[95] Essendo con Pinturicchio a Siena--messo da parte quell' opera, e ogni utile e commodo suo, se ne venne a Fiorenza. Morta la Madre, partì e andò a Urbino, e accomodate le cose sue, ritornò a Perugia. Prima che partisse, &c.--Così venuto a Firenze, fece il cartone per il quadro di Madonna Atalanta Baglioni; dipinse per A. Doni e Dom. Canigiani; studiò le cose vecchie di Masaccio; acquistò miglioramento dai lavori di Lionardo e di Michelagnolo; ebbe stretta domestichezza con Frà Bartolomeo di S. Marco; ma in su la maggior frequenza di questa pratica fu richiamato a Perugia, dove finì l'opera della gia detta Madonna Atalanta Baglioni, &c.--Finito questo lavoro e tornato a Fiorenza, gli fu dai Dei cittadini Fiorentini allegata una tavola, &c. ma chiamato da Bramante si trasferì a Roma.--Vasari, Vita di Raffaello da Urbino, ed. Firenze, 1771. p. 163, 167, 172. According to this account of Vasari, Raffaelle went three times to Florence; the first time, when roused by the fame of Lionardo and Michael Angelo, he left Pinturicchio 1504, and continued at Florence till he was called away by the death of his mother to Urbino, from whence, having settled his affairs, and painted certain things, he went to Perugia, and after some public works there, returned again to Florence with a commission from A. Baglioni. This is the period fixed by Vasari of his acquaintance with Bartolomeo di S. Marco, the progressive improvements of his style, and his pictures for A. Doni and D. Canigiani, and must have been his longest stay in that capital, though interrupted by a new call to Perugia, during which he finished the picture of the Burial of Christ, now in the Borghese Palace, for the Chapel Baglioni, and then returned for the third time to Florence. [96] From the "Annalen der bildenden Künste für die Osterreichischen Staaten, Von Hans Rudolph Füessli." Erster theil. Wien. 1801. Annals of the Plastic Arts in Austria. [97] 1515. Raffahell di Urbin, who was so highly esteemed by the Pope, has made these naked figures, and has sent them to Albrecht Durer at Nornberg, to show him his hand. [98] This observation is founded on close inspection of this picture, in the room of the "Restoration," in 1802. The face of Christ not only appeared no longer that which all thought it to be who had seen it at S. Pietro in Montorio, but even inferior to that in the print of Dorigny, had assumed an expression nearer allied to meanness than to dignity, without sublimity austere, and forbidding. It is probable, however, that these changes originated under the sacrilegious hands of the restorers, who had before destroyed the better part of the Madonna di Foligno. [99] "Sì smisurata, che fa parere le altre, figure di Bambini," &c. Idea de' Pittori, Scultori, e Architetti, inserted among the Lettere Pittoriche, t. vi. p. 147.