Summary

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

All appear to be amazed at the manner in which the two cousins treat each other at an age so tender, the one evincing his reverence for the Saviour, the other affectionately caressing his companion. Every touch of the pencil in the heads, hands, and feet of this work has produced such effect that the parts seem rather to be of the living flesh than the mere colours of the painter, however able a master of his art. This most noble picture is now in the possession of the heirs of Domenico Canigiani, by whom it is held in all that esteem which is due to a work of Raphael of Urbino.
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

Prostrate on the earth are Peter, James, and John, in attitudes of great and varied beauty, one has his head bent entirely to the ground, another defends himself with his hands from the brightness of that immense light, which proceeds from the splendour of Christ, who is clothed in vestments of snowy whiteness, his arms thrown open and the head raised towards heaven, while the essence and Godhead of all the three persons united in himself, are made apparent in their utmost perfection by the divine art of Raphael.
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

When occupied with the composition of this work, Raphael had imagined to himself all the grief and pain with which the nearest and most affectionate relatives see borne to the tomb, the corpse of one who has been most dear to them, and on whom has, in truth, depended all the honour and welfare of the entire family. Our Lady is seen to be sinking insensible, and the heads of all the weeping figures are exceedingly graceful; that of San Giovanni more particularly, his hands are clasped together and he bends his head with an expression which cannot but move the hardest heart to compassion.
Source: Wikisource

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