i 3 2 APPENDIX. 



liberties againft the rules of Perfpe&ive ; his colouring is not 

 over true, or very pleafant : He knew not the artifice of light 

 and lhadow; but he defigned more learnedly, and better 

 underftood all the knittings of the bones, and the office and 

 lituation of the mufcles, than any of the modern Painters, 

 There appears a certain air of greatnefs and feverity in his 

 figures ; in both which he has oftentimes fucceeded. But 

 above the reft of his excellencies, was his wonderful fkill in 

 Architecture, wherein he has not only furpaffed all the mo- 

 derns, but even the antients alfo; the St. Peter's of Rome, 

 the St. John's of Florence, the Capitol, the Palazzo Farnefe, 

 and his own Houfe, are fufficient teftimonies of it. His dif- 

 ciples were, Marcello Venufli, II RofTo, Georgio Vafari, Fra. 

 Baftiano, (who commonly painted for him) and many other 

 Florentines. 



PIETRO PERUGINO defigned with fufficient knowledge of 

 Nature ; but he is dry, and his manner little. His Difciple 

 was 



RAPHAEL SANTIO, who was born on Good-Friday, in the 

 year 1483, and died on Good-Friday, in the year 1520; fo 

 that he lived only thirty-feven years compleat. He furpafled 

 all modern Painters, becaufe he pofTefled more of the excel- 

 lent parts of Painting than any other > and it is believed that 

 he equalled the antients, excepting only that he defigned not 

 naked bodies with fo much learning as Michael Angelo ; but 

 his gufto of delign is purer, and much better. He painted 

 not with fo good, fo full, and fo graceful a manner as Cor- 

 j-eggio; nor has he any thing of the contrail: of light and 

 fhadow, or fo ftrong and free a colouring as Titian -, but he 

 had a better difpofition in his pieces, without comparifon, 

 than either Titian, Correggio, Michael Angelo, or all the reft 

 of the fucceeding Painters to our days. His choice of atti- 

 tudes, 



