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Updated: September 6, 2025
That work, in memory of the loss of Raffaello, was placed by the Cardinal on the high-altar of S. Pietro a Montorio; and on account of the nobility of his every action, it was held ever afterwards in great estimation. His body received that honourable burial which his noble spirit had deserved, for there was no craftsman who did not weep with sorrow and follow him to the grave.
The inner church, as is fitting, excludes all worldly elements. We are in the presence of Christ's agony, relieved and tempered by the sunlight of those beauteous female faces. All is solemn here, still as the convent, pure as the meditations of a novice. We pass the septum, and find ourselves in the outer church appropriated to the laity. Above the high-altar the whole wall is covered with Luini's loveliest work, in excellent light and far from ill preserved. The space divides into eight compartments. A Piet
In like manner, he made some panels for the Abbey of S. Felice in Piazza at Florence, belonging to the Order of Camaldoli, and one for the high-altar of S. Michele in Arezzo, a church of the same Order.
Michelagnolo Buonarroti, having a niece who was a nun in S. Apollonia at Florence, had therefore executed an ornament for the high-altar of that church, and a design for the altar-piece; and Granacci painted there some scenes in oils with figures large and small, which gave much satisfaction to the nuns at that time, and also to the other painters.
But, notwithstanding such a promise, the Abbot delayed so long to send him, that Cristofano, when he did go, found that Vasari had not only finished all the work for the other Abbot, but had also executed an altar-piece for the high-altar of S. Francesco at Rimini, for Messer Niccolò Marcheselli, and another altar-piece in the Church of Classi, belonging to the Monks of Camaldoli, at Ravenna, for Don Romualdo da Verona, the Abbot of that abbey.
For the family of the Zoccoli he painted the great altar-piece of the high-altar in the Church of the Vittoria, and for the family of the Cipolli the picture of S. Onofrio, which is near the other, and is held to be both in design and in colouring the best work that he ever executed.
Having departed from Florence and made his way to Bologna, Francesco found there Giorgio Vasari, who had returned two days before from Camaldoli, where he had finished the two altar-pieces that are in the tramezzo of the church, and had begun that of the high-altar; and Vasari was arranging to paint three great panel-pictures for the refectory of the Fathers of S. Michele in Bosco, where he kept Francesco with him for two days.
While he was near the high-altar some people came in at the west door; but he did not notice them, and was presently engaged in deciphering a curious old German epitaph on one of the mural tablets. At last he turned away, wondering whether its syntax or its theology was the more uncomfortable, and, to this infinite surprise, found himself confronted with the Prince and Princess Casamassima.
Afterwards, in S. Stefano al Ponte Vecchio, on the predella of the high-altar, he made some stories of S. Stephen, with so great lovingness that it is not possible to see either more gracious or more beautiful figures, even if they were done in miniature.
The first works of this painter-monk, who held to the manner of Taddeo Gaddi and his disciples, were in his Monastery of the Angeli, where, among many other things, he painted the panel of the high-altar, which is still seen to-day in their church, and which was completely finished, as it may be seen from letters written below on the ornament, in the year 1413, when it was set in place.
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