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Updated: May 15, 2025
Living with Raffaello was a Fleming called Giovanni, who was an excellent master in depicting fruits, leaves, and flowers with a very faithful and pleasing likeness to nature, although in a manner a little dry and laboured; and from him Giovanni da Udine learned to make them as beautiful as his master, and, what is more, with a certain soft and pastose manner that enabled him to become, as will be related, supremely excellent in some fields of art.
Raffaello, kneaded of softer and more facile clay than Michelangelo, throve in this environment, and was somehow able so it seems to turn its venom to sweet uses. I like to think of the two peers, moving like stars on widely separated orbits, with radically diverse temperaments, proclivities, and habits, through the turbid atmosphere enveloping but not obscuring their lucidity.
Giulio also assisted Raffaello in painting many things in that apartment of the Borgia Tower which contains the Burning of the Borgo, more particularly the base, which is painted in the colour of bronze, with the Countess Matilda, King Pepin, Charlemagne, Godfrey de Bouillon, King of Jerusalem, and other benefactors of the Church all excellent figures; and prints of a part of this scene, taken from a drawing by the hand of Giulio, were published not long since.
Wherefore Michelagnolo, on seeing afterwards the work of Raffaello, thought, as was the truth, that Bramante had done him that wrong on purpose in order to bring profit and fame to Raffaello.
The humblest article a buckle for a lady's girdle, a seal, a locket, a brooch, a ring, or a button became in his hands a beautiful work of art. Cellini was remarkable for his readiness and dexterity in handicraft. One day a surgeon entered the shop of Raffaello del Moro, the goldsmith, to perform an operation on his daughter's hand.
Yet Sebastiano was not the only friend to whose idle gossip the great sculptor indulgently stooped. Lionardo, the saddle-maker, was even more offensive. He writes, for instance, upon New Year's Day, 1519, to say that the Resurrection of Lazarus, for which Michelangelo had contributed some portion of the design, was nearly finished, and adds: "Those who understand art rank it far above Raffaello.
Of which having become aware, Vasari sent for Cristofano, Raffaello dal Colle, and Stefano Veltroni of Monte Sansovino, his kinsman; and with their assistance and that of other painters from Arezzo and other places, he executed the works mentioned above, in which Cristofano acquitted himself in such a manner, that he caused everyone to marvel, doing honour to himself and also to Vasari, who was much extolled for those works.
Not long before, the Duke had been seized with a desire to make a tomb for Signor Giovanni de' Medici, his father, and Tribolo, being eager to have the commission, made a very beautiful model for it, in competition with one that had been executed by Raffaello da Montelupo, who had the favour of Francesco di Sandro, the master of arms to his Excellency.
Raffaello, therefore, thus encouraged to pursue the work, painted on the other wall the Coming of Attila to Rome, and his encounter at the foot of Monte Mario with Leo III, who drove him away with his mere benediction.
From this he took a glass flask of a strange, ever-moving, glittering fluid, the same in appearance as that which Raffaello Cellini had forbidden me to drink. He then paused and looked searchingly at me. "Tell me," he said in an authoritative tone, "tell me WHY you wish to see what to mortals is unseen? What motive have you? What ulterior plan?" I hesitated.
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