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Peruzzi indeed returned to his office at S. Peter's in 1535, but his death followed in 1537, when Antonio da Sangallo remained master of the situation. Sangallo had the good sense to preserve many of Peruzzi's constructive features, especially in the apses of the choir and transepts; but he added a vast vestibule, which gave the church a length equal to that of Raffaello's plan.
Raffaello's plan, if carried out, would have been monotonous and tame inside and out. After the death of Raffaello in 1520, Baldassare Peruzzi was appointed to be Sangallo's colleague. This genial architect, in whose style all the graces were combined with dignity and strength, prepared a new design at Leo's request.
Some follower of Raffaello used the print for a fresco in the Palazzo Borghese at Rome. It forms one of the series in which Raffaello's marriage of Alexander and Roxana is painted. This has led some critics to ascribe the drawing itself to the Urbinate.
Montelupo and Montorsoli, among sculptors, Marcello Venusti and Pontormo, Daniele da Volterra and Sebastiano del Piombo, among painters, felt his direct influence. But they did not stand in the same relation to him as Raffaello's pupils to their master.
They are generally as poor as Job's cat; but they are far happier than the proprietor of that interesting animal. Figaro is a high ideal of this class, and about as much like them as Raffaello's angels are like Jeames Yellowplush. What the cobblers and Figaro have in common is song and a love of scandal.
"Ast alii pictis accendant lumina ceris". S. Paulinus Nat. VI. S Felicis Pierin del Vaga, whom Vasari considered as the most distinguished of Raffaello's assistants, was originally nothing more than a candlepainter.
Raffaello's panel was divine, not so much painted as alive, and so well wrought and coloured by him, that among all the beautiful pictures that he painted while he lived, although they are all miraculous, it could well be called most rare.
Surely our delightful Raffaello's conception is infinitely preferable?" He pointed to the picture of the Madonna, the upper part of which represented the conventional cherubs of Italian Art, celestially provided with sitting accommodation for their chins, on balloons of buff-coloured cloud. "Quite a model family!" said Mr. Fairlie, leering at the cherubs.
He is also right in pointing out that no Greek sculptor approached the beauty of facial form and expression which we recognise in Raffaello's Madonna di San Sisto, in Sodoma's S. Sebastian, in Guercino's Christ at the Corsini Palace, in scores of early Florentine sepulchral monuments and pictures, in Umbrian saints and sweet strange portrait-fancies by Da Vinci.
Wherefore Francia, half dead with terror at the beauty of the picture, which lay before his eyes challenging comparison with those by his own hand that he saw around him, felt all confounded, and had it placed with great diligence in that chapel of S. Giovanni in Monte for which it was destined; and taking to his bed in a few days almost beside himself, thinking that he was now almost of no account in his art in comparison with the opinion held both by himself and by others, he died of grief and melancholy, so some believe, overtaken by the same fate, through contemplating too attentively that most lifelike picture of Raffaello's, as befell Fivizzano from feasting his eyes with his own beautiful Death, about which the following epigram was written: Me veram pictor divinus mente recepit; Admota est operi deinde perita manus.
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