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Updated: June 28, 2025
However insignificant and petty Amelie's action may now seem to be, it was at that time a very natural expression of the prevailing hatred. Ginevra Piombo, one of Servin's first pupils, had occupied the place that was now taken from her since the first day of her coming to the studio. The aristocratic circle had gradually surrounded her.
Flowers by Van Huysum, David, and Heim; butterflies painted by Abraham Mignon; Van Eycks, undoubted Cranachs and Albrecht Durers; the Giorgione, the Sebastian del Piombo; Backhuijzen, Hobbema, Gericault, the rarities of painting none of these things so much as aroused their curiosity; they were waiting for the sun to arise and shine upon these treasures.
Paul himself was dissatisfied, and eventually threw that portion of the building open to competition. Perino del Vaga, Sebastiano del Piombo, and the young Giorgio Vasari are said to have furnished designs. Michelangelo did so also; and his plan was not only accepted, but eventually carried out.
At last, when this feeling of rivalry was at its height, the Cardinal Giulio de Medici, afterward Pope Clement VII., gave orders to Raphael and Sebastian del Piombo to paint two large pictures for the Cathedral of Narbonne. The subject of Sebastian's picture was the "Raising of Lazarus," and it has always been said that Michael Angelo made the drawing for it.
A friend had just left them; and the chair on which he had been sitting, remained where he left it, between the two Corsicans. Piombo was casting glances at that chair, glances full of thoughts, crowding one upon another like remorse, for the empty chair was Ginevra's. Elisa Piombo watched the expressions that now began to cross her husband's pallid face.
The violent excitement which suffocated her stopped her words, for she had no voice; her convulsive movements showed plainly that she lay, as it were, between life and death. Bartolomeo roughly pushed her from him. "Go," he said. "The wife of Luigi Porta cannot be a Piombo. I have no daughter. I have not the strength to curse you, but I cast you off; you have no father.
A few yards after leaving the campo we come on the right to the little church of S. Giovanni Crisostomo where there are two unusually delightful pictures: a Sebastiano del Piombo and a Bellini, with a keen little sacristan who enjoys displaying their beauties and places you in the best light. The Bellini is his last signed work, and was painted when the old man was in his eighty-fifth year.
He was the passionate worshipper of the divine Giulia Gonzaga, whose portrait he caused to be painted by Sebastiano del Piombo. His part in the war undertaken by Charles V. in 1532, against the Turks, had been a strange one. Clement VII., his relative, had appointed him Legate and sent him to Vienna at the head of three hundred musketeers.
They possessed designs bequeathed by Raffaello for its decoration, and Leo, very rightly, decided to leave it in their hands. Sebastiano del Piombo, however, made a vigorous effort to obtain the work for himself. His Raising of Lazarus, executed in avowed competition with the Transfiguration, had brought him into the first rank of Roman painters.
The correspondence with Sebastiano del Piombo, which had been interrupted since 1525, now becomes plentiful, and enables us to follow some of the steps which led to the new and solemn contract of May 1532. It is possible that Michelangelo thought he ought to go to Rome in the beginning of the year.
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