her the
principles of perspective, to which up to that time the monk had not
given any attention.

But at the very height of this friendly intercourse, Raffaello was
recalled to Perugia, where he began by finishing the work for the
aforesaid Madonna Atalanta Baglioni in S. Francesco, for which, as
has been related, he had made the cartoon in Florence. In this most
divine picture there is a Dead Christ being borne to the Sepulchre,
executed with such freshness and such loving care, that it seems to
the eye to have been only just painted. In the composition of this
work, Raffaello imagined to himself the sorrow that the nearest and
most affectionate relatives of the dead one feel in laying to rest
the body of him who has been their best beloved, and on whom, in
truth, the happiness, honour, and welfare of a whole family have
depended. Our Lady is seen in a swoon; and the heads of all the
figures are very gracious in their weeping, particularly that of S.
John, who, with his hands clasped, bows his head in such a manner as
to move the hardest heart to pity. And in truth, whoever considers
the diligence, love, art, and grace shown by this picture, has great
reason to marvel, for it amazes all who behold it, what with the air
of the figures, the beauty of the draperies, and, in short, the
supreme excellence that it reveals in every part.

[Illustration: "THE SCHOOL OF ATHENS"

(_After the fresco by =Raffaello da Urbino=. Rome: The Vatican_)

_Anderson_]

This work finished, he returned to Florence, where he received from
the Dei, citizens of that city, the commission for an altar-panel
that was to be placed in their chapel in S. Spirito; and he began
it, and brought the sketch very nearly to completion. At the same
time he painted a picture that was afterwards sent to Siena,
although, on the departure of Raffaello, it was left with Ridolfo
Ghirlandajo, to the end that he might finish a piece of blue drapery
that was wanting. This happened because Bramante da Urbino, who was
in the service of Julius II, wrote to Raffaello, on account of his
being distantly related to him and also his compatriot, that he had
so wrought upon the Pope, who had caused some new rooms to be made
(in the Vatican), that Raffaello would have a chance of showing his
worth in them. This proposal pleased Raffaello: wherefore,
abandoning his works in Florence, and leaving the panel for the Dei
unfinished, in the state in which Messer Baldassarre da