)