DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.51584#0220
216
EARLY ITALIAN PAINTERS.
Julius II., and he concludes affectionately, “ con-
tinue to love me as I love you, with all my heart.”
Raphael afterwards, according to his promise, sent
his portrait to his friend, and Francia addressed
to him a very pretty sonnet, in which he styles
him, as if prophetically, the “ painter above all
painters
“ Tu solo il Pittor sei de’ Pittori.”
About the year 1516 Raphael sent to Bologna
his famous picture of the St. Cecilia surrounded by
other Saints, which had been commanded by a lady
of the house of Bentivoglio, to decorate the church
of St. Cecilia, the same church in which Francia had
painted the frescoes already mentioned. Raphael
in a modest and affectionate letter recommended
the picture to the care of his friend Francia, en-
treating him to be present when the case was
opened, to repair any injury it might have received
in the carriage, and to correct anything which
seemed to him faulty in the execution. Francia
zealously fulfilled his wishes ; and when he beheld
this masterpiece of the divinest of painters, burst
into transports of admiration and'delight, placing
it far above all that he had himself accomplished.
As he died a short time afterwards, it was said that
he had sickened of envy and despair on seeing him-
self thus excelled, and, in his native city, his best
works eclipsed by a young rival. Vasari tells this
story as a tradition of his own time; his expression
EARLY ITALIAN PAINTERS.
Julius II., and he concludes affectionately, “ con-
tinue to love me as I love you, with all my heart.”
Raphael afterwards, according to his promise, sent
his portrait to his friend, and Francia addressed
to him a very pretty sonnet, in which he styles
him, as if prophetically, the “ painter above all
painters
“ Tu solo il Pittor sei de’ Pittori.”
About the year 1516 Raphael sent to Bologna
his famous picture of the St. Cecilia surrounded by
other Saints, which had been commanded by a lady
of the house of Bentivoglio, to decorate the church
of St. Cecilia, the same church in which Francia had
painted the frescoes already mentioned. Raphael
in a modest and affectionate letter recommended
the picture to the care of his friend Francia, en-
treating him to be present when the case was
opened, to repair any injury it might have received
in the carriage, and to correct anything which
seemed to him faulty in the execution. Francia
zealously fulfilled his wishes ; and when he beheld
this masterpiece of the divinest of painters, burst
into transports of admiration and'delight, placing
it far above all that he had himself accomplished.
As he died a short time afterwards, it was said that
he had sickened of envy and despair on seeing him-
self thus excelled, and, in his native city, his best
works eclipsed by a young rival. Vasari tells this
story as a tradition of his own time; his expression