many kinds of stone and various sorts of
variegated marbles on the chimney-pieces, windows, and doors. In
addition to this, he made a marble statue, five braccia high, of the
Angel of that Castle, which is on the summit of the great square tower
in the centre, where the standard flies, after the likeness of that
Angel that appeared to S. Gregory, who, having prayed that the people
should be delivered from a most grievous pestilence, saw him sheathing
his sword in the scabbard. Later, when the said Crispo had been
made a Cardinal, he sent Raffaello several times to Bolsena, where he
was building a palace. Nor was it long before the very reverend Cardinal
Salviati and Messer Baldassarre Turini da Pescia commissioned Raffaello,
who had already left the service of the Castle and of Cardinal Crispo,
to make the statue of Pope Leo that is now over his tomb in the Minerva
at Rome. That work finished, Raffaello made a tomb for the same Messer
Baldassarre in the Church of Pescia, where that gentleman had built a
chapel of marble. And for a chapel in the Consolazione, at Rome, he made
three figures of marble in half-relief. But afterwards, having given
himself up to the sort of life fit rather for a philosopher than for a
sculptor, and wishing to live in peace, he retired to Orvieto, where he
undertook the charge of the building of S. Maria, in which he made many
improvements; and with this he occupied himself for many years, growing
old before his time.

[Illustration: S. DAMIANO

(_After_ Raffaello da Montelupo. _Florence: New Sacristy of S. Lorenzo_)

_Alinari_]

I believe that Raffaello, if he had undertaken great works, as he might
have done, would have executed more things in art, and better, than he
did. But he was too kindly and considerate, avoiding all conflict, and
contenting himself with that wherewith fortune had provided him; and
thus he neglected many opportunities of making works of distinction.
Raffaello was a very masterly draughtsman, and he had a much better
knowledge of all matters of art than had been shown by his father
Baccio. In our book are some drawings by the hand both of the one and of
the other; but those of Raffaello are much the finer and more graceful,
and executed with better art. In his architectural decorations Raffaello
followed in great measure the manner of Michelagnolo, as is proved by
the chimney-pieces, doors, and windows that he made in the aforesaid
Castello di S. Angelo, and by som