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Updated: June 28, 2025
Though the Baron di Piombo displeased mere courtiers, he had the Darus, Drouots, and Carnots with him as friends. As for the rest of the politicians, he cared not a whiff of his cigar's smoke for them, especially since Waterloo.
Piombo rubbed his hands violently, with him the surest symptom of joy; he had taken to this habit at court when he saw Napoleon becoming angry with those of his generals and ministers who served him ill or committed blunders. When, as now, the muscles of his face relaxed, every wrinkle on his forehead expressed benevolence.
I could never survive you, my father, my kind father!" "Oh! my Ginevra, my own Ginevra!" replied Piombo, whose anger melted under this caress like snow beneath the rays of the sun. "It was time you ceased," said the baroness, in a trembling voice. "Poor mother!" "Ah! Ginevretta! mia bella Ginevra!" And the father played with his daughter as though she were a child of six.
All three rose from table without having addressed a single word to one another. When Ginevra had placed herself between her father and mother in the great and gloomy salon, Piombo tried to speak, but his voice failed him; he tried to walk, but he had no strength in his legs. He returned to his seat and rang the bell. "Pietro," he said, at last, to the footman, "light the fire; I am cold."
The restorer has been at it, but not to its detriment. The Piombo another company of saints over the high altar, is a fine mellow thing with a very Giorgionesque figure of the Baptist dominating it, and a lovely Giorgionesque landscape spreading away.
Lord Lansdowne's Giorgionesque picture of a young man crowned with vine, playing and singing to two girls in a garden, for example. The celebrated Concert of the Louvre Gallery, so charming for its landscape and so voluptuous in its dreamy sense of Arcadian luxury, is given by Crowe and Cavalcaselle to an imitator of Sebastian del Piombo. See History of Painting in North Italy, vol. ii. p. 147.
There, the attentive cicerone will show you, in the first chapel to the right, the Christ Scourged, by Sebastian del Piombo, and in the third chapel to the left, an Entombment by Fiammingo; having examined these two masterpieces at leisure, he will take you to each end of the transverse cross, and will show you on one side a picture by Salviati, on slate, and on the other a work by Vasari; then, pointing out in melancholy tones a copy of Guido's Martyrdom of St.
"As a matter of duty, Piombo," said Napoleon at last, "I cannot take you under my wing. I have become the leader of a great nation; I command the Republic; I am bound to execute the laws." "Ha! ha!" said Bartolomeo, scornfully. "But I can shut my eyes," continued Bonaparte. "The tradition of the Vendetta will long prevent the reign of law in Corsica," he added, as if speaking to himself.
In the year 1523 the Senate of Genoa banked 300 ducats towards the expenses of a colossal statue of Andrea Doria, the great sea-captain, to be carved by Michael Angelo. Unfortunately Michael Angelo was unable to execute this congenial task. There is a magnificent portrait of this prince, as Neptune, by Sebastiano del Piombo in the private rooms of the Doria Palace at Rome.
We have a series of most interesting letters from Sebastiano del Piombo, Michael Angelo’s favourite gossip in Rome; most of them are dated from 1520 to 1533, and give Michael Angelo at Carrara news of Sebastiano and the art world of Rome, They often relate to designs that Sebastiano wished to get from Michael Angelo in order that he might be entrusted with commissions from the Pope that would otherwise be given to the scholars of Raphael.
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