d, and holding out to Our Lady her
Son, the features of whose countenance, as well as the whole of His
nude form, are so beautiful that with His smile He rejoices whoever
beholds Him; besides which, Raffaello depicted, in painting the
Madonna, all the beauty that can be imparted to the aspect of a
Virgin, with the complement of chaste humility in the eyes, honour
in the brow, grace in the nose, and virtue in the mouth; not to
mention that her raiment is such as to reveal infinite simplicity
and dignity. And, indeed, I do not think that there is anything
better to be seen than this whole work. There is a nude S. John,
seated, with a female saint, who is likewise very beautiful; and for
background there is a building, in which he painted a linen-covered
window that gives light to the room wherein are the figures.

In Rome he made a picture of good size, in which he portrayed Pope
Leo, Cardinal Giulio de' Medici, and Cardinal de' Rossi. In this the
figures appear to be not painted, but in full relief; there is the
pile of the velvet, with the damask of the Pope's vestments shining
and rustling, the fur of the linings soft and natural, and the gold
and silk so counterfeited that they do not seem to be in colour, but
real gold and silk. There is an illuminated book of parchment, which
appears more real than the reality; and a little bell of wrought
silver, which is more beautiful than words can tell. Among other
things, also, is a ball of burnished gold on the Pope's chair,
wherein are reflected, as if it were a mirror (such is its
brightness), the light from the windows, the shoulders of the Pope,
and the walls round the room. And all these things are executed with
such diligence, that one may believe without any manner of doubt
that no master is able, or is ever likely to be able, to do better.
For this work the Pope was pleased to reward him very richly; and
the picture is still to be seen in Florence, in the guardaroba of
the Duke. In like manner he executed portraits of Duke Lorenzo and
Duke Giuliano, with a perfect grace of colouring not achieved by any
other than himself, which are in the possession of the heirs of
Ottaviano de' Medici at Florence.

Thereupon there came to Raffaello a great increase of glory, and
likewise of rewards; and for this reason, in order to leave some
memorial of himself, he caused a palace to be built in the Borgo
Nuovo at Rome, which Bramante executed with castings. Now, the fame
of this