DOI Page / Citation link:
https://doi.org/10.11588/diglit.51585#0073
MICHAEL ANGELO.
69
of this union of talent is the Raising of Lazarus,
in our National Gallery. “ Sebastian,” says Lanzi,
“ was without the gift of invention, and in compo-
sitions of many figures slow and irresolute but
he was a consummate portrait painter and a most
admirable colourist. A Venetian by birth, he had
learned the art of colouring under Giorgione. On
coming to Rome in 1518, he formed a close inti-
macy with Michael Angelo: the tradition is, that
Michael Angelo associated Sebastiano with him-
self, and gave him the cartoons of his grand de-
signs, to which the Venetian was to lend the
magical hues of his pallette for the purpose of
crushing Raphael. If this tradition be true, the
failure was signal and deserved ; but luckily we are
not obliged to believe it: it rests on no authority
worthy of credit.
Giacopo Pontormo painted the Venus and
Cupid now at Hampton Court, from a famous car-
toon of Michael Angelo ; and also a Leda, which
is in the National Gallery, and of which the
cartoon, by Michael Angelo, is in our Royal
Academy.
But the most celebrated and the most indepen-
dent among the scholars and imitators of Michael
Angelo was Daniel da Volterra, whose most
famous work is the Taking down the Saviour from
the Cross, with a number of figures full of energy
and movement.
69
of this union of talent is the Raising of Lazarus,
in our National Gallery. “ Sebastian,” says Lanzi,
“ was without the gift of invention, and in compo-
sitions of many figures slow and irresolute but
he was a consummate portrait painter and a most
admirable colourist. A Venetian by birth, he had
learned the art of colouring under Giorgione. On
coming to Rome in 1518, he formed a close inti-
macy with Michael Angelo: the tradition is, that
Michael Angelo associated Sebastiano with him-
self, and gave him the cartoons of his grand de-
signs, to which the Venetian was to lend the
magical hues of his pallette for the purpose of
crushing Raphael. If this tradition be true, the
failure was signal and deserved ; but luckily we are
not obliged to believe it: it rests on no authority
worthy of credit.
Giacopo Pontormo painted the Venus and
Cupid now at Hampton Court, from a famous car-
toon of Michael Angelo ; and also a Leda, which
is in the National Gallery, and of which the
cartoon, by Michael Angelo, is in our Royal
Academy.
But the most celebrated and the most indepen-
dent among the scholars and imitators of Michael
Angelo was Daniel da Volterra, whose most
famous work is the Taking down the Saviour from
the Cross, with a number of figures full of energy
and movement.