Lives of the Most Eminent Painters Sculptors and Architects, Vol. 04 (of 10): Filippino Lippi to Domenico PuligoVasari, Giorgio
History
Lives of the Most Eminent Painters Sculptors and Architects, Vol. 04 (of 10): Filippino Lippi to Domenico Puligo
Vasari, Giorgio
Art, Italian; Artists -- Italy -- Biography
After these things he painted a panel for the altar of the Madonna
in SS. Vitale e Agricola; in which panel are two very beautiful
angels, who are playing on the lute. I will not enumerate the
pictures that are scattered throughout Bologna in the houses of
gentlemen of that city, and still less the infinite number of
portraits that he made from life, for it would be too wearisome. Let
it be enough to say that while he was living in such glory and
enjoying the fruits of his labours in peace, Raffaello da Urbino was
in Rome, and all day long there flocked round him many strangers,
among them many gentlemen of Bologna, eager to see his works. And
since it generally comes to pass that every man extols most
willingly the intellects of his native place, these Bolognese began
to praise the works, the life, and the talents of Francia in the
presence of Raffaello, and they established such a friendship
between them with these words, that Francia and Raffaello sent
letters of greeting to each other. And Francia, hearing such great
praise spoken of the divine pictures of Raffaello, desired to see
his works; but he was now old, and too fond of his comfortable life
in Bologna. Now after this it came about that Raffaello painted in
Rome for Cardinal Santi Quattro, of the Pucci family, a
panel-picture of S. Cecilia, which had to be sent to Bologna to be
placed in a chapel of S. Giovanni in Monte, where there is the tomb
of the Blessed Elena dall' Olio. This he packed up and addressed to
Francia, who, as his friend, was to have it placed on the altar of
that chapel, with the ornament, just as he had prepared it himself.
Right readily did Francia accept this charge, which gave him a
chance of seeing a work by Raffaello, as he had so much desired. And
having opened the letter that Raffaello had written to him, in which
he besought Francia, if there were any scratch in the work, to put
it right, and likewise, as a friend, to correct any error that he
might notice, with the greatest joy he had the said panel taken from
its case into a good light. But such was the amazement that it
caused him, and so great his marvel, that, recognizing his own error
and the foolish presumption of his own rash confidence, he took it
greatly to heart, and in a very short time died of grief.
Public-domain text, read in full here on John Shaqi.
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