DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.36838#0163
108 COUNT BALDASSARE CASTIGLIONE
protege had just finished an important altar-piece for
the Franciscans of Citta di Castello, and had proudly
signed the picture with his name—Raphael of Urbino.
Now the young painter came to ask for leave to go
to Florence, that he might continue his studies there
and see the wonderful cartoons that Leonardo and
Michelangelo had designed for the decoration of the
Council-hall. The result of this interview was that,
on October 1, the Lady Prefetessa gave him a letter
of introduction to Piero Soderini, the Gonfaloniere of
Florence, and with this in his pocket, Raphael
descended the steep hillside and set out on his journey.
Castiglione, whose line taste in art was well known,
no doubt saw the works which this native artist had
already executed for the Duke and Duchess, the
poetic little panel of the Dream of a Knight, the
St. Michael which he had painted on the back of a
draught-board, and the Madonna with the pure
brow and heavenly smile, which hung in Elisabetta s
chamber. He probably conversed with the young
painter, whose romantic air and charming manners
made him a favourite wherever he went, and thus in
these early days, the foundations of that friendship
were laid, to which the world, it may be, owes more
than it has yet realized.
protege had just finished an important altar-piece for
the Franciscans of Citta di Castello, and had proudly
signed the picture with his name—Raphael of Urbino.
Now the young painter came to ask for leave to go
to Florence, that he might continue his studies there
and see the wonderful cartoons that Leonardo and
Michelangelo had designed for the decoration of the
Council-hall. The result of this interview was that,
on October 1, the Lady Prefetessa gave him a letter
of introduction to Piero Soderini, the Gonfaloniere of
Florence, and with this in his pocket, Raphael
descended the steep hillside and set out on his journey.
Castiglione, whose line taste in art was well known,
no doubt saw the works which this native artist had
already executed for the Duke and Duchess, the
poetic little panel of the Dream of a Knight, the
St. Michael which he had painted on the back of a
draught-board, and the Madonna with the pure
brow and heavenly smile, which hung in Elisabetta s
chamber. He probably conversed with the young
painter, whose romantic air and charming manners
made him a favourite wherever he went, and thus in
these early days, the foundations of that friendship
were laid, to which the world, it may be, owes more
than it has yet realized.