there remains to imitate the good, or rather the excellent, of which he has left us the example, and as our obligations to him and his great merits well deserve to retain the most grateful remembrance of him in our hearts, while we ever maintain his memory in the highest honour with our lips. To him of a truth it is that we owe the possession of invention, colouring, and execution, brought alike and altogether to that point of perfection for which few could have dared to hope; nor has any man ever aspired to pass before him.[1]
And in addition to the benefits which this great master conferred on art, being as he was its best friend, we have the further obligation to him of having taught us by his life in what manner we should comport ourselves towards great men, as well as towards those of lower degree, and even towards the lowest; nay there was among his many extraordinary gifts one of such value and importance, that I can never sufficiently admire it, and always think thereof with astonishment. This was the power accorded to him by Heaven, of bringing all who approached his presence into harmony; an effect inconceivably surprising in our calling, and contrary to the nature of our artists, yet all, I do not say of the inferior grades only, but even those who lay claim to be great personages (and of this humour our art produces immense numbers,) became as of one mind, once they began to labour in the society of Raphael, continuing in such unity and concord, that all harsh feelings and evil dispositions became subdued and disappeared at the sight of him; every vile and base thought departing from the mind before his influence. Such harmony prevailed at no other time than his own. And this happened because all were surpassed by him in friendly courtesy as well as in art; all confessed the influence of his sweet and gracious nature, which was so replete with excellence, and so perfect in all the charities, that not only was he honoured by men, but even by
- ↑ Vasari has omitted here to mention the circumstance that Raphael was architect of St. Peter’s, nor does he here allude to the fact, that he was much occupied towards the close of his life with measures for the restoration of ancient Rome, but near the end of his work, and when speaking of bis obligations to the writings of Lorenzo Ghiberti and Ghirlandajo, he remarks, that the annotations of Raphael were also of the most essential service to him.
