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Updated: June 28, 2025
What may legitimately excite surprise in the beginnings both of Giorgione and Titian, so far as they are at present ascertained, is not so much that in their earliest productions they to a certain extent lean on Giovanni Bellini, as that they are so soon themselves. Neither of them is in any extant work seen to stand in the same absolutely dependent relation to the veteran Quattrocentist which Raphael for a time held towards Perugino, which Sebastiano Luciani in his earliest manhood held towards Giorgione. This holds good to a certain extent also of Lorenzo Lotto, who, in the earliest known examples the so-called Danaë of Sir Martin Conway's collection, and the St. Jerome of the Louvre is already emphatically Lotto, though, as his art passes through successive developments, he will still show himself open to more or less enduring influences from the one side and the other. Sebastiano del Piombo, on the other hand, great master as he must undoubtedly be accounted in every successive phase, is never throughout his career out of leading-strings. First, as a boy, he paints the puzzling Piet
And yet, for all that, a very great evil had resulted from her training; Ginevra lived with her father and mother on the footing of an equality which is always dangerous. Piombo and his wife, persons without education, had allowed Ginevra to study as she pleased.
However, they could bear up against this hurt and loss, in that he left behind him two excellent disciples in Sebastiano, the Venetian, who afterwards became Friar of the Piombo at Rome, and Tiziano da Cadore, who not only equalled him, but surpassed him greatly; of both of whom we will speak at the proper time, describing fully the honour and benefit that they have conferred on art.
Piombo saw nothing more than childish nonsense in these fictitious quarrels, but the child was all the while acquiring a habit of ruling her parents. In the midst, however, of the tempests which the father was fond of exciting, a look, a word of tenderness, sufficed to pacify their angry souls, and often they were never so near to a kiss as when they were threatening each other vehemently.
The next picture on Morelli's list is the "Fête Champêtre" of the Louvre, or, as it is often called, the "Concert." In this endeavour Crowe and Cavalcaselle led the way by suggesting the author was probably an imitator of Sebastiano del Piombo.
A modern writer tells us that the church which has become the tomb of the two exiled earls stands "where the Janiculum overlooks the glory of Rome, the yellow Tiber and the Alban Hills, the deathless Coliseum, and the stretching Campagna." "Raphael had painted his Transfiguration for the grand altar; the hand of Sebastiano del Piombo had colored the walls with the scourging of the Redeemer."
The other notable pictures are Raphael's Fornarina, No. 245, which is far more Venetian than the "Madonna della Sedia," and has been given to Sebastian del Piombo; and the Venetian group on the right of the door, which is not only interesting for its own charm but as being a foretaste of the superb and glorious Giorgione in the Sala di Marte, which we now enter.
Both Sebastiano del Piombo and Giorgio Vasari were appreciated by Michelangelo for their lively parts and genial humour. The latter has told an anecdote which illustrates the old man's eccentricity. He was wont to wear a cardboard hat at night, into which he stuck a candle, and then worked by its light upon his statue of the Piet
Meanwhile, Fra Mariano having died, who had the office of the Piombo, his place was given to Sebastiano Viniziano, a painter of great repute, and to Giovanni a pension on the same of eighty chamber-ducats.
Sometimes, in the absence of her husband, the thought of the perfect happiness she might have had if this life of love could have been lived in the presence of her father and mother overcame the young wife; and then, as she felt the full power of remorse, she dropped into melancholy; mournful pictures passed like shadows across her imagination; she saw her old father alone, or her mother weeping in secret lest the inexorable Piombo should perceive her tears.
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