The whole of this work was so admirably executed in every part that even the Cartoons were very highly estimated. Messer Francesco Masini,[1] a gentleman of Cesena, who, without any master, but impelled from childhood by the love of art, has produced many paintings and works in design, has certain pieces of the Cartoon which Raphael prepared for this story of Heliodorus still in his possession; they are treasured with all the esteem which they so truly merit, among the various antiquities in marble, rilievi and others, which be has collected; his own pictures and designs are also of such merit, that many, well acquainted with art, have bestowed on them the highest commendations. Nor will I omit to mention that Messer Niccolo Massini, from whom it is that I have received intelligence of these things, is himself a sincere lover of our arts, as he is the friend of all other good and praiseworthy endeavours.
But to return to Raphael. In the ceiling above these works he delineated four pictures: the subject of the first being the appearance of the Almighty Father to Abraham, to whom he promises the continuation of his race; that of the second, the sacrifice of Isaac; and of the third, Jacob’s dream; while the fourth represents Moses standing before the burning bush. In this work, the knowledge of art, rich power of invention, correct design, and exquisite grace which distinguish our artist, are no less manifest than in the others whereof we have made mention.
And now, when the happy genius of the master was effecting such wonders, the envy of fortune deprived of life that pontiff who was the especial protector and support of such talent, while he was the zealous promoter of every other good and useful work. Julius II. died,[2] but was succeeded by Leo X., who forthwith commanded that the labours commenced should be continued. The genius of Raphael was now exalted to heaven, and he received innumerable proofs of favour from the new pontiff, fortunate in having encountered a prince so great, and one on whom the love of art had devolved by hereditary descent.[3]
