a work by Raffaello, but rather by Pietro. For
S. Francesco, also in the same city, he painted a little
panel-picture of the Marriage of Our Lady, in which one may
recognize the excellence of Raffaello increasing and growing in
refinement, and surpassing the manner of Pietro. In this work is a
temple drawn in perspective with such loving care, that it is a
marvellous thing to see the difficulties that he was for ever
seeking out in this branch of his profession.

Meanwhile, when he had acquired very great fame by following his
master's manner, Pope Pius II[23] had given the commission for
painting the library of the Duomo at Siena to Pinturicchio; and he,
being a friend of Raffaello, and knowing him to be an excellent
draughtsman, brought him to Siena, where Raffaello made for him some
of the drawings and cartoons for that work. The reason that he did
not continue at it was that some painters in Siena kept extolling
with vast praise the cartoon that Leonardo da Vinci had made in the
Sala del Papa[24] of a very beautiful group of horsemen, to be
painted afterwards in the Hall of the Palace of the Signoria, and
likewise some nudes executed by Michelagnolo Buonarroti in
competition with Leonardo, and much better; and Raffaello, on
account of the love that he always bore to the excellent in art, was
seized by such a desire to see them, that, putting aside that work
and all thought of his own advantage and comfort, he went off to
Florence.

Having arrived there, and being pleased no less with the city than
with those works, which appeared to him to be divine, he determined
to take up his abode there for some time; and thus he formed a
friendship with some young painters, among whom were Ridolfo
Ghirlandajo, Aristotile da San Gallo, and others, and became much
honoured in that city, particularly by Taddeo Taddei, who, being one
who always loved any man inclined to excellence, would have him ever
in his house and at his table. And Raffaello, who was gentleness
itself, in order not to be beaten in courtesy, made him two
pictures, which incline to his first manner, derived from Pietro,
but also to the other much better manner that he afterwards acquired
by study, as will be related; which pictures are still in the house
of the heirs of the said Taddeo.

[Illustration: LO SPOSALIZIO

(_After the panel by =Raffaello da Urbino=. Milan: Brera, 472_)

_Anderson_]

Raffaello also formed a very great friendship with Lorenzo Na