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Updated: June 28, 2025
And there, mamma, are some prints, a 'Raising of Lazarus, though not quite so grand as my beloved 'Sebastian del Piombo. And here are views from my own beautiful Scotland a 'Highland Loch, and 'Edinburgh Castle; and, oh, mamma! there is grand old 'Stirling, the place where I was born!
There is yet another inconvenience: the circle of buildings with their adjuncts outside added to Bramante’s plan would make it necessary to pull down to the ground the Capella Paolina, the offices of the Piombo and the Ruota, and more besides; nay, even the Sistine Chapel would, I believe, not escape."
The younger of the two notaries and one of the witnesses threw themselves before Ginevra; but Piombo knocked them violently down, his face on fire, and his eyes casting flames more terrifying than the glitter of the dagger. When Ginevra saw him approach her she looked at him with an air of triumph, and advancing slowly, knelt down. "No, no!
Its resemblance, moreover, is, as regards the general lines of the composition, a very striking one to the celebrated Sciarra 'Violin-Player, by Sebastiano del Piombo.... The handsome, manly head has lost both subtlety and character through some too severe process of cleaning, but Venetian art has hardly anything more magnificent to show than the costume, with the quilted sleeve of steely, blue-grey satin, which occupies so prominent a place in the picture."
Furniture of all epochs heterogeneously clumped together, here a sofa /a la renaissance/ in Gobelin; there a rosewood Console from Gillow; a tall mock-Elizabethan chair in black oak, by the side of a modern Florentine table of Mosaic marbles; all kinds of colours in the room, and all at war with each other; very bad copies of the best-known pictures in the world in the most gaudy frames, and impudently labelled by the names of their murdered originals, "Raphael," "Corregio," "Titian," "Sebastian del Piombo."
A strong element of the Giorgionesque pathos informs still and gives charm to the Sciarra Violin-Player of Sebastiano del Piombo; only that there it is already tempered by the haughty self-restraint more proper to Florentine and Roman portraiture.
Most of his defects, it is probable, arose from his indefatigable vigour, which earned for him the nickname of Il Furioso. Sebastian del Piombo said that Tintoretto could paint as much in two days as would occupy him two years.
Vasari, well pleased no doubt to renew his acquaintance with the acknowledged head of the contemporary Venetian painters, acted as his cicerone in the visits to the antiquities of Rome, to the statues and art-treasures of the Vatican, while Titian's fellow-citizen Sebastiano del Piombo was in his company when he studied the Stanze of Raphael.
Writing to Sebastiano del Piombo in 1521, Michelangelo shows how fully he was aware of this. He speaks of "the three years I have lost." A meeting had been arranged for the late autumn of 1515 between Leo X. and Francis I. at Bologna. The Pope left Rome early in November, and reached Florence on the 30th.
Ginevra alone was able to endure his glance, for her eyes flamed also, and the daughter was worthy of the sire. "Oh! to love you! What man is worthy of such a life?" continued Piombo. "To love you as a father is paradise on earth; who is there worthy to be your husband?" "He," said Ginevra; "he of whom I am not worthy." "He?" repeated Piombo, mechanically; "who is he?" "He whom I love."
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