Giovanni-in-Monte, where the tomb of the Beata Elena dell’ Olio is to be seen.[1] Having packed up his work, therefore, Raphael addressed it to the care of Francia, who, as being his friend, was to see it placed on the altar of the chapel for which the picture was destined; with the proper framework and ornaments, which had been already prepared for it. This was an office which pleased Francia greatly, since he would thus have the long-desired opportunity of seeing the works of Raphael. Wherefore, having opened the letter written to him by the latter, wherein that master begged him to repair any scratch that might be found on the painting, and further requested, that, if he perceived any defect, he would, as a friend, correct it for him, Francia caused the picture, with the greatest joy, to be taken into a good light, and had it removed from its case. But such was the astonishment it caused him, and so great was his admiration for it, that, perceiving his own error and the foolish presumption with which he had weakly believed in his own superiority, he took it deeply to heart, and, falling ill with his grief, in a very short time he died of its effects.[2]
The picture of Raphael was, indeed, divine—not painted, but absolutely alive: he had executed and finished it to such perfection that among all the admirable works performed by him in his whole life, though every one is beautiful, this may well be called the most exquisite. Comparing the beauties of this most exquisite picture with his own works,
- ↑ The admirable picture of St. Cecilia remained in its place until 1796, when it was taken to Paris, but being restored ti, Bologna in 1815, now adorns the noble Gallery of that city. —Masselli. See also Giordani. Catalogo, &c., who gives a biographical sketch of Francia in No. 152 of that work.
- ↑ This relation is declared by Malvasia, in his life of Francia, to be totally groundless. Other works of Raphael had, according to this writer, been seen by Francia before the arrival of the St. Cecilia in Bologna, and he lived eight years at least, says Malvasia, after that event. But this last assertion is shown by authors of a later period to be incorrect, the death of Francia having been proved by documents to have occurred on the 6th Jan., 1817, one year earlier, be it observed, than the date assigned by Vasari. Quatremere de Quincy, in his of life Raphael, remarks with justice, that, to a sensitive man as Francia was, and one ever accustomed to be considered first in his own country, the seeing himself surpassed by a more youthful competitor may have been a source of pain. That it was the cause of death even Vasari does not affirm by evidence, and it will be remarked that he afterwards considerably softens the force of his first assertion to that effect.
