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Colle, Raffaello [Raffaellino] (di Michelangelo di Luca) dal
(b Colle, nr Borgo San Sepolcro, c. 1490; d Borgo San Sepolcro, 17 Nov 1566). Italian painter. He is first documented on arrival in the Vatican workshop of Raphael in Rome in 1519, a connection that evidently fixed his style in the manner of the late Raphael and established him in a master–assistant relationship from which he never freed himself. For four years after Raphael’s death in 1520 he continued in the workshop as Giulio Romano’s chief assistant. Scholars have detected Raffaello’s hand in the Vision of Constantine (1521) in the Sala di Costantino in the Vatican, as well as in some of the panels in the Vatican Logge (1518–19). He may also have worked in the Loggia di Psiche (1517–18) in the Villa Farnesina, Rome, with Giulio Romano and Giovanni Francesco Penni. Among his smaller commissions during this early period are several paintings of the Virgin and Child for which the Raphael workshop was so well known. The Virgin and Child with the Infant St John (1520s; Baltimore, MD, Walters A.G.) is a testament to Raffaello’s Roman sojourn, its porcelain-like precision showing that he had fully mastered the beauty and elegance of Giulio Romano’s Virgins. By 1527 Raffaello had returned to Borgo San Sepolcro where, according to Vasari, he offered refuge and hospitality to Rosso Fiorentino after the Sack of Rome in that year. Between 1530 and 1532 Raffaello was working under Girolamo Genga for Francesco-Maria I della Rovere, Duke of Urbino, at the Villa Imperiale, Pesaro (see PESARO (i), §3). There Raffaello joined Agnolo Bronzino and Dosso Dossi, both of whom were involved in the decoration of the villa. Raffaello’s contact with Bronzino and, earlier, with Rosso influenced his own style towards an elongation of the figures and an interest in poses of greater complexity, as the figures of the Virtues in the villa’s Sala della Calunnia suggest. This stylistic development is similarly evident in roughly contemporary works such as the Immaculate Conception with God the Father and Angels (Mercatello sul Metauro, Collegiate Church) and the fresco cycle in the oratory of Corpus Domini, Urbania. In 1536 Vasari requested Raffaello’s assistance with the temporary decoration of Florence for the grand entry of Emperor Charles V. In 1544–5 Raffaello again worked with Vasari, in Naples at the refectory of Monte Oliveto, and in 1546 at the Palazzo della Cancelleria, Rome. At Bronzino’s request he returned to Florence in 1548 to help with Grand Duke Cosimo I’s commission for the tapestry cartoons for the Sala del Dugento in the Palazzo Vecchio. Raffaello has also been credited with a fresco cycle (1550–55) in the Palazzo Rondanini, Rome, and with a very mannered Holy Family (1563–4; Perugia, G.N. Umbria) commissioned by the Compagnia di S Agostino, Perugia.
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