Page:Cyclopedia of painters and paintings (IA cyclopediaofpain03cham).pdf/470

of the Piombo (Keeper of the Leaden Seals) which he held under Clement VII. and Paul III. Pupil of Giovanni Bellini and afterwards of Giorgione. An example of his work at this period is the Majesty of St. John Chrysostom, in S. Giovanni Crisostomo, Venice. He was called to Rome soon after 1509 by Agostino Chigi to assist in decorating the Farnesina with frescos, but after painting nine lunettes in the garden lodge, with little success, ceased to work there about 1512. Meantime his portraits in oil had won him fame. Among the best of this period are the so-called Fornarina, in the Tribune of the Uffizi, Florence, the Fornarina, of Blenheim, and the Tebaldeo, in the Galleria Scarpa at La Motta, all of which have been ascribed to Raphael. The papal court was at this time divided into two strong parties, one led by Raphael, the other by Michelangelo, and the latter, feeling his own defects as a colourist, courted Sebastiano in hope that, by uniting Venetian colour with his own grand design, Raphael could be outdone. Sebastiano, under the guidance of Michelangelo, 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 commissioned Sebastiano to paint the almost equally renowned Raising of Lazarus, National Gallery, London. The Martyrdom of St. Agatha, 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 Flagellation 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 portrait of Andrea Doria, now in the Palazzo Doria, 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; Holy 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, Pietà, Hermitage, St. Petersburg; Pietà, Two Male Portraits, Berlin Museum; Christ bearing the Cross, Dresden Museum; The Dead Christ supported by Angels, Oldenburg Gallery; Portrait of Cardinal Pucci, Vienna Museum; Portraits of Adrian VI., Naples Museum, 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 Mon., x. 121; Burckhardt, 647, 660, 722; Ch. Blanc, École vénitienne; Dohme, 2iii.; Kugler (Eastlake), ii. 512; Lübke, Gesch. ital. Mal., ii. 144; Kunst-Chronik, xiii. 553.

PIOTROWSKI, MAXIMILIAN ANTON, born at Bromberg, Posen, in 1815, died at Königsberg, Nov. 29, 1875. History and genre painter, pupil of Berlin Academy under Hensel; painted at first romantic episodes from Polish history, later on scenes of popular life in Poland, cleverly conceived and of vigorous colouring. Was professor at Königsberg Academy. Works: The Prince of Toren (1847), A Little Word (1873), Königsberg Museum; Marie An-