Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 3.djvu/20

12 the tomb, the corpse of one who has been most dear to them, and on whom has, in truth, depended all the honour and welfare of the entire family. Our Lady is seen to be sinking insensible, and the heads of all the weeping figures are exceedingly graceful; that of San Giovanni more particularly, his hands are clasped together and he bends his head with an expression which cannot but move the hardest heart to compassion. Truly may we say that whoever shall consider the diligence and love, the art and grace exhibited in this work, has good reason to feel astonishment, and it does indeed awaken admiration in all who behold it, not only for the expression of the heads, but for the beauty of the draperies, and in short for the perfection of excellence which it displays in all its parts.

When Raphael, having completed his work, had returned to Florence, he received a commission from the Dei, Florentine citizens, to paint the altar-piece for their chapel in the church of Santo Spirito: this painting the master commenced and made considerable progress with the sketch for it, he likewise prepared a picture at the same time which was afterwards sent to Siena, but had first to be left with Ridolfo Ghirlandajo, on the departure of Raphael, to the end that he might finish an azure vestment which was still wanting when Raphael left Florence. And this last event happened from the circumstance that Bramante of Urbino, being in the service of pope Julius II. for some little relationship that he had with Raphael and because they were of the same