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SEBASTIANO DEL PIOMBO (1485-1547) , See also:Italian painter, was See also:born at See also:Venice in 1485. His See also:family name was Luciani. He belongs to the Venetian school, exceptionally modified by the Florentine or See also:Roman. At first a musician, chiefly a See also:solo-player on the See also:lute, he was in See also:great See also:request among the Venetian See also:nobility. He soon showed a turn for See also:painting, and became a See also:- PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)
pupil of Giovanni See also:Bellini and afterwards of See also:Giorgione. His first painting of See also:note was done for the See also:- CHURCH
- CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
- CHURCH, FREDERICK EDWIN (1826-1900)
- CHURCH, GEORGE EARL (1835–1910)
- CHURCH, RICHARD WILLIAM (1815–189o)
- CHURCH, SIR RICHARD (1784–1873)
church of See also:San Giovanni Crisostomo in Venice, and is so closely modelled on the See also:style of Giorgione that in its author's See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time it often passed for the See also:work of that See also:master. It represents See also:Chrysostom See also:reading aloud at a See also:desk, a See also:grand Magdalene in front, and two other See also:female and three male See also:saints. Towards 1512 Sebastiano was invited to See also:Rome by the wealthy Sienese See also:merchant See also:Agostino Chigi, who occupied a See also:villa by the See also:Tiber, since named the Farnesina; he executed some frescoes here, other leading artists being employed at the same time. The Venetian mode of See also:colour was then a startling novelty in Rome. - See also:Michelangelo saw and approved the work of Luciani, became his See also:personal friend, and entered into a See also:peculiar arrangement with him. At this See also:period the pictorial ability of Michelangelo was somewhat decried in Rome, the See also:rival See also:faculty of See also:Raphael being invidiously exalted in comparison; in especial it was contended that Buonarroti See also:fell See also:short as a colourist. He therefore thought that he might try whether, by furnishing designs for pictures and leaving to Sebastiano the See also:execution of them in colour, he could not maintain at its highest level his own See also:general supremacy in the See also:art. In this there seems to have been nothing particularly unfair, always assuming that the compact was not fraudulently concealed; and the facts are so openly stated by Michelangelo's friend See also:Vasari (besides other writers) that there appears to have been little or no disguise in the See also:matter. The pictures are there to speak for themselves; and connoisseurs have always acknowledged that the quality of Michelangelo's unmatched See also:design is patent on the See also:face of them. Some writers, however, jealous for Buonarroti's personal rectitude, have denied that his handiwork is to be traced in the pictures bearing the name of Sebastiano.
Four leading pictures which Sebastiano painted in pursuance of his See also:league with Buonarroti are the "Pieta" (earliest of the four), in the church of the Conventuali, See also:Viterbo; the " Trans-figuration " and the " Flagellation," in the church of S. Pietro in Montorio, Rome; and, most celebrated of all, the " Raising of See also:Lazarus," now in the See also:National See also:Gallery, See also:London. This grand work—more remarkable for general strength of pictorial See also:perception than for qualities of detailed intellectual or emotionalexpression—is more than 12 by 9 ft. in dimensions, with the See also:principal figures of the natural See also:size; it is inscribed " Sebastianus Venetus faciebat," and was transferred from See also:wood to See also:canvas in 1771. It was painted in 1517-1519 for Giulio de' See also:Medici, then See also:bishop of See also:Narbonne, afterwards See also:Pope See also:Clement VII.; and it remained in Narbonne See also:cathedral until See also:purchased by the See also:duke of See also:- ORLEANS
- ORLEANS, CHARLES, DUKE OF (1391-1465)
- ORLEANS, DUKES OF
- ORLEANS, FERDINAND PHILIP LOUIS CHARLES HENRY, DUKE OF (1810-1842)
- ORLEANS, HENRI, PRINCE
- ORLEANS, HENRIETTA, DUCHESS
- ORLEANS, JEAN BAPTISTE GASTON, DUKE
- ORLEANS, LOUIS
- ORLEANS, LOUIS PHILIPPE JOSEPH
- ORLEANS, LOUIS PHILIPPE ROBERT, DUKE
- ORLEANS, LOUIS PHILIPPE, DUKE OF (1725–1785)
- ORLEANS, LOUIS, DUKE OF (1372–1407)
- ORLEANS, PHILIP I
- ORLEANS, PHILIP II
Orleans See also:early in the 18th See also:century—coming to See also:England with the Orleans gallery in 1792. It used to be generally admitted (yet it is now increasingly contested) that the design of Michelangelo appears in the figure of Lazarus and of those who are busied about him (the See also:British Museum contains two sketches of the Lazarus regarded as Michelangelo's handiwork); but whether he actually touched the See also:panel, as has often been said, appears more than doubtful, as he See also:left Rome about the time when the picture was commenced. Raphael's " Transfiguration " was painted for the same See also:patron and the same destination. The two See also:works were exhibited together, and some admirers did not See also:scruple to give the preference to Sebastiano's. The " Flagellation of See also:Christ," though ordinarily termed a See also:fresco, is, according to Vasari, painted in oil upon the See also:wall. This was a method first practised by Domenico Veneziano, and afterwards by other artists; but Sebastiano alone succeeded in preventing the blackening of the See also:colours. The See also:contour of the figure of Christ in this picture is supposed by many to have been supplied by Buonarroti's own See also:hand. Sebastiano, always a tardy worker, was occupied about six years upon this work, along with its See also:companion the " Transfiguration," and the allied figures of saints.
After the See also:elevation of Giulio de' Medici to the pontificate, the See also:- OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")
office of the " piombo " or leaden See also:seal—that is, the office of sealer of briefs of the apostolic chamber—became vacant; two painters competed for it, Sebastiano Luciani, hitherto a comparatively poor See also:man, and Giovanni da See also:Udine. Sebastiano, assuming the See also:habit of a See also:friar, secured the very lucrative See also:appointment—with the proviso that he should pay out of his emoluments 300 scudi per annum to Giovanni. If he had heretofore been slow in paintings he became now supine in a marked degree. One of the few subject-pictures which he executed after taking office was " Christ carrying the See also:Cross " for the See also:patriarch of See also:Aquileia, also a " Madonna with the See also:body of Christ." The former painting is done on See also:- STONE
- STONE (0. Eng. shin; the word is common to Teutonic languages, cf. Ger. Stein, Du. steen, Dan. and Swed. sten; the root is also seen in Gr. aria, pebble)
- STONE, CHARLES POMEROY (1824-1887)
- STONE, EDWARD JAMES (1831-1897)
- STONE, FRANK (1800-1859)
- STONE, GEORGE (1708—1764)
- STONE, LUCY [BLACKWELL] (1818-1893)
- STONE, MARCUS (184o— )
- STONE, NICHOLAS (1586-1647)
stone, a method invented by Sebastiano himself. He likewise painted at times on See also:slate—as in the instance of " Christ on the Cross," now in the See also:Berlin gallery, where the slate constitutes the background. In the same method, and also in the same gallery, is the "Dead Christ supported by See also:Joseph of Arimathea, with a weeping Magdalene "—See also:colossal See also:half-length figures. See also:Late in See also:life Sebastiano had a serious disagreement with Michelangelo with reference to the Florentine's great ,picture of the " Last See also:Judgment." Sebastiano encouraged the pope to insist that this picture should be executed in oil. Michelangelo, determined from the first upon nothing but fresco, tartly replied to his holiness that oil was only See also:fit for See also:women and for sluggards like Friar See also:Sebastian; and the coolness between the two painters lasted almost up to the friar's See also:death. This event, consequent upon a violent See also:fever acting rapidly upon a very sanguine temperament, took See also:place in Rome in 1547. Sebastiano directed that his See also:burial, in the church of S Maria del Popolo, should be conducted without ceremony of priests, friars or See also:lights, and that the cost thus saved should go to the poor; in this he was obeyed.
Numerous pupils sought training from Sebastiano del Piombo; but, owing to his See also:dilatory and self-indulgent habits, they learned little from him, with the exception of Tommaso Laureti. Sebastiano, conscious of his deficiency in the higher See also:sphere of invention, made himself especially celebrated as a portrait painter: the likeness of See also:Andrea See also:Doria, in the Doria See also:Palace, Rome, is one of the most renowned. In the National Gallery, London, are.two See also:fine specimens; one canvas represents the friar himself, along with See also:Cardinal Ippolito de' Medici; the other, a portrait of a See also:lady in the See also:character of St See also:Agatha, used to be identified with one of Sebastiano's See also:prime works, the likeness of Julia See also:Gonzaga (painted for her See also:lover, the aforenamed cardinal), but this See also:assumption is now discredited. There were also portraits of See also:Marcantonio See also:Colonna, See also:Vittoria Colonna, See also:Ferdinand See also:marquis of See also:Pescara, Popes See also:Adrian VI., Clement VII. (Studj Gallery, See also:Naples) and See also:Paul III., Sanmicheli, Anton See also:Francesco degli Albizzi
and Pietro See also:Aretino. One likeness of the last-named sitter is in See also:Arezzo and another in the Berlin gallery.
'See his general histories of art; and, with regard to his designs, Bernhard Berenson, The Drawings of Florentine Painters (1904). The decision as to the authorship of various pictures which may or may not be attributable to Sebastiano del Piombo is necessarily a matter of contemporary connoisseurship, and it need only be noted that Mr Berenson is inclined to give increased importance to this master. (W. M.
End of Article: SEBASTIANO DEL PIOMBO (1485-1547)
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