NOTES TO THE FIRST BOOK OF THE COURTIER have been rather irritable and litigious in private life. Albert Diirer tells us that one of the keenest disappointments of his life was occasioned by the great painter's death before he was able to make an intended journey to Mantua for the purpose of visiting Mantegna. Note 98, page 50, Raffaello Santi or Sanzi, — euphonized by Bembo as Sanzio, — (born 1483; died 1520), was a native of Urbino and the son of Giovanni Santi and Magia Ciarla. The father was himself a painter of no mean skill, and wrote a quaint rhymed chronicle of the Duchy of Urbino, which is pre- served in the Vatican and contains much interesting information. Having lost both parents when he had reached the age of eleven years, and probably hav- ing first studied at Urbino under Timoteo della Vite, Raphael was sent by a maternal uncle to the studio of Perugino at Perugia. The rest of his short life was an unbroken course of happy labour and brilliant success. In 1499 he seems to have been at Urbino for the purpose of arranging for the welfare of a sister, and again in 1504, when, after executing several works (including, it is believed, portraits of the duke and duchess) for the ducal family, he went to Florence with a letter of commendation from Guidobaldo's sister. From 1504 to 1508 he resided chiefly at Florence, although he again visited Urbino twice, just before and probably soon after the date of the Courtier dialogues. His friendship with so many members of the Urbino court (Giuliano de' Medici, Bibbiena, Bembo, Canossa, and Castiglione), and even his acquaintance with Julius II, probably began during these later visits to his native city. In 1508 he was called to Rome by Julius, and resided there until his death. On suc- ceeding Bramante as architect of St. Peter's in 1514, he wrote to Castiglione: "Sir Count: I have made drawings in several manners according to your sug- gestion, and if everyone does not flatter me, I am satisfying everyone; but I do not satisfy my own judgment, because I dread not satisfying yours. I am sending them to you. Pray choose any of them, if you deem any worthy. Our Lord [i.e. Leo X] in honouring me has put a great burden on my shoul- ders, — that is, the charge of the fabric of St. Peter's. I hope, however, not to fall under it; and the more so, because the model I have made for it pleases his Holiness and is praised by many choice spirits; but in thought I soar still higher. I fain would renew the beautiful forms of ancient buildings, but know not whether my flight will be that of Icarus. Vitruvius affords me much light on the subject, but less than I need. As to Galatea, I should hold myself a great master if she possessed half the fine things you write me; but in your words I recognize the love you bear me: and I tell you that to paint one beau- tiful woman, I should need to see several beautiful women and to have you with me to choose the best. But as there is dearth of good judgments and of beautiful women, I am using a certain idea that has occurred to my mind. Whether this has any artistic excellence in it, I know not, — but I am striving for it. Command me." Passavant affirms that the ' drawings ' mentioned at the beginning of this letter were designs for a medal that Castiglione meant to wear. Raphael is said to have painted two portraits of Castiglione, one of which (1516) is in the Louvre and appears as the frontispiece to this volume.
