The architectural designs for the Vigna[1] of the Pope and for several houses in the Borgo,[2] but more particularly for the palace of Messer Giovanni Battista dall’ Aquila, which was a very beautiful edifice, were likewise prepared by Raphael. He also designed one for the Bishop of Troia, who caused him to construct it in the Via di San Gallo at Florence.[3]
For the Black Friars of San Sisto in Piacenza, Raphael painted a picture, intended to form the altar-piece for the high altar of their churchy the subject of this work is the Virgin with St. Sixtus and Santa Barbara, a truly admirable production.[4] Raphael painted many pictures to be sent into France, but more particularly one for the king, St. Michael namely, in combat with the Arch-fiend; this also is considered singularly beautiful, a rock, whence flames are issuing, represents the centre of the earth, and from the clefts of this rock fires and sulphurous flames are proceeding, while Lucifer, whose limbs, scorched and burning, are depicted of various tints, exhibits every emotion of rage that pride, envenomed and inflated, can awaken against the Oppressor of his greatness, by whom he is deprived of his kingdom, and at whose hands he may never hope for peace, but is certain to receive heavy and perpetually enduring punishment. In direct contrast with this figure is that of the Archangel San Michele; his countenance is adorned with celestial beauty, he wears armour formed of iron and gold, fearlessness, force, and terror are in his aspect, he has cast Lucifer to the earth, and compels him to lie prone beneath his uplifted spear; the work was performed in so admirable a manner at all points, that Raphael obtained, as he had well merited, a large and
- ↑ Vasari here means the Villa on Monte Mario, commenced by Raphael, for the Cardinal Giulio de’ Medici, afterwards Pope Clement VII., but finished by Giulio Romano, after designs of his own, which were different in many respects from those of Raphael.
- ↑ Destroyed to make way for the Colonnade of San Pietro.
- ↑ Now the property of the Nencini family.—Ed. Flor. 1838.
- ↑ This work was purchased by Augustus III., King of Poland, for 22,000 crowns, and is now in the Dresden Gallery. Rumohr is of opinion that this picture was originally intended, not for an altar-piece, but to be borne in procession, since it is not on panel, as Vasari’s “tavola” might imply, but on canvas. The work has been engraved by Muller.
Lettere Sanesi. See also the Life of Andrea del Sarto, in a subsequent page of the present volume.
