bends his head towards her with an expression of astonishment and of praise to God, whose greatness had bestowed this young child on a mother already so far advanced in years. All appear to be amazed at the manner in which the two cousins treat each other at an age so tender, the one evincing his reverence for the Saviour, the other affectionately caressing his companion. Every touch of the pencil in the heads, hands, and feet of this work has produced such effect that the parts seem rather to be of the living flesh than the mere colours of the painter, however able a master of his art. This most noble picture is now in the possession of the heirs of Domenico Canigiani, by whom it is held in all that esteem which is due to a work of Raphael of Urbino.[1]
While in the city of Florence, this most excellent painter studied the ancient works of Masaccio, and what he saw in the labours of Leonardo and Michael Angelo caused him still more zealously to prosecute his studies; he consequently attained to an extraordinary amelioration of manner, and made still further progress in art. Among other artists, Raphael formed a close intimacy with Fra'Bartolommeo di San Marco, during his abode in Florence, the manner of that master pleasing him greatly, wherefore he took no small pains to imitate his colouring, teaching that good father on his part the rules of perspective, to which the monk had not previously given his attention.
But just when this intercourse was most frequent and intimate, Raphael was recalled to Perugia; here the first work which he performed was that in the church of San Francesco, where he completed the painting promised to the above named Madonna Atalanta Baglioni, for which he had prepared the cartoon in Florence, as we have said. In this most divine picture there is a dead Christ, whom they are bearing to the sepulchre, the body painted with so much care, and freshness that it appears to have been only just completed. When occupied with the composition of this work, Raphael had imagined to himself all the grief and pain with which the nearest and most affectionate relatives see borne to
- ↑ This work is believed bv certain Italian writers to be at Rome, in the possession of the Marchese Rinuccini, but that picture is declared by other authorities to be a copy only, the original being, as they affirm, in the Pinacoieca at Munich. See Passavant. See also Rumohr, Italienische Forschungen, vol. iii. p. 65,
