Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 2.djvu/312

304 Giovanni-in-Monte, where the tomb of the Beata Elena dell’ Olio is to be seen. Having packed up his work, therefore, Raphael addressed it to the care of Francia, who, as being his friend, was to see it placed on the altar of the chapel for which the picture was destined; with the proper framework and ornaments, which had been already prepared for it. This was an office which pleased Francia greatly, since he would thus have the long-desired opportunity of seeing the works of Raphael. Wherefore, having opened the letter written to him by the latter, wherein that master begged him to repair any scratch that might be found on the painting, and further requested, that, if he perceived any defect, he would, as a friend, correct it for him, Francia caused the picture, with the greatest joy, to be taken into a good light, and had it removed from its case. But such was the astonishment it caused him, and so great was his admiration for it, that, perceiving his own error and the foolish presumption with which he had weakly believed in his own superiority, he took it deeply to heart, and, falling ill with his grief, in a very short time he died of its effects. The picture of Raphael was, indeed, divine—not painted, but absolutely alive: he had executed and finished it to such perfection that among all the admirable works performed by him in his whole life, though every one is beautiful, this may well be called the most exquisite. Comparing the beauties of this most exquisite picture with his own works,