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Updated: June 2, 2025
And so it came to pass that in Del Piombo's indolent genius Venetian color was blended with Florentine composition and a something of Raphael's manner in the few pictures which he deigned to paint, and the sketches were made for him, it is said, by Michael Angelo himself. The four pearls are equal; there is the same lustre and sheen, the same rounded completeness, the same brilliancy.
But I think our ultras are acting more from jealousy than from party spite." "I have a great mind to go and get Mademoiselle Piombo's easel and place it next to mine," said Matilde Roguin. She rose, but second thoughts made her sit down again. "With a character like hers," she said, "one can't tell how she would take a civility; better wait events."
While there I pointed out to him Sebastian del Piombo's picture of the raising of Lazarus as one of the supposed masterpieces of our collection. He had the proper orthodox fit of admiration over it, and then we went through the other rooms. After a while we found ourselves before West's picture of "Christ healing the Sick."
Ginevra's whole heart belonged to her father, as Piombo's whole heart belonged to his child; and if it be true that we are bound to one another more by our defects than by our virtues, Ginevra echoed in a marvellous manner the passions of her father. There lay the sole imperfection of this triple life. Ginevra was born unyielding of will, vindictive, and passionate, like her father in his youth.
But, indeed, you are so familiar with Raphael's pictures that you need only to recall them to mind. This was painted under peculiar circumstances, in competition, you remember, with Sebastian del Piombo's Resurrection of Lazarus; and Sebastian was a pupil of Michael Angelo. Some writers have affirmed that that master aided his pupil in the drawing of the chief figures in his picture.
It has been suggested that Giorgione merely supplied the design; but I think one might safely go further and affirm that the painting of the right side was his too and the left Piombo's.
Fifteen years elapsed between the time of Piombo's arrival with his family in Paris and the following event, which would be scarcely intelligible to the reader without this narrative of the foregoing circumstances. Servin, one of our most distinguished artists, was the first to conceive of the idea of opening a studio for young girls who wished to take lessons in painting.
The old collector walked in his dressing-gown along the narrow spaces between the credence-tables and the sideboards that lined the wall; his feet bare, his head on fire. His first glance of ownership told him that everything was there; he turned to go back to bed again, when he noticed that a Greuze portrait looked out of the frame that had held Sebastian del Piombo's Templar.
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