Page:Cyclopedia of Painters and Paintings, 1887, vol 3.djvu/498

PIOTROWSKI of the Piombo (Keeper of the Leaden Seals) which he held under Clement VIE. and Paul HI. Pupil of Giovanni Bel- lini and after- wards of Gior- gione. An ex- ample of his work at this period is the '-f- Majesty of St. John Chrysos- tum, in S. Gio- vanni Crisostomo, Venice. Ho was called to Eome soon after 1509 by Agostiuo Chigi to assist in decorating the Farnesina with fres- cos, but after painting nine lunettes in the garden lodge, with little success, ceased to work there about 1512. Meantime his por- traits in oil had won him fame. Among the best of this period are the so-called Forna- rina, in the Tribune of the Uffizi, Florence, the For nar ina, of Blenheim, and the Tc- baldeo, in the Galleria Scarpa at La Mot- ta, all of which have been ascribed to Raph- ael. The papal court was at this time di- vided into two strong parties, one led by Raphael, the other by Michelangelo, and the latter, feeling his own defects as a colour- ist, courted Sebastiano in hope that, by unit- ing Venetian colour with his own grand design, Itaphacl could be outdone. Se- bastiano, under the guidance of Michelan- gelo, who in many cases supplied him with designs, executed pictures which to some eyes equalled those of Raphael, and after the death of the latter won him the name of the best painter in Rome. "When Cardinal Giulio de' Medici commissioned Raphael to paint the Transfiguration, he also commis- sioned Sebastiano to paint the almost equal- ly renowned Raising of Lazarus, National Gallery, London. The Martyrdom of St. Ayatha, Palazzo Pitti, Florence, is of about the same time. Henceforward Sebastiano had many commissions, and was engaged to paint chapels, especially in S. M. del Popolo, S. M. della Pace, and S. Pietro in Montorio, in the last of which he painted the Flagel- lation and the Transfiguration, now damaged by time and restoration. The Visitation, Louvre, was painted in 1521 for Francis I. In 1527 Sebastiano went to Venice, and there probably painted the wonderful por- trait of Andrea Doria, now in the Palazzo Do- ria, Rome. He returned to Rome in 1529, and two years afterwards was appointed Piombatore to the Pope, which obliged him to become an ecclesiastic. Deriving a good income from his office, he built a house, and working little was charged with idleness in his later years. Other pictures by him are : Christ shown to the Multitude, Historical Society, New York ; Hohj Family, Baring Collection, London ; Christ in Limbo, and Christ on the Road to Golgotha, Madrid Museum ; Portraits of himself with Cardinal Ippolito de' Medici, and of an Italian Lady as St. Agatha, National Gallery, London ; Portrait of Cardinal Pole, Descent from the Cross, Christ bearing his Cross, Pield, Her- mitage, St. Petersburg ; Pieta, Two Male Portraits, Berlin Museum ; Christ bearing the Cross, Dresden Museum ; The Dead Christ supported by Angels, Oldenburg Gal- lery; Portrait of Cardinal Pucci, Vienna Mu- seum ; Portraits of Adrian VI., Naples Mu- seum, and Labouchere Collection, London ; A Bearded Man, Pitti, Florence ; Portraits of Clement VII., Naples Museum, and Parma Museum. C. & C., N. Italy, ii. 310 ; Vasari, ed. Le Hon., x. 121 ; Burckhardt, 647, C60, 722 ; Ch. Blanc, ftcole venitieune ; Dohme, 2iii.; Kugler(Eastlake),ii.512; Liibke.Gesch. ital. Mai., ii. 144 ; Kunst-Chronik, xiii. 553. PIOTROWSKI, MAXIMILIAN ANTON, born at Bromberg, Posen, in 1815, died at Konigsberg, Nov. 29, 1875. History and genre painter, pupil of Berlin Academy un- der Hensel ; painted at first romantic epi- sodes from Polish history, later on scenes of popular life in Poland, cleverly conceived and of vigorous colouring. Was profes- sor at Konigsberg Academy. Works : The Prince of Toreu (1847), A Little Word (1878), Konigsberg Museum ; Marie An- 448