Citation link:
https://digi.ub.uni-heidelberg.de/diglit/vasari1851bd4/0069
FRA. SEBASTIANO DEL PIOMBO.
61
artists, were very widely diffused, and found favour among
those who preferred the grace of Raphael to the profundity
of Michelagnolo, and who showed themselves on many oc-
casions to be more favourable to Raphael in their j udgment,
than to Buonarroti.
But not so Sebastiano, he was not among the followers of
these extreme opinions ; possessing an exquisite judgment,
he fully and exactly appreciated the value of both these
masters ; the mind of Buonarroti was thereby disposed
towards him, and being greatly pleased with the grace and
beauty of his colouring, he took him into his protection,
thinking also that by assisting Sebastiano in design, he
might succeed without doing anything himself, in confound-
ing those who held the above-described opinions, while he,
under the shadow of a third person, might appear as judge
between the two, Raphael or Sebastiano, deciding which of
them was the best.*
Things being at this point, and the works of Sebastiano
having been exalted to great, or rather, infinite reputation by
the praises lavished on them by Michelagnolo, to say nothing
of the fact that they were in themselves beautiful and com-
mendable, there was a certain Messer, I know not who,
from Viterbo, who stood in high favour with the Pope, and
who commissioned Sebastiano to paint a Dead Christ, with
Our Lady weeping over him, for a certain chapel which he
had caused to be erected in the Church of San Francesco at
Viterbo ; but although the work was finished with infinite
care and zeal by Sebastiano, who executed a twilight
Landscape therein, yet the invention was Michelagnolo’s,
and the cartoon was prepared by his hand. + The picture
* Of the many opinions expressed by various authorities respecting this
passage, we can make but slight mention here. Some ask if it be probable
that Michael Angelo would resort to the plan here alluded to for the pur-
pose described, others descant on the increase of glory which results to
Raphael from the confession of inferiority implied by the admission that the
union of two artists was required to produce works that should equal
those by his hand ; and others again, proceed to question the truth of the
motive here assigned by Vasari as that by which his master was actuated,
even while they admit that the proceeding attributed to him may be authen-
ticated.
+ There is a picture on this subject painted in oil by Sebastiano del
Piombo, after the design of Michael Angelo, in the Bridgewater Collection,
61
artists, were very widely diffused, and found favour among
those who preferred the grace of Raphael to the profundity
of Michelagnolo, and who showed themselves on many oc-
casions to be more favourable to Raphael in their j udgment,
than to Buonarroti.
But not so Sebastiano, he was not among the followers of
these extreme opinions ; possessing an exquisite judgment,
he fully and exactly appreciated the value of both these
masters ; the mind of Buonarroti was thereby disposed
towards him, and being greatly pleased with the grace and
beauty of his colouring, he took him into his protection,
thinking also that by assisting Sebastiano in design, he
might succeed without doing anything himself, in confound-
ing those who held the above-described opinions, while he,
under the shadow of a third person, might appear as judge
between the two, Raphael or Sebastiano, deciding which of
them was the best.*
Things being at this point, and the works of Sebastiano
having been exalted to great, or rather, infinite reputation by
the praises lavished on them by Michelagnolo, to say nothing
of the fact that they were in themselves beautiful and com-
mendable, there was a certain Messer, I know not who,
from Viterbo, who stood in high favour with the Pope, and
who commissioned Sebastiano to paint a Dead Christ, with
Our Lady weeping over him, for a certain chapel which he
had caused to be erected in the Church of San Francesco at
Viterbo ; but although the work was finished with infinite
care and zeal by Sebastiano, who executed a twilight
Landscape therein, yet the invention was Michelagnolo’s,
and the cartoon was prepared by his hand. + The picture
* Of the many opinions expressed by various authorities respecting this
passage, we can make but slight mention here. Some ask if it be probable
that Michael Angelo would resort to the plan here alluded to for the pur-
pose described, others descant on the increase of glory which results to
Raphael from the confession of inferiority implied by the admission that the
union of two artists was required to produce works that should equal
those by his hand ; and others again, proceed to question the truth of the
motive here assigned by Vasari as that by which his master was actuated,
even while they admit that the proceeding attributed to him may be authen-
ticated.
+ There is a picture on this subject painted in oil by Sebastiano del
Piombo, after the design of Michael Angelo, in the Bridgewater Collection,