Raffaello was born at Urbino, a very famous city in Italy, at three o'clock of the night on Good Friday, in the year 1483, to a father named Giovanni de' Santi, a painter of no great excellence, and yet a man of good intelligence, well able to direct his children on that good path which he himself had not been fortunate enough to have shown to him in his boyhood. And since Giovanni knew how important it is to rear infants, not with the milk of nurses, but with that of their own mothers, no sooner was Raffaello born, to whom with happy augury he gave that name at baptism, than he insisted that this his only child—and he had no more afterwards—should be suckled by his own mother, and that in his tender years he should have his character formed in the house of his parents, rather than learn less gentle or even boorish ways and habits in the houses of peasants or common people. When he was well grown, he began to exercise him in painting, seeing him much inclined to such an art, and possessed of a very beautiful genius: wherefore not many years passed before Raffaello, still a boy, became a great help to Giovanni in many works that he executed in the state of Urbino. In the end, this good and loving father, knowing that his son could learn little from him, made up his mind to place him with Pietro Perugino, who, as he heard tell, held the first place among painters at that time. He went, therefore, to Perugia: but not finding Pietro there, he set himself, in order to lessen the annoyance of waiting for him, to execute some works in S. Francesco. When Pietro had returned from Rome, Giovanni, who was a gentle and well-bred person, formed a friendship with him, and, when the time appeared to have come, in the most adroit method that he knew, told him his desire. And so Pietro, who was very courteous and a lover of beautiful genius, agreed to have Raffaello: whereupon Giovanni, going off rejoicing to Urbino, took the boy, not without many tears on the part of his mother, who loved him dearly, and brought him to Perugia, where Pietro, after seeing Raffaello's method of drawing, and his beautiful manners and character, formed a judgment of him which time, from the result, proved to be very true.

It is a very notable thing that Raffaello, studying the manner of Pietro, imitated it in every respect so closely, that his copies could not be distinguished from his master's originals, and it was not possible to see any clear difference between his works and Pietro's; as is still evident from some figures in a panel in S. Francesco at Perugia, which he executed in oils for Madonna Maddalena degli Oddi. These are a Madonna who has risen into Heaven, with Jesus Christ crowning her, while below, round the sepulchre, are the twelve Apostles, contemplating the Celestial Glory, and at the foot of the panel is a predella divided into three scenes, painted with little figures, of the Madonna receiving the Annunciation from the Angel, of the Magi adoring Christ, and of Christ in the arms of Simeon in the Temple. This work is executed with truly supreme diligence; and one who had not a good knowledge of the two manners, would hold it as certain that it is by the hand of Pietro, whereas it is without a doubt by the hand of Raffaello.

After this work, Pietro returning to Florence on some business of his own, Raffaello departed from Perugia and went off with some friends to Città di Castello, where he painted a panel for S. Agostino in the same manner, and likewise one of a Crucifixion for S. Domenico, which, if his name were not written upon it, no one would believe to be a work by Raffaello, but rather by Pietro. For S. Francesco, also in the same city, he painted a little panel-picture of the Marriage of Our Lady, in which one may recognize the excellence of Raffaello increasing and growing in refinement, and surpassing the manner of Pietro. In this work is a temple drawn in perspective with such loving care, that it is a marvellous thing to see the difficulties that he was for ever seeking out in this branch of his profession.

Meanwhile, when he had acquired very great fame by following his master's manner, Pope Pius II[23] had given the commission for painting the library of the Duomo at Siena to Pinturicchio; and he, being a friend of Raffaello, and knowing him to be an excellent draughtsman, brought him to Siena, where Raffaello made for him some of the drawings and cartoons for that work. The reason that he did not continue at it was that some painters in Siena kept extolling with vast praise the cartoon that Leonardo da Vinci had made in the Sala del Papa[24] of a very beautiful group of horsemen, to be painted afterwards in the Hall of the Palace of the Signoria, and likewise some nudes executed by Michelagnolo Buonarroti in competition with Leonardo, and much better; and Raffaello, on account of the love that he always bore to the excellent in art, was seized by such a desire to see them, that, putting aside that work and all thought of his own advantage and comfort, he went off to Florence.

Having arrived there, and being pleased no less with the city than with those works, which appeared to him to be divine, he determined to take up his abode there for some time; and thus he formed a friendship with some young painters, among whom were Ridolfo Ghirlandajo, Aristotile da San Gallo, and others, and became much honoured in that city, particularly by Taddeo Taddei, who, being one who always loved any man inclined to excellence, would have him ever in his house and at his table. And Raffaello, who was gentleness itself, in order not to be beaten in courtesy, made him two pictures, which incline to his first manner, derived from Pietro, but also to the other much better manner that he afterwards acquired by study, as will be related; which pictures are still in the house of the heirs of the said Taddeo.

Raffaello also formed a very great friendship with Lorenzo Nasi; and for this Lorenzo, who had taken a wife about that time, he painted a picture in which he made a Madonna, and between her legs her Son, to whom a little S. John, full of joy, is offering a bird, with great delight and pleasure for both of them. In the attitude of each is a certain childlike simplicity which is wholly lovely, besides that they are so well coloured, and executed with such diligence, that they appear to be rather of living flesh than wrought by means of colour and draughtsmanship; the Madonna, likewise, has an air truly full of grace and divinity; and the foreground, the landscapes, and in short all the rest of the work, are most beautiful. This picture was held by Lorenzo Nasi, as long as he lived, in very great veneration, both in memory of Raffaello, who had been so much his friend, and on account of the dignity and excellence of the work; but afterwards, on August 9, in the year 1548, it met an evil fate, when, on account of the collapse of the hill of S. Giorgio, the house of Lorenzo fell down, together with the ornate and beautiful houses of the heirs of Marco del Nero, and other neighbouring dwellings. However, the pieces of the picture being found among the fragments of the ruins, the son of Lorenzo, Battista, who was a great lover of art, had them put together again as well as was possible.

After these works, Raffaello was forced to depart from Florence and go to Urbino, where, on account of the death of his mother and of his father Giovanni, all his affairs were in confusion. While he was living in Urbino, therefore, he painted for Guidobaldo da Montefeltro, then Captain of the Florentines, two pictures of Our Lady, small but very beautiful, and in his second manner, which are now in the possession of the most illustrious and excellent Guidobaldo, Duke of Urbino. For the same patron he painted a little picture of Christ praying in the Garden, with the three Apostles sleeping at some distance from Him. This painting is so highly finished, that a miniature could not be better, or in any way different; and after having been a long time in the possession of Francesco Maria, Duke of Urbino, it was then presented by the most illustrious Signora Leonora, his consort, to the Venetians Don Paolo Giustiniano and Don Pietro Quirini, hermits of the holy Hermitage of Camaldoli, who afterwards placed it, as a relic and a very rare thing, and, in a word, as a work by the hand of Raffaello da Urbino, and also to honour the memory of that most illustrious lady, in the apartment of the Superior of that hermitage, where it is held in the veneration that it deserves.

Having executed these works and settled his affairs, Raffaello returned to Perugia, where he painted a panel-picture of Our Lady, S. John the Baptist, and S. Nicholas, for the Chapel of the Ansidei in the Church of the Servite Friars. And in the Chapel of the Madonna in S. Severo, a little monastery of the Order of Camaldoli, in the same city, he painted in fresco a Christ in Glory, and a God the Father with angels round Him, and six saints seated, S. Benedict, S. Romualdo, S. Laurence, S. Jerome, S. Mauro, and S. Placido, three on either side; and on this picture, which was held at that time to be most beautiful for a work in fresco, he wrote his name in large and very legible letters. In the same city, also, he was commissioned by the Nuns of S. Anthony of Padua to paint a panel-picture of Our Lady, with Jesus Christ fully dressed, as it pleased those simple and venerable sisters, in her lap, and on either side of the Madonna S. Peter, S. Paul, S. Cecilia, and S. Catherine; to which two holy virgins he gave the sweetest and most lovely expressions of countenance and the most beautifully varied head-dresses that are anywhere to be seen, which was a rare thing in those times. Above this panel, in a lunette, he painted a very beautiful God the Father, and in the predella of the altar three scenes with little figures, of Christ praying in the Garden, bearing the Cross (wherein are some soldiers dragging Him along with most beautiful movements), and lying dead in the lap of His Mother. This work is truly marvellous and devout; and it is held in great veneration by those nuns, and much extolled by all painters.

I will not refrain from saying that it was recognized, after he had been in Florence, that he changed and improved his manner so much, from having seen many works by the hands of excellent masters, that it had nothing to do with his earlier manner; indeed, the two might have belonged to different masters, one much more excellent than the other in painting.

Before he departed from Perugia, Madonna Atalanta Baglioni besought him that he should consent to paint a panel for her chapel in the Church of S. Francesco; but since he was not able to meet her wishes at that time, he promised her that, after returning from Florence, whither he was obliged to go on some affairs, he would not fail her. And so, having come to Florence, where he applied himself with incredible labour to the studies of his art, he made the cartoon for that chapel, with the intention of going, as he did, as soon as the occasion might present itself, to put it into execution.

While he was thus staying in Florence, Agnolo Doni—who was very careful of his money in other things, but willing to spend it, although still with the greatest possible economy, on works of painting and sculpture, in which he much delighted—caused him to make portraits of himself and of his wife; and these may be seen, painted in his new manner, in the possession of Giovan Battista, his son, in the beautiful and most commodious house that the same Agnolo built on the Corso de' Tintori, near the Canto degli Alberti, in Florence. For Domenico Canigiani, also, he painted a picture of Our Lady, with the Child Jesus welcoming a little S. John brought to Him by S. Elizabeth, who, as she holds him, is gazing with a most animated expression at a S. Joseph, who is standing with both his hands leaning on a staff, and inclines his head towards her, as though praising the greatness of God and marvelling that she, so advanced in years, should have so young a child. And all appear to be amazed to see with how much feeling and reverence the two cousins, for all their tender age, are caressing one another; not to mention that every touch of colour in the heads, hands, and feet seems to be living flesh rather than a tint laid on by a master of that art. This most noble picture is now in the possession of the heirs of the said Domenico Canigiani, who hold it in the estimation that is due to a work by Raffaello da Urbino.

This most excellent of painters studied in the city of Florence the old works of Masaccio; and what he saw in those of Leonardo and Michelagnolo made him give even greater attention to his studies, in consequence of which he effected an extraordinary improvement in his art and manner. While he was living in Florence, Raffaello, besides other friendships, became very intimate with Fra Bartolommeo di San Marco, being much pleased with his colouring, and taking no little pains to imitate it: and in return he taught that good father the principles of perspective, to which up to that time the monk had not given any attention.

But at the very height of this friendly intercourse, Raffaello was recalled to Perugia, where he began by finishing the work for the aforesaid Madonna Atalanta Baglioni in S. Francesco, for which, as has been related, he had made the cartoon in Florence. In this most divine picture there is a Dead Christ being borne to the Sepulchre, executed with such freshness and such loving care, that it seems to the eye to have been only just painted. In the composition of this work, Raffaello imagined to himself the sorrow that the nearest and most affectionate relatives of the dead one feel in laying to rest the body of him who has been their best beloved, and on whom, in truth, the happiness, honour, and welfare of a whole family have depended. Our Lady is seen in a swoon; and the heads of all the figures are very gracious in their weeping, particularly that of S. John, who, with his hands clasped, bows his head in such a manner as to move the hardest heart to pity. And in truth, whoever considers the diligence, love, art, and grace shown by this picture, has great reason to marvel, for it amazes all who behold it, what with the air of the figures, the beauty of the draperies, and, in short, the supreme excellence that it reveals in every part.

This work finished, he returned to Florence, where he received from the Dei, citizens of that city, the commission for an altar-panel that was to be placed in their chapel in S. Spirito; and he began it, and brought the sketch very nearly to completion. At the same time he painted a picture that was afterwards sent to Siena, although, on the departure of Raffaello, it was left with Ridolfo Ghirlandajo, to the end that he might finish a piece of blue drapery that was wanting. This happened because Bramante da Urbino, who was in the service of Julius II, wrote to Raffaello, on account of his being distantly related to him and also his compatriot, that he had so wrought upon the Pope, who had caused some new rooms to be made (in the Vatican), that Raffaello would have a chance of showing his worth in them. This proposal pleased Raffaello: wherefore, abandoning his works in Florence, and leaving the panel for the Dei unfinished, in the state in which Messer Baldassarre da Pescia had it placed in the Pieve of his native city after the death of Raffaello, he betook himself to Rome. Having arrived there, he found that most of the rooms in the Palace had been painted, or were still being painted, by a number of masters. To be precise, he saw that there was one room in which a scene had been finished by Piero della Francesca; Luca da Cortona had brought one wall nearly to completion; and Don Pietro[25] della Gatta, Abbot of S. Clemente at Arezzo, had begun some works there. Bramantino, the Milanese, had likewise painted many figures, which were mostly portraits from life, and were held to be very beautiful. After his arrival, therefore, having been received very warmly by Pope Julius, Raffaello began in the Camera della Segnatura a scene of the theologians reconciling Philosophy and Astrology with Theology: wherein are portraits of all the sages in the world, disputing in various ways. Standing apart are some astrologers, who have made various kinds of figures and characters of geomancy and astrology on some little tablets, which they send to the Evangelists by certain very beautiful angels; and these Evangelists are expounding them. Among them is Diogenes with his cup, lying on the steps, and lost in thought, a figure very well conceived, which, for its beauty and the characteristic negligence of its dress, is worthy to be extolled. There, also, are Aristotle and Plato, one with the Timæus in his hand, the other with the Ethics; and round them, in a circle, is a great school of philosophers. Nor is it possible to express the beauty of those astrologers and geometricians who are drawing a vast number of figures and characters with compasses on tablets: among whom, in the figure of a young man, shapely and handsome, who is throwing out his arms in admiration, and inclining his head, is the portrait of Federigo II, Duke of Mantua, who was then in Rome. There is also a figure that is stooping to the ground, holding in its hand a pair of compasses, with which it is making a circle on a tablet: this is said to be the architect Bramante, and it is no less the man himself than if he were alive, so well is it drawn. Beside a figure with its back turned and holding a globe of the heavens in its hand, is the portrait of Zoroaster; and next to him is Raffaello, the master of the work, who made his own portrait by means of a mirror, in a youthful head with an air of great modesty, filled with a pleasing and excellent grace, and wearing a black cap.

Nor is one able to describe the beauty and goodness that are to be seen in the heads and figures of the Evangelists, to whose countenances he gave an air of attention and intentness very true to life, and particularly in those who are writing. Thus, behind S. Matthew, who is copying the characters from the tablet wherein are the figures (which is held before him by an angel), and writing them down in a book, he painted an old man who, having placed a piece of paper on his knee, is copying all that S. Matthew writes down; and while intent on his work in that uncomfortable position, he seems to twist his head and his jaws in time with the motion of the pen. And in addition to the details of the conceptions, which are numerous enough, there is the composition of the whole scene, which is truly arranged with so much order and proportion, that he may be said to have given therein such a proof of his powers as made men understand that he was resolved to hold the sovereignty, without question, among all who handled the brush.

He also adorned this work with a view in perspective and with many figures, executed in such a sweet and delicate manner, that Pope Julius was induced thereby to cause all the scenes of the other masters, both the old and the new, to be thrown to the ground, so that Raffaello alone might have the glory of all the labours that had been devoted to these works up to that time. The work of Giovanni Antonio Sodoma of Vercelli, which was above Raffaello's painting, was to be thrown down by order of the Pope; but Raffaello determined to make use of its compartments and grotesques. There were also some medallions, four in number, and in each of these he made a figure as a symbol of the scenes below, each figure being on the same side as the scene that it represented. Over the first scene, wherein he painted Philosophy, Astrology, Geometry, and Poetry making peace with Theology, is a woman representing Knowledge, who is seated on a throne that is supported on either side by a figure of the Goddess Cybele, each with those many breasts which in ancient times were the attributes of Diana Polymastes; and her dress is of four colours, standing for the four elements; from the head downwards there is the colour of fire, below the girdle that of the sky, from the groin to the knees there is the colour of earth, and the rest, down to the feet, is the colour of water. With her, also, are some truly beautiful little boys. In another medallion, on the side towards the window that looks over the Belvedere, is a figure of Poetry, who is in the form of Polyhymnia, crowned with laurel, and holds an antique musical instrument in one hand, and a book in the other, and has her legs crossed. With a more than human beauty of expression in her countenance, she stands with her eyes uplifted towards Heaven, accompanied by two little boys, who are lively and spirited, and who make a group of beautiful variety both with her and with the others. On this side, over the aforesaid window, Raffaello afterwards painted Mount Parnassus. In the third medallion, which is above the scene where the Holy Doctors are ordaining the Mass, is a figure of Theology, no less beautiful than the others, with books and other things round her, and likewise accompanied by little boys. And in the fourth medallion, over the other window, which looks out on the court, he painted Justice with her scales, and her sword uplifted, and with the same little boys that are with the others; of which the effect is supremely beautiful, for in the scene on the wall below he depicted the giving of the Civil and the Canon Law, as we will relate in the proper place.

In like manner, on the same ceiling, in the angles of the pendentives, he executed four scenes which he drew and coloured with great diligence, but with figures of no great size. In one of these, that near the Theology, he painted the Sin of Adam, the eating of the apple, which he executed with a most delicate manner; and in the second, near the Astrology, is a figure of that science setting the fixed stars and planets in their places. In the next, that belonging to Mount Parnassus, is Marsyas, whom Apollo has caused to be bound to a tree and flayed; and on the side of the scene wherein the Decretals are given, there is the Judgment of Solomon, showing him proposing to have the child cut in half. These four scenes are all full of expression and feeling, and executed with excellent draughtsmanship, and with pleasing and gracious colouring.

But now, having finished with the vaulting—that is, the ceiling—of that apartment, it remains for us to describe what he painted below the things mentioned above, wall by wall. On the wall towards the Belvedere, where there are Mount Parnassus and the Fount of Helicon, he made round that mount a laurel wood of darkest shadows, in the verdure of which one almost sees the leaves quivering in the gentle zephyrs; and in the air are vast numbers of naked Loves, most beautiful in feature and expression, who are plucking branches of laurel and with them making garlands, which they throw and scatter about the mount. Over the whole, in truth, there seems to breathe a spirit of divinity, so beautiful are the figures, and such the nobility of the picture, which makes whoever studies it with attention marvel how a human brain, by the imperfect means of mere colours, and by excellence of draughtsmanship, could make painted things appear alive. Most lifelike, also, are those Poets who are seen here and there about the mount, some standing, some seated, some writing, and others discoursing, and others, again, singing or conversing together, in groups of four or six, according as it pleased him to distribute them. There are portraits from nature of all the most famous poets, ancient and modern, and some only just dead, or still living in his day; which were taken from statues or medals, and many from old pictures, and some, who were still alive, portrayed from the life by himself. And to begin with one end, there are Ovid, Virgil, Ennius, Tibullus, Catullus, Propertius, and Homer; the last-named, blind and chanting his verses with uplifted head, having at his feet one who is writing them down. Next, in a group, are all the nine Muses and Apollo, with such beauty in their aspect, and such divinity in the figures, that they breathe out a spirit of grace and life. There, also, are the learned Sappho, the most divine Dante, the gracious Petrarca, and the amorous Boccaccio, who are wholly alive, with Tibaldeo, and an endless number of other moderns; and this scene is composed with much grace, and executed with diligence.

On another wall he made a Heaven, with Christ, Our Lady, S. John the Baptist, the Apostles, the Evangelists, and the Martyrs, enthroned on clouds, with God the Father sending down the Holy Spirit over them all, and particularly over an endless number of saints, who are below, writing the Mass, and engaged in disputation about the Host, which is on the altar. Among these are the four Doctors of the Church, who have about them a vast number of saints, such as Dominic, Francis, Thomas Aquinas, Buonaventura, Scotus, and Nicholas of Lira, with Dante, Fra Girolamo Savonarola of Ferrara, and all the Christian theologians, with an infinite number of portraits from nature; and in the air are four little children, who are holding open the Gospels. Anything more graceful or more perfect than these figures no painter could create, since those saints are represented as seated in the air, in a circle, and so well, that in truth, besides the appearance of life that the colouring gives them, they are foreshortened and made to recede in such a manner, that they would not be otherwise if they were in relief. Moreover, their vestments show a rich variety, with most beautiful folds in the draperies, and the expressions of the heads are more Divine than human; as may be seen in that of Christ, which reveals all the clemency and devoutness that Divinity can show to mortal men through the medium of painting. For Raffaello received from nature a particular gift of making the expressions of his heads very sweet and gracious; of which we have proof also in the Madonna, who, with her hands pressed to her bosom, gazing in contemplation upon her Son, seems incapable of refusing any favour; not to mention that he showed a truly beautiful sense of fitness, giving a look of age to the expressions of the Holy Patriarchs, simplicity to the Apostles, and faith to the Martyrs. Even more art and genius did he display in the holy Christian Doctors, in whose features, while they make disputation throughout the scene in groups of six or three or two, there may be seen a kind of eagerness and distress in seeking to find the truth of that which is in question, revealing this by gesticulating with their hands, making various movements of their persons, turning their ears to listen, knitting their brows, and expressing astonishment in many different ways, all truly well varied and appropriate; save only the four Doctors of the Church, who, illumined by the Holy Spirit, are unravelling and expounding, by means of the Holy Scriptures, all the problems of the Gospels, which are held up by those little boys who have them in their hands as they hover in the air.

On another wall, where the other window is, on one side, he painted Justinian giving the Laws to the Doctors to be revised; and above this, Temperance, Fortitude, and Prudence. On the other side he painted the Pope giving the Canonical Decretals; for which Pope he made a portrait from life of Pope Julius, and, beside him, Cardinal Giovanni de' Medici, who became Pope Leo, Cardinal Antonio di Monte, and Cardinal Alessandro Farnese, who afterwards became Pope Paul III, with other portraits.

The Pope was very well satisfied with this work; and in order to make the panelling worthy of the paintings, he sent to Monte Oliveto di Chiusuri, a place in the territory of Siena, for Fra Giovanni da Verona, a great master at that time of perspective-views in inlaid woodwork, who made there not only the panelling right round, but also very beautiful doors and seats, wrought with perspective-views, which brought him great favour, rewards, and honour from the Pope. And it is certain that in that craft there was never any man more able than Giovanni, either in design or in workmanship: of which we still have proof in the Sacristy, wrought most beautifully with perspective-views in woodwork, of S. Maria in Organo in his native city of Verona, in the choir of Monte Oliveto di Chiusuri and that of S. Benedetto at Siena, in the Sacristy of Monte Oliveto at Naples, and also in the choir of the Chapel of Paolo da Tolosa in the same place, executed by that master. Wherefore he well deserved to be esteemed and held in very great honour by the convent of his Order, in which he died at the age of sixty-eight, in the year 1537. Of him, as of a person truly excellent and rare, I have thought it right to make mention, believing that this was due to his talents, which, as will be related in another place, led to many beautiful works being made by other masters after him.

But to return to Raffaello; his powers grew in such a manner, that he was commissioned by the Pope to go on to paint a second room, that near the Great Hall. And at this time, when he had gained a very great name, he also made a portrait of Pope Julius in a picture in oils, so true and so lifelike, that the portrait caused all who saw it to tremble, as if it had been the living man himself. This work is now in S. Maria del Popolo, together with a very beautiful picture of Our Lady, painted at the same time by the same master, and containing the Nativity of Jesus Christ, wherein is the Virgin laying a veil over her Son, whose beauty is such, both in the air of the head and in all the members, as to show that He is the true Son of God. And no less beautiful than the Child is the Madonna, in whom, besides her supreme loveliness, there may be seen piety and gladness. There is also a Joseph, who, leaning with both his hands on a staff, and lost in thoughtful contemplation of the King and Queen of Heaven, gazes with the adoration of a most saintly old man. Both these pictures are exhibited on days of solemn festival.

By this time Raffaello had acquired much fame in Rome; but, although his manner was graceful and held by all to be very beautiful, and despite the fact that he had seen so many antiquities in that city, and was for ever studying, nevertheless he had not yet given thereby to his figures that grandeur and majesty which he gave to them from that time onward. For it happened in those days that Michelagnolo made the terrifying outburst against the Pope in the chapel, of which we will speak in his Life; whence he was forced to fly to Florence. Whereupon Bramante, having the keys of the chapel, allowed Raffaello, who was his friend, to see it, to the end that he might be able to learn the methods of Michelagnolo. And the sight of it was the reason that Raffaello straightway repainted, although he had already finished it, the Prophet Isaiah that is to be seen in S. Agostino at Rome, above the S. Anne by Andrea Sansovino; in which work, by means of what he had seen of Michelagnolo's painting, he made the manner immeasurably better and more grand, and gave it greater majesty. Wherefore Michelagnolo, on seeing afterwards the work of Raffaello, thought, as was the truth, that Bramante had done him that wrong on purpose in order to bring profit and fame to Raffaello.

Not long after this, Agostino Chigi, a very rich merchant of Siena, who was much the friend of every man of excellence, gave Raffaello the commission to paint a chapel; and this he did because a short time before Raffaello had painted for him in his softest manner, in a loggia of his palace, now called the Chigi, in the Trastevere, a Galatea in a car on the sea drawn by two dolphins, and surrounded by Tritons and many sea-gods. Raffaello, then, having made the cartoon for that chapel, which is at the entrance of the Church of S. Maria della Pace, on the right hand as one goes into the church by the principal door, executed it in fresco, in his new manner, which was no little grander and more magnificent than his earlier manner. In this painting Raffaello depicted some Prophets and Sibyls, before Michelagnolo's chapel had been thrown open to view, although he had seen it; and in truth it is held to be the best of his works, and the most beautiful among so many that are beautiful, for in the women and children that are in it, there may be seen a marvellous vivacity and perfect colouring. And this work caused him to be greatly esteemed both in his lifetime and after his death, being the rarest and most excellent that Raffaello executed in all his life.

Next, spurred by the entreaties of a Chamberlain of Pope Julius, he painted the panel for the high-altar of the Araceli, wherein he made a Madonna in the sky, with a most beautiful landscape, a S. John, a S. Francis, and a S. Jerome represented as a Cardinal; in which Madonna may be seen a humility and a modesty truly worthy of the Mother of Christ; and besides the beautiful gesture of the Child as He plays with His Mother's hand, there is revealed in S. John that penitential air which fasting generally gives, while his head displays the sincerity of soul and frank assurance appropriate to those who live away from the world and despise it, and, in their dealings with mankind, make war on falsehood and speak out the truth. In like manner, the S. Jerome has his head uplifted with his eyes on the Madonna, deep in contemplation; and in them seem to be suggested all the learning and knowledge that he showed in his writings, while with both his hands he is presenting the Chamberlain, in the act of recommending him to her; which portrait of the Chamberlain is as lifelike as any ever painted. Nor did Raffaello fail to do as well in the figure of S. Francis, who, kneeling on the ground, with one arm outstretched, and with his head upraised, is gazing up at the Madonna, glowing with a love in tone with the feeling of the picture, which, both by the lineaments and by the colouring, shows him melting with affection, and taking comfort and life from the gracious sight of her beauty and of the vivacity and beauty of her Son. In the middle of the panel, below the Madonna, Raffaello made a little boy standing, who is raising his head towards her and holding an inscription: than whom none better or more graceful could be painted, what with the beauty of his features and the proportionate loveliness of his person. And in addition there is a landscape, which is singularly beautiful in its absolute perfection.

Afterwards, going on with the apartments of the Palace, he painted a scene of the Miracle of the Sacramental Corporal of Orvieto, or of Bolsena, whichever it may be called. In this scene there may be perceived in the face of the priest who is saying Mass, which is glowing with a blush, the shame that he felt on seeing the Host turned into blood on the Corporal on account of his unbelief. With terror in his eyes, dumbfoundered and beside himself in the presence of his hearers, he seems like one who knows not what to do; and in the gesture of his hands may almost be seen the fear and trembling that a man would feel in such a case. Round him Raffaello made many figures, all varied and different, some serving the Mass, others kneeling on a flight of steps; and all, bewildered by the strangeness of the event, are making various most beautiful movements and gestures, while in many, both men and women, there is revealed a belief that they are to blame. Among the women is one who is seated on the ground at the foot of the scene, holding a child in her arms; and she, hearing the account that another appears to be giving her of the thing that has happened to the priest, turns in a marvellous manner as she listens to this, with a womanly grace that is very natural and lifelike. On the other side he painted Pope Julius hearing that Mass, a most marvellous work, wherein he made a portrait of Cardinal di San Giorgio, with innumerable others; and the window-opening he turned to advantage by making a flight of steps, in such a way that all the painting seems to be one whole: nay, it appears as if, were that window-space not there, the work would in nowise have been complete. Wherefore it may be truly credited to him that in the invention and composition of every kind of painted story, no one has ever been more dexterous, facile, and able than Raffaello.

This he also proved in another scene in the same place, opposite to the last-named, of S. Peter in the hands of Herod, and guarded in prison by men-at-arms; wherein he showed such a grasp of architecture, and such judgment in the buildings of the prison, that in truth the others after him seem to have more confusion than he has beauty. For he was ever seeking to represent stories just as they are written, and to paint in them things gracious and excellent; as is proved in this one by the horror of the prison, wherein that old man is seen bound in chains of iron between the two men-at-arms, by the deep slumber of the guards, and by the dazzling splendour of the Angel, which, in the thick darkness of the night, reveals with its light every detail of the prison, and makes the arms of the soldiers shine resplendent, in such a way that their burnished lustre seems more lifelike than if they were real, although they are only painted. No less art and genius are there in the action of S. Peter, when, freed from his chains, he goes forth from the prison, accompanied by the Angel, wherein one sees in the face of the Saint a belief that it is rather a dream than a reality; and so, also, terror and dismay are shown in some other armed guards without the prison, who hear the noise of the iron door, while a sentinel with a torch in his hand rouses the others, and, as he gives them light with it, the blaze of the torch is reflected in all their armour; and all that its glow does not reach is illumined by the light of the moon. This composition Raffaello painted over the window, where the wall is darkest; and thus, when you look at the picture, the light strikes you in the face, and the real light conflicts so well with the different lights of the night in the painting, that the smoke of the torch, the splendour of the Angel, and the thick darkness of the night seem to you to be wholly real and natural, and you would never say that it was all painted, so vividly did he express this difficult conception. In it are seen shadows playing on the armour, other shadows projected, reflections, and a vaporous glare from the lights, all executed with darkest shade, and so well, that it may be truly said that he was the master of every other master; and as an effect of night, among all those that painting has ever produced, this is the most real and most divine, and is held by all the world to be the rarest.

On one of the unbroken walls, also, he painted the Divine Worship and the Ark of the Hebrews, with the Candlestick; and likewise Pope Julius driving Avarice out of the Temple, a scene as beautiful and as excellent as the Night described above. Here, in some bearers who are carrying Pope Julius, a most lifelike figure, in his chair, are portraits of men who were living at that time. And while the people, some women among them, are making way for the Pope, so that he may pass, one sees the furious onset of an armed man on horseback, who, accompanied by two on foot, and in an attitude of the greatest fierceness, is smiting and riding down the proud Heliodorus, who is seeking, at the command of Antiochus, to rob the Temple of all the wealth stored for the widows and orphans. Already the riches and treasures could be seen being removed and taken away, when, on account of the terror of the strange misfortune of Heliodorus, so rudely struck down and smitten by the three figures mentioned above (although, this being a vision, they are seen and heard by him alone), behold, they are all dropped and upset on the ground, those who were carrying them falling down through the sudden terror and panic that had come upon all the following of Heliodorus. Apart from these may be seen the holy Onias, the High Priest, dressed in his robes of office, with his eyes and hands raised to Heaven, and praying most fervently, being seized with pity for the poor innocents who were thus nearly losing their possessions, and rejoicing at the help that he feels has come down from on high. Besides this, through a beautiful fancy of Raffaello's, one sees many who have climbed on to the socles of the column-bases, and, clasping the shafts, stand looking in most uncomfortable attitudes; with a throng of people showing their amazement in many various ways, and awaiting the result of this event.

This work is in every part so stupendous, that even the cartoons are held in the greatest veneration; wherefore Messer Francesco Masini, a gentleman of Cesena—who, without the help of any master, but giving his attention by himself from his earliest childhood, guided by an extraordinary instinct of nature, to drawing and painting, has painted pictures that have been much extolled by good judges of art—possesses, among his many drawings and some ancient reliefs in marble, certain pieces of the cartoon which Raffaello made for this story of Heliodorus, and he holds them in the estimation that they truly deserve. Nor will I refrain from saying that Messer Niccolò Masini, who has given me information about these matters, is as much a true lover of our arts as he is a man of real culture in all other things.

But to return to Raffaello; on the ceiling above these works, he then executed four scenes, God appearing to Abraham and promising him the multiplication of his seed, the Sacrifice of Isaac, Jacob's Ladder, and the Burning Bush of Moses: wherein may be recognized no less art, invention, draughtsmanship, and grace, than in the other works that he painted.

While the happy genius of this craftsman was producing such marvels, the envy of fortune cut short the life of Julius II, who had fostered such abilities, and had been a lover of every excellent work. Whereupon a new Pope was elected in Leo X, who desired that the work begun should be carried on; and Raffaello thereby soared with his genius into the heavens, and received endless favours from him, fortunate in having come upon a Prince so great, who had by the inheritance of blood a strong inclination for such an art. Raffaello, therefore, thus encouraged to pursue the work, painted on the other wall the Coming of Attila to Rome, and his encounter at the foot of Monte Mario with Leo III, who drove him away with his mere benediction. In this scene Raffaello made S. Peter and S. Paul in the air, with swords in their hands, coming to defend the Church; and while the story of Leo III says nothing of this, nevertheless it was thus that he chose to represent it, perchance out of fancy, for it often happens that painters, like poets, go straying from their subject in order to make their work the more ornate, although their digressions are not such as to be out of harmony with their first intention. In those Apostles may be seen that celestial wrath and ardour which the Divine Justice is wont often to impart to the features of its ministers, charged with defending the most holy Faith; and of this we have proof in Attila, who is to be seen riding a black horse with white feet and a star on its forehead, as beautiful as it could be, for in an attitude of the utmost terror he throws up his head and turns his body in flight. There are other most beautiful horses, particularly a dappled jennet, which is ridden by a figure that has all the body covered with scales after the manner of a fish; which is copied from the Column of Trajan, wherein the figures have armour of that kind; and it is thought that such armour is made from the skins of crocodiles. There is Monte Mario, all aflame, showing that when soldiers march away, their quarters are always left a prey to fire. He made portraits from nature, also, in some mace-bearers accompanying the Pope, who are marvellously lifelike, as are the horses on which they are riding; and the same is true of the retinue of Cardinals, and of some grooms who are holding the palfrey on which rides the Pope in full pontificals (a portrait of Leo X, no less lifelike than those of the others), with many courtiers; the whole being a most pleasing spectacle and well in keeping with such a work, and also very useful to our art, particularly for those who have no such objects at their command.

At this same time he painted a panel containing Our Lady, S. Jerome robed as a Cardinal, and an Angel Raphael accompanying Tobias, which was placed in S. Domenico at Naples, in that chapel wherein is the Crucifix that spoke to S. Thomas Aquinas. For Signor Leonello da Carpi, Lord of Meldola, who is still alive, although more than ninety years old, he executed a picture that was most marvellous in colouring, and of a singular beauty, for it is painted with such force, and also with a delicacy so pleasing, that I do not think it is possible to do better. In the countenance of the Madonna may be seen such a divine air, and in her attitude such a dignity, that no one would be able to improve her; and he made her with the hands clasped, adoring her Son, who is seated on her knees, caressing a S. John, a little boy, who is adoring Him, in company with S. Elizabeth and Joseph. This picture was once in the possession of the very reverend Cardinal da Carpi, the son of the said Signor Leonello, and a great lover of our arts; and it should be at the present day in the hands of his heirs.

Afterwards, Lorenzo Pucci, Cardinal of Santi Quattro, having been created Grand Penitentiary, Raffaello was favoured by him with a commission to paint a panel for S. Giovanni in Monte at Bologna, which is now set up in the chapel wherein lies the body of the Blessed Elena dall' Olio: in which work it is evident how much grace, in company with art, could accomplish by means of the delicate hands of Raffaello. In it is a S. Cecilia, who, entranced by a choir of angels on high, stands listening to the sound, wholly absorbed in the harmony; and in her countenance is seen that abstraction which is found in the faces of those who are in ecstasy. Scattered about the ground, moreover, are musical instruments, which have the appearance of being, not painted, but real and true; and such, also, are some veils that she is wearing, with vestments woven in silk and gold, and, below these, a marvellous hair-shirt. And in a S. Paul, who has the right arm leaning on his naked sword, and the head resting on the hand, one sees his profound air of knowledge, no less well expressed than the transformation of his pride of aspect into dignity. He is clothed in a simple red garment by way of mantle, below which is a green tunic, after the manner of the Apostles, and his feet are bare. There is also S. Mary Magdalene, who is holding in her hands a most delicate vase of stone, in an attitude of marvellous grace; turning her head, she seems full of joy at her conversion; and indeed, in that kind of painting, I do not think that anything better could be done. Very beautiful, likewise, are the heads of S. Augustine and S. John the Evangelist. Of a truth, other pictures may be said to be pictures, but those of Raffaello life itself, for in his figures the flesh quivers, the very breath may be perceived, the pulse beats, and the true presentment of life is seen in them; on which account this picture gave him, in addition to the fame that he had already, an even greater name. Wherefore many verses were written in his honour, both Latin and in the vulgar tongue, of which, in order not to make my story longer than I have set out to do, I will cite only the following:

Pingant sola alii referantque coloribus ora;
Cæciliæ os Raphael atque animum explicuit.

After this he also painted a little picture with small figures, which is likewise at Bologna, in the house of Count Vincenzio Ercolano, containing a Christ after the manner of Jove in Heaven, surrounded by the four Evangelists as Ezekiel describes them, one in the form of a man, another as a lion, the third an eagle, and the fourth an ox, with a little landscape below to represent the earth: which work, in its small proportions, is no less rare and beautiful than his others in their greatness.