Margarita Luti
According to Vasari, Raphael was a "very amorous man and affectionate towards the ladies". He is said to have painted portraits of his mistress and to have assigned the engraver il Baviera to serve as her page. When commissioned by Agostino Chigi to decorate the Villa Farnesina, he was unable to dedicate himself properly to his work due to his infatuation - until she was allowed to come to live at his side. Again according to Vasari, it was Raphael's immoderate indulgence in "amorous pleasures", one day taken to excess, that brought on the fever which led to the young artist's death in 1520. Although in the Pantheon he lies beside his fiancée Maria, daughter of his patron Bernardo Dovizi, Raphael had long delayed his marriage; on his deathbed he sent his mistress away "with the means to live an honest life".
Raphael
As earlier with Perugino and others, Raphael was able to assimilate the influence of Florentine art, whilst keeping his own developing style. Frescos in Perugia of about 1505 show a new monumental quality in the figures which may represent the influence of Fra Bartolomeo, who Vasari says was a friend of Raphael. But the most striking influence in the work of these years is Leonardo da Vinci, who returned to the city from 1500 to 1506. Raphael's figures begin to take more dynamic and complex positions, and though as yet his painted subjects are still mostly tranquil, he made drawn studies of fighting nude men, one of the obsessions of the period in Florence. Another drawing is a portrait of a young woman that uses the three-quarter length pyramidal composition of the just-completed "Mona Lisa", but still looks completely Raphaelesque. Another of Leonardo's compositional inventions, the pyramidal "Holy Family", was repeated in a series of works that remain among his most famous easel paintings. There is a drawing by Raphael in the Royal Collection of Leonardo's lost "Leda and the Swan", from which he adapted the contrapposto pose of his own "Saint Catherine of Alexandria". He also perfects his own version of Leonardo's sfumato modelling, to give subtlety to his painting of flesh, and develops the interplay of glances between his groups, which are much less enigmatic than those of Leonardo. But he keeps the soft clear light of Perugino in his paintings.