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.[1] 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
- ↑ The Transfiguration has maintained itself better. Here also the bold manner of Michael Angelo is clearly apparent. —Bottari.
