[Footnote 287: For his labours in the cathedral of Siena he had thirty crowns a year; as the architect of S. Peter's, two hundred and fifty. He derived little advantage from private commissions, for people generally took advantage of his modesty, in either not paying him at all, or rewarding him scantily.] [Footnote 288: I saw one in the possession of Cav. Cavaceppi in Rome, of which this great connoisseur used to say, that it might pass for a Raffaello, if it had been as like in colouring as in every thing else. The Sergardi family at Siena have another, and a Holy Family, by Razzi, as its companion. These are reckoned among their first performances, and are believed to have been painted in competition with each other. In that of Peruzzi one recognizes, even at that time, that elegance of design which he delighted afterwards to exhibit in his figures, especially in the Chigi, now called the Farnese palace.] [Footnote 289: It is a fresco, and, though retouched, surprises at once by the novelty and expression of the figures. A. Caracci designed it for one of his studies.] [Footnote 290: Lett. vii.] [Footnote 291: Siena Illustre.] [Footnote 292: The expression in the original is: "condotto con quella bella grazia che si vede-non murato, ma veramente nato." _Vasari._] [Footnote 293: P. 191.] [Footnote 294: Serlio, 1. c.] [Footnote 295: _Lettere Senesi_, tom. iii. lett. 6. See also lett. 8. page 223, where there are many observations on the design of Mecherino, and on the execution committed to the Martini, brothers, and eminent sculptors of that period. For the prints from their works by Andreani and Gabuggiani, see the notes of Bottari on the life of Mecherino, p. 435.] [Footnote 296: See Lett. Pittoriche, tom. i. p. 311, and tom. iv. p. 344. See also Notes on Vasari, tom. iv. p. 436. Ed. Fiorentin.] [Footnote 297: He inscribed the monument, "Francisco Vannio ... Michael Angelus ... novæ hujus in petrâ pingendi artis inventor et Raphael ... Filii parenti optimo m. p. a. 1656.] [Footnote 298: See the note of Bottari on Gallaccini's letter. tom. i. p. 308.] SIENESE SCHOOL. EPOCH III. _The art having declined in Siena through the disasters of the state, is revived by the labours of Salimbeni and his sons._