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Lives of the Most Excellent Painters, Sculptors, and Architects/Fra Sebastiano del Piombo

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Lives of the Most Excellent Painters, Sculptors, and Architects
Giorgio Vasari, translated by Mrs. Jonathan Foster
Fra Sebastiano del Piombo
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THE PAINTER, FRA SEBASTIANO DEL PIOMBO OF VENICE.

[born 1485—died 1547.]

The first profession of Sebastiano,[1] as many affirm, was not painting, but music; for, besides that he was a singer, he delighted to perform on various instruments, but more especially on the lute, that being an instrument which permits the player to take all the parts himself, without requiring any one to accompany him. His accomplishments in this matter rendered him for a time exceedingly acceptable to the ​nobles of Venice, with whom, as a man of ability, he ever lived in confidential intercourse. The wish to devote himself to painting having been conceived by Sebastiano while he was still young, he acquired the first principles of his art from Giovan-Bellini, then an old man; but when Giorgione da Castel Franco brought into Venice the newer manner, with its superior harmony and increased vividness of colouring, Sebastiano left Bellini to place himself with Giorgione.

With the last-named artist, Sebastiano remained so long that he acquired his manner to a considerable degree. He executed numerous portraits from the life in Venice, which were reputed to be excellent likenesses; among others, that of the Frenchman Verdelotto, an accomplished musician, who was then chapel-master (Maestro di Capella) in San Marco, and in the same picture Sebastiano painted the portrait of the singer Uberto, the associate of Verdelotto. This work was brought to Florence by Verdelotto, when the latter repaired to that city as Maestro di Capella at San Giovanni. It is now in the possession of the sculptor, Francesco Sangallo. About the same time, Sebastiano painted a picture in the Church of San Giovanni Grisostomo at Venice, with figures which have so much of the manner of Giorgione, that they have sometimes been taken by persons who have not much acquaintance with matters of art, to be by the hand of Giorgione himself. The work is a very beautiful one, and has a manner of colouring which secures great relief to the picture.[2]

By this work the reputation of the artist was much ex tended, and Agostino Chigi, a very rich merchant of Siena, who had frequent communications with Venice, hearing him much extolled in Rome, made efforts to attract him thither, the abilities of Sebastiano in playing on the lute being equally pleasing to Agostino with his acquirements as a painter; and the latter was furthermore incited by the agreeable conversation of Sebastiano, which was also much commended. No great labour was required to lead Sebas​tiano to Rome; nay, knowing how helpful and favourable that city, as the common country of all distinguished men, had ever proved herself towards such, he went thither more than willingly. Having arrived in Rome accordingly, Agostino set him instantly to work, and the first thing which he did was to paint the small arches above the Loggia, which looks into the garden of Agostino’s palace in the Trastevere, where the whole of the vaulting had been decorated by Baldassare of Siena. In these arches, Sebastiano painted many poesies,[3] or fanciful subjects, in the manner which he had brought with him from Venice, and which were very different from the works usually produced in Rome by the distinguished painters of that time.

After this work, Raffaello having executed a story of Galatea in that place, Agostino desired that Sebastiano should paint a Polyphemus in fresco beside it:[4] and here, impelled by a spirit of rivalry with Baldassare of Siena, and afterwards with Raphael, he did his very utmost to distinguish himself. He likewise executed certain works in oil, and of these, seeing that he had obtained from Giorgione a certain mode of colouring which was tolerably soft, much account was made at Rome. While Sebastiano was thus producing these pictures in Rome, Raffaello da Urbino had risen into great credit as a painter, and his friends and adherents maintained that his works were more strictly in accordance with the rules of art than those of Michael Agnolo, affirming that they were graceful in colouring, of beautiful invention, admirable in expression, and of characteristic design; while those of Michael Agnolo, it was averred, had none of these qualities with the exception of the design. For these reasons, Raphael was judged by those who thus opined, to be fully equal, if not superior, to Michelagnolo in painting generally, and was considered by the same to be decidedly superior to him as regarded colouring in particular. These ideas, promulgated by many ​artists, were very widely diffused, and found favour among those who preferred the grace of Raphael to the profundity of Michelagnolo, and who showed themselves on many occasions to be more favourable to Raphael in their judgment, than to Buonarroti.

But not so Sebastiano, he was not among the followers of these extreme opinions; possessing an exquisite judgment, he fully and exactly appreciated the value of both these masters; the mind of Buonarroti was thereby disposed towards him, and being greatly pleased with the grace and beauty of his colouring, he took him into his protection, thinking also that by assisting Sebastiano in design, he might succeed without doing anything himself, in confounding those who held the above-described opinions, while he, under the shadow of a third person, might appear as judge between the two, Raphael or Sebastiano, deciding which of them was the best.[5]

Things being at this point, and the works of Sebastiano having been exalted to great, or rather, infinite reputation by the praises lavished on them by Michelagnolo, to say nothing of the fact that they were in themselves beautiful and commendable, there was a certain Messer, I know not who, from Viterbo, who stood in high favour with the Pope, and who commissioned Sebastiano to paint a Dead Christ, with Our Lady weeping over him, for a certain chapel which he had caused to be erected in the Church of San Francesco at Viterbo; but although the work was finished with infinite care and zeal by Sebastiano, who executed a twilight Landscape therein, yet the invention was Michelagnolo’s, and the cartoon was prepared by his hand.[6] The picture ​was esteemed a truly beautiful one by all wbo beheld it, and acquired a great increase of reputation for Sebastiano, confirming the opinions of those by whom he was favoured;[7] then the Florentine merchant, Pier Francesco Borgherini, having obtained possession of a chapel in San Pietro-inMontorio, on the right of the entrance into that church, commissioned Sebastiano to paint the same; induced thereto by the favour shown to Sebastiano by Michelagnolo, and thinking moreover that the latter would himself execute the drawing of the whole work, which, as the matter happened, was in fact the truth.

Having commenced the paintings, accordingly, Sebastiano set hand to the work with such perfect goodwill, and completed it withSso much care and study, that it is indeed a most beautiful picture; and as, from the small design prepared by Michelagnolo, Sebastiano made several others of larger size for his own convenience, one among them, very beautifully executed by his hand, is now to be found in our book, Sebastiano was convinced that he had discovered the true method of painting in oil on the wall, he therefore covered the plaster of the chapel in San Pietro-in-Montorio with a preparation for the intonaco, which appeared to him to be properly suited for that purpose, and on this he executed the part whereon is the representation of Christ scourged at the Column, entirely in oil.[8] Nor will I conceal, that many believe Michelagnolo to have made, not the small design for this work only, but even the outline of that figure of Christ scourged at the Column, seeing that there is a great difference in the degree of excellence to be perceived in the figure here in question, and that of all the others. But had Sebastiano never executed any work excepting this one he would have ​well deserved eternal fame for this alone; the heads are admirably well done, many of the hands and feet are most beautiful, and although his manner was a little hard, an effect of the great pains which he took in the copying of the objects depicted, he may nevertheless be justly enumerated among the good and praiseworthy artists of his time. Above this story Sebastiano painted two Prophets in fresco, with a Transfiguration in the vaulted ceiling, and there are besides two Saints standing one on each side of the lowermost picture, San Piero, and San Francesco namely, which are figures of great force and animation.[9] It is true that Sebstiano laboured for six years over this small undertaking, but when works are well executed, one ought not to inquire whether they have been finished more or less expeditiously, although there is no doubt that he who executes his works rapidly, and yet completes them well, does merit to be the more highly extolled; still, if, when the work does not give satisfaction, the painter seeks to excuse himself by alleging the rapidity of the execution, this allegation is so far from presenting an excuse for the defect, that it is, on the contrary, a further accusation against himself, unless indeed he has been compelled to such haste. But when this work of Sebastiano’s was uncovered, it was found to be a good one; wherefore, although he had toiled wearily over it, yet, as he had done well, the evil tongues were silenced, and there were few who presumed to censure him.

When, some time afterwards, Raphael painted for the Cardinal de’ Medici that picture which was to be sent into France, but which after the death of the master was placed on the high altar of San Pietro in Montorio, the Transfiguration namely, Sebastiano executed one at the same time and of the same size, almost as in rivalry of Raphael, the subject being a Resurrection of Lazarus, after he had been in the grave four days. This also was painted with the most earnest care, under the direction, and in some parts with the design, of Michael Angelo. These pictures being finished, were publicly displayed together in the Hall of the Consistory; they were both very highly extolled, and, although the works of Raphael had no equal for their extraordinary grace and ​beauty, the labours of Sebastiano, nevertheless, found honourable acknowledgment and were commended by all. One of these pictures[10] was sent by the Cardinal de’ Medici to his episcopal residence at Narbonne in France,[11] the other was placed in the Chancery, where it remained until it had received the frame prepared for it by Giovanni Barile.[12] when it was taken to San Pietro in Montorio. Having performed good service by this work in the estimation of the Cardinal, Sebastiano was much favoured and very liberally rewarded during the pontificate of the same.[13]

No long time afterwards, and when, Raphael having died, the first place in painting was universally accorded to Sebastiano, in consequence of the favour which the latter received from Michelagnolo, Giulio Romano, Giovan Francesco of Florence, Perino del Yaga, Polidoro Maturino, Baldassare oi Siena, and the rest were compelled to give way;[14] wherefore Agostino Chigi, who had caused his chapel and tomb in Santa Maria del Popolo to be constructed under the direction of Raphael, agreed with Sebastiano that the latter should execute the whole of the painting, and he having erected his enclosure accordingly, the chapel remained thus concealed without ever being seen by any one, until the year 1554, at which time Luigi the son of Agostino, resolved that although his father had not been permitted to see that work finished, yet he would, himself behold the completion thereof. He, therefore, commissioned Francesco Salviati to paint the Altar-piece and the chapel, when the last-mentioned artist brought the work in a short time to that perfection which would never have been given to it by the tardiness and irresolution of Sebastiano, who, so far as can be ascertained, had done but little thereto, although he had received from the liberality of Agostino and his heirs a much larger sum than would have been due to him even had he completed the whole. But this was what Sebastiano did not do, whether because he had become weary of the labours of art, or ​because he was too busily occupied with the interests and pleasures of the world.[15] In the same manner he treated Messer Filippo of Siena, Clerk of the Chamber, for whom he commenced a story in oil on the wall, above the high altar of the church of Santa Maria della Pace in Rome, and never finished it at all, insomuch that the monks, when they had fallen quite into despair respecting it, were compelled to remove the scatfolding, which they found to encumber their church and impede the services, having no further resource but that of taking patience, and permitting the part to remain covered with a cloth, as it continued to be during all the remainder of Sebastiano’s life, but when he was dead, and the monks uncovered the picture so that what he had done could be seen, the portion that had been accomplished was acknowledged to be an exceedingly beautiful work.[16] There are many female heads for example, in that painting (which shows Our Lady visiting Sant’ Elizabetta) that are singularly pleasing and display the most attractive grace, but here also there is evidence that this man performed all that he did with infinite difficulty and most laborious pains-taking, and that no part of his work was effected with that facility with which Nature and study will sometimes reward those who delight in their vocation and are perpetually occupied therewith.

A proof of what is here affirmed may be found in this same church of the Pace, and in the chapel of Agostino Chigi, where Raphael had painted the Sybils and the Prophets; for Sebastiano, in the hope of surpassing Raphael, undertook to paint something of his own in the niches beneath these sybils and prophets, proposing to execute his work on the stone, and covering it to that end with peperigno, the interstices being filled in with stucco under the action of fire, but he spent so much time in consideration of the matter that he ​left the work after all in a state of preparation only, seeing that when it had been ten years in that condition Sebastiano died.

It is true that there was no difficulty in obtaining some portrait taken from the life from Sebastiano: this he did with tolerable ease and promptitude, but with anything appertaining to stories or other figures, it was altogether the reverse. Nay, to tell the truth, portrait painting was the proper vocation of Sebastiano; and of this we have some evidence in the likeness of Marcantonio Colonna, which is so well done that it seems to be alive, as well as in those of Ferdinando, Marquis of Pescara, and of the Signora Yittoria Colonna,[17] which are most beautiful. This master likewise took the portrait of Pope Adrian VI., when he first arrived in Pome, as he did also that of the Cardinal Hinchfort. This prelate afterwards desired that Sebastiano should paint a chapel for him in the church of Santa Maria dell’ Anima in Pome, but the artist put him off “from to-day to to-morrow,-’ in such a manner that the Cardinal at length caused his chapel to be painted by the- Flemish painter Michele,[18]his compatriot, who there depicted stories in fresco from the life of Santa Barbara, imitating our Italian manner exceedingly well. He painted the portrait of the above-named Cardinal also in this work.

But to return to Sebastiano: he also painted the likeness of the Signor Federigo da Bozzolo, with that of some captain, I know not whom, wearing armour: this last is in the possession of Giulio de’ Nobili in Florence; and in the house of Luca Torrigiani, there is a Woman in the Poman habit, by the hand of this artist. Giovanni Battista Cavalcanti has also a head painted by him, but this is not entirely finished; Sebastiano furthermore executed a picture of Our Lady, covering the Divine Child with a veil, an admirable work, now in the Guardaroba of the Cardinal Farnese. Our artist also sketched, but did not finish, a very fine picture of San Michele, standing over the prostrate form of the Devil, a figure of colossal proportions, and this was intended for the ​King of France, who had previously received a picture by the hand of the same artist.[19]

When Giulio Cardinal de’ Medici was created supreme Pontiff, and took the name of Clement VII. he caused Sebastiano to understand, by means of the Bishop of Vasona, that the time was come when his Holiness could be of service to him, a circumstance of which he (Sebastiano) should not fail to have proof when the occasion might present itself. Sebastiano meanwhile, being excellent at the taking of portraits as we have said, painted many from the life while he was entertaining the hope thus awakened, and among others was that of Pope Clement himself, who did not then wear his beard; of this portrait Sebastiano made a replica, the original being for the Bishop of Vasona: the repetition, which was of larger size, a half-length figure seated, is now in the possession of Sebastiano’s family.[20] He likewise portrayed the Florentine Anton Francesco degli Albizzi, who was then in Rome for certain of his affairs; a work of such merit that it does not seem to be painted but living: wherefore Anton Francesco, esteeming it as he might have done some precious jewel, despatched it to his home in Florence. The head and hands of this portrait are indeed a sort of miracle, to say nothing of the admirable manner in which the artist has depicted the velvets, linings, satins, and other portions of the picture. Sebastiano did certainly surpass all others in the painting of portraits; in that branch of art no one has ever equalled the delicacy and excellence of his work, and all Florence was amazed at this portrait of Anton Francesco.

About the same time our artist painted the likeness of Messer Pietro Aretino, and this also he executed in such a manner, that, not to mention the resemblance, which is nevertheless most exact, the picture is wonderful, if it were only for the difference which the painter has made so clearly ​obvious in the various kinds of blacks, not less than five or six, to be seen therein; velvet, satin, silk of Mantua, damask, and cloth namely all black, with a very black beard, finely distinguished on this sable clothing, and all so well executed that life itself could scarcely be more life-like. In the hand this portrait holds a branch of laurel with a scroll, whereon there is written the name of Clement VII.; two masks lie before him, one beautiful, to intimate Virtue, the other hideous to represent Vice. This picture was presented by Messer Pietro to his native city, and the people of Arezzo have placed it in the public hall of their council,[21] thus doing honour to the memory of their ingenious fellow citizen, and receiving no less from his fame.[22] At a later period Sebastiano painted the likeness of Andrea Doria[23] which was also an admirable work, with the head of the Florentine Baccio Valori; a painting the beauty and excellence of which it would not be possible adequately to describe.

Now it happened about this time, that Mariano Fetti Frate del Piombo[24] died, and Sebastiano, remembering the promises made to him by the above-named Bishop of Vasona, master of the household to his Holiness, made interest to obtain the office of the seal, thus vacated; wherefore, although that office was in like manner sought by Giovanni da Udine, who had also been in the service of the Pope in minoribus, and was still serving him, yet the Pontiff, moved by the prayers of the Bishop, and also by his conviction that the abilities of Sebastiano merited that favour, bestowed the desired office on Sebastiano, but commanded that he should pay three hundred scudi per annum out of the same, as a pension to Giovanni da Udine.

Thereupon Sebastiano assumed the habit of a monk: when it soon appeared as if he felt his very soul changed thereby, for perceiving that he had now the means of satisfying his desires without stroke of pencil, he gave himself up to his repose, and indemnified himself, by the enjoyments which his income supplied, for all the painful nights and laborious days ​which he had previously spent: or if on any occasion he felt obliged to execute a painting, he went to his work with such manifest reluctance that he might have been supposed to be rather going to his death. And from this we may perceive how poorly we are conducted by our own wisdom and by human prudence, for how frequently, nay, rather most commonly, do we covet that which we should least seek and do least require: supposing, as the Tuscan proverb goes, that we are about to cross ourselves with the finger, we plunge it into the eye instead. It is the common belief, for example, that by rewards and honours the minds of mortals are. stimulated to increased exertion in the study of those arts which they perceive to be well remunerated, and that, on the contrary, the perception that they who have the power to reward exertion, neglect and disregard those who distinguish themselves thereby, has the effect of causing such men to become discouraged and to abandon their vocation. Thinking thus, both ancients and moderns have ever censured, with all the force of expression which they can find, such princes as have failed to protect talents of all kinds, and have withheld from those who labour conscientiously the honours and rewards which are so justly their due. But although this rule does, for the most part, hold good, we have nevertheless occasion sometimes to remark that the liberality of just and magnanimous princes has, in certain instances, produced a contrary effect, seeing that there are many who are more disposed to contribute to the advantage and utility of the world, while in depressed and moderate condition, than when exalted to greatness and possessing an abundance of all things. And here we have a case in point. The magnificence and liberality of Clement VII., by too largely rewarding Sebastiano, who had previously served him as an excellent painter, was a temptation to that master, from the careful and pains-taking artist that he had been, to become most idle and negligent; and whereas while the struggle between himself and Kaphael da Urbino continued, and Sebastiano lived in a poor condition, he was labouring continually, he had no sooner obtained what sufficed to his wants, than he passed his time in a totally different manner.

But be this as it may, and leaving to the judgment of ​prudent princes to consider how, when, towards whom, in what manner, by what rule, and in what measure, they are to exercise their liberality in the case of artists and other men of distinction, I return to Sebastiano, and say that he executed with much delay (for he had then been made Frate del Piombo), a commission which he had received from the Patriarch of Aquileia; the subject of the work being Our Saviour Christ, a half-length figure painted on stone. This picture was much commended, more particularly for the head and hands, parts in which Sebastiano was indeed truly excellent. No long time after this, the niece of the Pope, who afterwards became and still is Queen of France,[25] arrived in Pome, when Fra Sebastiano began to paint her portrait, but never having completed the same, the unfinished work has remained in the Guardaroba of the Pontiff.

About the same time, the Cardinal Ippolito de’ Medici fell in love with the Signora Giulia Gonzaga, who then dwelt at Fondi; the said Cardinal therefore sent Sebastiano with four swift horses to that place, for the purpose of taking her portrait, and in about a month, the artist completed the likeness, when, what with the celestial beauties of that lady, and what with the able hand of so accomplished a master, the picture proved to be a most divine one.[26] Having brought his work to Rome, he received a rich reward from the Cardinal, who acknowledged, as was the case, that this portrait greatly surpassed all that Sebastiano had ever before accomplished. The work was afterwards presented to Francis, king of France, who placed it in his palace of Fontainebleau.

This painter having discovered a new method of painting on stone, very greatly pleased the people thereby, since it appeared that by this means pictures might be rendered eternal, seeing that neither fire nor the worm could injure them. Thereupon Sebastiano began to execute various works in this manner, surrounding them with ornaments made of other stones, varied in colour, and which being polished formed a most beautiful decoration to the same. It ​is true that when they were finished, these paintings, both on account of their own weight and that of their decorations, were incapable of being moved, but with the utmost pains and difficulty. Yet, many persons, attracted by the novelty of the work and the beauty of the art, gave earnest-money to the painter, to the end that he might execute such for them; but Sebastiano, who found more pleasure in talking of these pictures than in making them, put off and delayed all these things from day to day. He did, nevertheless, complete a Dead Christ, with the Madonna in stone, for Don Ferrante Gonzaga, by whom it was sent into Spain. This work had a frame or ornament, also in stone; it was considered to be an exceedingly beautiful one, and Sebastiano was paid five hundred scudi for the same by Messer Hiccolo da Cortona, agent in Rome for the Cardinal of Mantua.

There was one thing wherein Sebastiano merited considerable praise, for whereas Domenico, his compatriot, who •was the first to attempt painting in oil on stone, could never find the means of preventing the works which he executed in that manner from becoming black and looking prematurely faded, nor could Andrea dal Castagno, Antonio, and Piero del Pollaiuolo, or any other of the masters who followed him succeed better in that quest, yet Sebastiano discovered the desired method effectually,[27] and the figure of Christ scourged at the Column, which he executed for the Church of San Pietro-in-Montorio, has never changed as yet, but retains its freshness and animation unimpaired as on the first day.[28] Sebastiano used very great and many precautions in his preparations for these works,[29] forming his intonaco with mastic and pitch from the pine, all mixed carefully over the fire, and laid on the wall, where it was laid smoothly with a trowel, and covered with a surface or plaster, brought glowing from the fire. By this process his works have been enabled to resist the effects of damp and escape all evil consequences from humidity, insomuch that they preserve their colours admirably well and without ​suffering any change. With the same mixture, Sebastiano worked on peperigno marbles of different kinds, vari-coloured stones, porphyries, and other very hard surfaces, paintings which may without doubt be expected to endure for a vast period of time. He has besides hereby taught us how we may paint on silver, copper, brass, and other metals.

This man had so much pleasure in gossipping and gabbling that he would waste whole days therein, or if at length he proceeded to his work, it was easy to perceive that he was subjecting himself to infinite suffering, and this may perhaps have been one cause of an opinion which he held, which was that his works could not be adequately paid for, whatever the price he received for them. For the Cardinal of Aragona Sebastiano painted a picture, wherein he depicted an exceedingly beautiful figure of Sant’ Agatha, naked, and subjected to the frightful tortures of her martyrdom.[30] This picture, which is indeed a most admirable work, is now in the Guadaroba of the Signor Guidobaldo, Duke of Urbino,[31] and is in no respect inferior to the many other beautiful paintings by the hand of Raffaello da Urbino, of Titian, and of other masters, which are in the same place. Sebastiano likewise executed a portrait from life of the Signor Piero Gonzaga; this was painted in oil on stone, and was a most beautiful and admirable likeness, but the artist laboured over it for three entire years before he finished it.

Now in the time of Pope Clement, and when Michelagnolo was in Florence, employed about the new Sacristy of San Lorenzo, Giuliano Bugiardini was commissioned to execute a painting for Baccio Valori, the work to represent the likeness of the Pope, with that of Baccio himself, while in another; he was to depict his Holiness, with the Archbishop of Capua, this last picture being to be painted for Messer Ottaviano de’ Medici. Michelagnolo therefore had recourse to Fra Sebastiano, whom he requested to send him from Borne the head of the Pontiff painted in oil; this Sebastiano executed, and sent him accordingly, having succeeded in his ​work to perfection. When Giuliano had used the head for that purpose therefore, and had finished his pictures, Michelagnolo, who was a gossip of the said Messer Ottaviano, made the latter a present thereof; and certainly, among the many portraits painted by Sebastiano, this is one of the most beautiful. It is besides an exceedingly faithful resemblance, as may be seen in the house of the heirs of Messer Ottaviano, where it now is. This master likewise painted the portrait of Pope Paul, who had been Cardinal Farnese, so soon as he was raised to the Pontificate, and commenced that of the Duke of Castro, son of his Holiness, but left it unfinished, as he did so many of the other works of which he had made a beginning.

Fra Sebastiano had a tolerably good house which he had built for himself near the Porta del Popolo at Rome, and there he lived in the utmost content, without troubling himself further about painting or working in any way. “Itis a great fatigue,” he would often remark, “to expose ones self in age to the necessity of restraining those ardours which artists are induced to excite in themselves by the desire for honour, by emulation, and by the love of gain, although this might be endured in youth and he would add that it was quite as prudent to seek the quiet of life as to consume one’s days in labour and discomfort, in the hope of leaving a name after one’s death, seeing that the labours thus endured, with the works which were the result of them, would alike come to an end at some time, sooner or later, be they what they might. And as he would say these things, so also would he practise and put them in execution to the utmost of his power, seeking the best wines and the most inviting meats that could be found for his table, and ever thinking more of the enjoyments of life than of art.

A friend to all distinguished men. Fra Sebastiano frequently invited Molza[32] and Messer Gandolfo[33] to sup with him, when he would make them right good cheer. The Florentine, Messer Francesco Berni, was also his very intimate friend, and wrote a poem to him; whereunto Sebastiano replied by another, which was not without merit, for, ​being a man of varied acquirements, he knew, among other things, how to write Tuscan verse in a jesting humour. Being reproached by certain persons, who declared it to be a shameful thing that he would no longer work, because he had sufficient to live on, Fra Sebastiano replied in this manner: “Nay, since I have enough to support me, I will not work; there are geniuses now in the world who do more in two months than I used to do in two years; I think, indeed, that if I live much longer I shall find that every thing has been painted which it is possible to paint, and since these good people are doing so much, it is upon the whole well that there is one who is content to do nothing, to the end that they may have all the more to do.” With these and other pleasantries, Fra Sebastiano was ever ready to reply, always facetious and amusing as he was; a better or more agreeable companion than himself, of a truth, there never lived. Sebastiano, as we have said, was much beloved by Michelagnolo, but it is also true that when that part of the chapel whereon is executed the Last Judgment of Buonarroti had to be painted, there did arise some anger between them; Sebastiano having persuaded the Pope to make Michelagnolo execute the work in oil, while the latter vcould do it in no other manner than fresco. But Michelagnolo saying neither yes nor no, the wall was prepared after the fashion of Fra Sebastiano, and Buonarroti suffered it to remain thus for several months, without doing anything to the work. At length, and when pressed on the subject, he declared that he would only do it in fresco, “oil-painting being an art only fit for women, or idle and leisurely people like Fra Bastiano.” The preparations made by Sebastiano were therefore removed, and everything being made ready for the painting in fresco, Michelagnolo then set hand to the work, but he never forgot the affront which it appeared to him that he had received from Fra Sebastiano, and maintained a feeling of hatred against him almost to the Frate’s death.

Being finally brought to a state wherein he would neither work nor do any other thing but just attend to his office as Frate del Piombo,nota and give himself good cheer, Fra [34] ​Sebastiano fell sick of a most violent fever, and being of very full habit, the disease attained to such a height that in a very few days he resigned his soul to God. Having made a will, he commanded that his remains should be carried to the tomb without any ceremony of priests or friars, nor would he have any expenses incurred for lights, but ordered that the amount which would have been thus expended should be distributed to the poor, for the love of God: and so was it done. Fra Sebastiano was buried in the Church of the Popolo, in the month of June of the year 1547.

The death of this master could scarcely be considered a great loss to Art, since from the moment that he had assumed the habit of a monk, he might very justly have been accounted among the departed. It is true that his pleasant qualities in conversation did cause many of his friends to lament his death, and indeed, many artists also. Young men, in some considerable number, resorted to Sebastiano at divers times, for the purpose of studying their art, but they rarely made any great profit, since from his example, they could learn little beside the art of good living. But from this remark we must except Tommaso Lanrati,[35] a Sicilian, who, besides many other works, has executed in Bologna an exceedingly graceful picture of Venus, embracing and kissing her son Cupid. This work is in the house of Messer Francesco Bolognetti. He has likewise painted the portrait of the Signor Bernardino Savelli, which is highly commended; with other pictures, of which there is no need to make further mention.



  1. ↑ This painter’s family name was Lvcxani. Federici, in his Memorie Trevigiane, affirms Fra Sebastiano del Piombo and Fra Marco Pensaben to be one and the same person, but Lanzi and Zani have proved Federici to be in error.
  2. ↑ This picture, which represents the Madonna with St. Chrysostom and other saints, is on the High Altar of the above named-church. It was restored some years since by Bernardino Corniani degli Algarotti. There are works of this master in the Church of San Bartolommeo at Venice. These also have been re-touched.— Venetian Edition of Vasari.
  3. ↑ As our author calls every work having an historical character, a story, so he calls those taken from the poets or works of pure fancy, a poesy. — Ed. Flor., 1832-8.
  4. ↑ The Polyphemus of Fra Sebastiano has perished, and another has been fabricated in its place by some painter who was but <£ one of a dozen.” —Botteri.
  5. ↑ Of the many opinions expressed by various authorities respecting this passage, we can make but slight mention here. Some ask if it be probable that Michael Angelo would resort to the plan here alluded to for the purpose described, others descant on the increase of glory which results to Raphael from the confession of inferiority implied by the admission that the union of two artists was required to produce works that should equal those by his hand; and others again, proceed to question the truth of the motive here assigned by Vasari as that by which his master wa3 actuated, even while they admit that the proceeding attributed to him may be authenticated.
  6. ↑ There is a picture on this subject painted in oil by Sebastiano del Piombo, after.the design of Michael Angelo, in the Bridgewater Collection, but it has unhappily suffered greatly. The work, which was obtained from the Orleans Gallery, has been engraved by Be Launay.
  7. ↑ Waagen maintains that in the Holy Family by Sebastiano, now in the collection of the Baring family, the spirit of Michael Angelo is equally manifest, and the same, according to this authority, may be affirmed of the Holy Family in Lord Radnor’s Collection, as well as in the large picture of the Visitation in the Louvre, which last bears the inscription, Sebastianus Venetus faciebat, Romae, mdxxxi.
  8. ↑ The Flagellation has much darkened; experience has indeed proved that oil painting on the wall does not retain its beauty, whatever may be the precautions used to secure it. —Botteri.
  9. ↑ The Transfiguration has maintained itself better. Here also the bold manner of Michael Angelo is clearly apparent. —Bottari.
  10. ↑ That of Sebastiano namely.
  11. ↑ The manner in which this picture finally became incorporated with our own c‘ National Galley” is too well known to need repetition here.
  12. ↑ A celebrated Sienese carver in wood, mentioned in the Life of Raphael.
  13. ↑ The Cardinal Giulio de’ Medici was afterwards Pope Clement VII.
  14. ↑ Lanzi remarks that he knows not what to think of a fact that, if true, does Michael Angelo so little credit, but which yet he dares not disbelieve, in the fear of doing wrong to Vasari.
  15. ↑ “And this man,” remarks a compatriot of our author, “this man, with his slowness of intellect, his idle and self-indulgent disposition, this man was the lance with which Michael Angelo intended to lift the Urbinese from his saddle!”
  16. ↑ Of the works which Vasari reports Fra Sebastiano to have commenced in the Church of the Pace, no trace now remains.—Bottari,
  17. ↑ The portrait of Victoria Colonna was engraved by Holler,
  18. ↑ Michael Cocceis, or Coxis, of Mechlin. His works in this Chapel have suffered greatly. — Bottari.
  19. ↑ There is now in the Louvre no other work by Sebastiano than the Visitation and the portrait of the sculptor Baccio Bandinelli.
  20. ↑ In the Museo Borbonico at Naples there is a portrait called that of Pope Alexander VI., but since that Pontiff died long before the period of Sebastiano’s artistic activity, it has been conjectured, and with reasons of some weight, the grounds for which cannot be given here, that this is the portrait now in question, and should be called Clement VII.
  21. ↑ It is still in the public Palace of Arezzo.
  22. ↑ There is a portrait of Pietro Aretino by Sebastiano, in the Gallery of Berlin.
  23. ↑ Now in the Doria Gallery at Rome.
  24. ↑ Mentioned in the Life of Fra Bartolommeo. See vol. ii. p. 454.
  25. ↑ Catherine de’ Medici, wife of Henry II.
  26. ↑ The portrait called that of Giulia Gonzaga in our National Gallery is supposed, but not admitted by all authorities, to be the work here in question.
  27. ↑ There is a picture on stone by this master in the Berlin Gallery, which is in excellent preservation; it represents Our Saviour on the Cross.
  28. ↑ This work had blackened considerably in Bottari’s time (1798).
  29. ↑ In the Spedale de’ Sacerdoti (Hospital of the Priests), in Palermo, there is a Pieta on stone by Sebastiano, which is in very good preservation.
  30. ↑ The reader who may desire to see the details of this martyr’s sufferings is referred to the Sacred and Legendary Art of Mrs. Jameson, vol. ii. p. 229, et seq.
  31. ↑ Now in the Pitti Palace. This picture was among those taken to Paris, but was restored to Italy in 1814.
  32. ↑ A poet of Modena.
  33. ↑ This is the Messer Gandolfo Porrini, to whom Casa addressed his poem on the name of Giovanni.— Bottari.
  34. ↑ The reader who may desire an explanation of the nature of this office, will find it in the Life of Fra Bartolommeo, vol. ii. of the present work, p. 452, note.
  35. ↑ The name of this artist was Laureti. The beautiful fountain on the Piazza of Bologna is after his design.
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