also, Raphael has imparted all the beauty which can be imagined in the expression of a virgin; in the eyes there is modesty, on the brow there shines honour, the nose is one of very graceful character, and the mouth betokens sweetness and excellence. In the vestments also, there is an indescribable simplicity with an attractive modesty, which I do not think could possibly be surpassed; there cannot, indeed, be anything better of its kind than is this whole work: there is a beautiful figure of the little San Giovanni undraped, in this picture, with that of another saint, a female, which is likewise very beautiful.[1] The background represents a dwelling, in which there is a window partially shaded, through which light is given to the chamber wherein the figures are seated.
In Rome, Raphael likewise painted a picture of good size, in which he represented Pope Leo, the Cardinal Giulio de^ Medici, and the Cardinal de’ Rossi. The figures in this work seem rather to be in full relief, and living, than merely feigned, and on a plane surface. The velvet softness of the skin is rendered with the utmost fidelity; the vestments in which the Pope is clothed are also most faithfully depicted, the damask shines with a glossy lustre; the furs which form the linings of his robes are soft and natural, while the gold and silk are copied in such a manner that they do not seem to be painted, but really appear to be silk and gold. There is also a book in parchment decorated with miniatures, a most vivid imitation of the object represented, with a silver bell, finely chased, of which it would not be possible adequately to describe the beauty. Among other accessories, there is, moreover, a ball of burnished gold on the seat of the Pope, and in this—such is its clearness —the divisions of the opposite window, the shoulders of the Pope, and the walls of the room, are faithfully reflected; all these things are executed with so much care, that I fully believe no master ever has done, or ever can do any thing better.[2] For this work, Raphael was richly rewarded by Pope Leo. It is now in
- ↑ This picture, called the Madonna dell'Impannata, is now in the Pitti Palace. Longhena speaks of an engraving from it by the Spanish engraver, Emanuele Esquivel, and it has also been engraved by Cornelius Cort, and others.
- ↑ This picture, remarks Bottari, must have been painted betAveen the years 1517 and 1519, since the Cardinal de’ Rossi received the purple in the first-mentioned year, and died in the last. — Roman Edition, 1759.
