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Updated: June 13, 2025
It is well known that these two masters were good friends and corresponded, but it is not certain that they ever met. Francia's pictures are numerous; his portraits are excellent. Many of his works are still in Bologna. MADONNA. By Perugino.
Il Francia addressed an enthusiastic sonnet to Raphael, and there is extant a letter of Raphael's to Il Francia, excusing himself for not sending his friend Raphael's portrait, and making an exchange of sketches, that of his 'Nativity' for the drawing of Il Francia's 'Judith; while it was to Il Francia's care that Raphael committed his picture of St Cecilia, when it was first sent to Bologna.
Messer Giovanni Bentivogli had caused his palace to be painted by diverse masters of Ferrara and Bologna, and by certain others from Modena; but, having seen Francia's experiments in fresco, he determined that this master should paint a scene on one wall of an apartment that he occupied for his own use.
The fate of every one of these was, at the lightest, to be flung into dungeons and loaded with massive and torturing chains. Following the inevitable progress of tyranny, as time went on Francia's vigilance and cruelty increased, while as the discontent of the populace became evident his suspicions grew more and more on the alert.
The April freshness of Giotto, the piety of Fra Angelico, the virginal purity of the young Raphael, the sweet gravity of John Bellini, the philosophic depth of Da Vinci, the sublime elevation of Michael Angelo, the suavity of Fra Bartolommeo, the delicacy of the Della Robbia, the restrained fervor of Rosellini, the rapture of the Sienese and the reverence of the Umbrian masters, Francia's pathos, Mantegna's dignity, and Luini's divine simplicity, were qualities which belonged not only to these artists but also to the people of Italy from whom they sprang.
How beyond those who painted after him!" They tarried long before Francia's paintings and the St. Cecilia. Mr. Sumner told them to note the more subtle motif of Raphael's picture; the superior grace of the figures, their careful distribution, and the fine scheme of color; the sympathetic look in St. John's face; the grandly meditative St. Paul.
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