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Updated: June 28, 2025
The two young girls then looked at each other fixedly, in silence. "Come, mesdemoiselles, take your places," said Servin. "If you wish to do as well as Mademoiselle di Piombo, you mustn't be always talking fashions and balls, and trifling away your time as you do." When they were all reseated before their easels, Servin sat down beside Ginevra.
Finally, after Fra Sebastiano had come to such a state that he would not work or do any other thing but attend to the duties of his office as Friar of the Piombo, and enjoy the pleasures of life, at the age of sixty-two he fell sick of a most acute fever, which, being a ruddy person and of a full habit of body, threw him into such a heat that he rendered up his soul to God in a few days, after making a will and directing that his body should be carried to the tomb without any ceremony of priests or friars, or expenditure on lights, and that all that would have been spent thus should be distributed to poor persons, for the love of God; and so it was done.
At the same time, Michelangelo's influence was undeniable, and we cannot ignore the testimony of those who conversed with both great artists of Julius himself, for instance, when he said to Sebastian del Piombo: "Look at the work of Raffaello, who, after seeing the masterpieces of Michelangelo, immediately abandoned Perugino's manner, and did his utmost to approach that of Buonarroti."
He made a sign to his brother, who then took Piombo away. Lucien inquired with interest as to the financial condition of the former protector of their family. Piombo took him to a window and showed him his wife and Ginevra, seated on a heap of stones. "We came from Fontainebleau on foot; we have not a single penny," he said.
Ginevra, mortified by her father's incivility, dragged forward a chair. The officer's answer seemed to satisfy the old servant of Napoleon. Madame Piombo, observing that her husband's eyebrows were resuming their natural position, said, by way of conversation: "Monsieur's resemblance to a person we knew in Corsica, Nina Porta, is really surprising."
At the end of a week her mother signed to her. She went; and Elisa Piombo whispered in her ear: "I have persuaded your father to receive him." "Oh! mother, how happy you have made me!" That day Ginevra had the joy of coming home on the arm of her Luigi. The officer came out of his hiding-place for the second time only.
"No, father," she said, gently, "he is a young man without fortune." "Is he very handsome?" "He is very unfortunate." "What is he?" "Labedoyere's comrade; he was proscribed, without a refuge; Servin concealed him, and " "Servin is a good fellow, who has done well," cried Piombo; "but you, my daughter, you do wrong to love any man, except your father."
The following day Mademoiselle Thirion informed all the members of the class, under pledge of secrecy that Ginevra di Piombo had a lover, a young man who came during the hours for the lesson, and concealed himself in the garret beyond the studio. "You, who take her part," she said to Mademoiselle Roguin, "watch her carefully, and you will see how she spends her time."
The most important artist besides Titian who was a pupil of Giorgione was SEBASTIANO DEL PIOMBO, as he was called his father's name was LUCIANI. But as two other notable influences determined his career, he is not to be taken as typical of the Venetian School in general or that of Giorgione in particular. Born in Venice about the year 1485, he first studied under Giovanni Bellini, as appears from the signature as well as from the style of a Piet
According to one guess the last 'Fornarina' is Vittoria Colonna, the Marchesa de Pescara, painted by Seba Piombo, instead of by Raphael; and according to another, the Roman 'Fornarina' is no Fornarina beloved by Raphael, but Beatrice Pio, a celebrated improvisatrice of the time.
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