painted a S. John on canvas, for which, on
account of its beauty, that Cardinal had an extraordinary love; but
happening to be attacked by illness, he was asked by Messer Jacopo
da Carpi, the physician who cured him, to give it to him as a
present; and because of this desire of Messer Jacopo, to whom he
felt himself very deeply indebted, he gave it up. It is now in the
possession of Francesco Benintendi, in Florence.

[Illustration: THE TRANSFIGURATION

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

_Anderson_]

For Giulio de' Medici, Cardinal and Vice-Chancellor, he painted a
panel-picture, to be sent into France, of the Transfiguration of
Christ, at which he laboured without ceasing, and brought it to the
highest perfection with his own hand. In this scene he represented
Christ Transfigured on Mount Tabor, at the foot of which are the
eleven Disciples awaiting Him. There may be seen a young man
possessed by a spirit, who has been brought thither in order that
Christ, after descending from the mountain, may deliver him; which
young man stretches himself out in a distorted attitude, crying
and rolling his eyes, and reveals his suffering in his flesh, his
veins, and the beat of his pulse, all infected by that malignant
spirit; and the colour of his flesh, as he makes those violent and
fearsome gestures, is very pale. This figure is supported by an old
man, who, having embraced him and taken heart, with his eyes wide
open and the light shining in them, is raising his brows and
wrinkling his forehead, showing at one and the same time both
strength and fear; gazing intently, however, at the Apostles, he
appears to be encouraging himself by trusting in them. Among many
women is one, the principal figure in that panel, who, having knelt
down before the Apostles, and turning her head towards them,
stretches her arms in the direction of the maniac and points out his
misery; besides which the Apostles, some standing, some seated, and
others kneeling, show that they are moved to very great compassion
by such misfortune. And, indeed, he made therein figures and heads
so fine in their novelty and variety, to say nothing of their
extraordinary beauty, that it is the common opinion of all craftsmen
that this work, among the vast number that he painted, is the most
glorious, the most lovely, and the most divine. For whoever wishes
to know how Christ Transfigured and made Divine should be
represented in painting