, 1515;
Family Group; Portrait of Prothonotary Giuliano.
Bridgewater House: Madonna and Saints (E.).
Loreto. Palazzo Apostolico: Saints; Nativity; S. Michael and Lucifer
(L.); Presentation (L.); Baptism (L.); Adoration of Magi (L.).
Recanati. Municipio: Altarpiece, 1508; Transfiguration (E.).
S. Maria Sopra Mercanti: Annunciation.
Rome. Villa Borghese: Madonna with S. Onofrio and a Bishop, 1508.
Rospigliosi: Love and Chastity.
Venice. Carmine: S. Nicholas in Glory, 1529.
S. Giacomo dall' Orio: Madonna with Saints, 1546.
SS. Giovanni e Paolo: S. Antonino bestowing Alms, 1542.
Vienna. Santa Conversazione, etc.

CHAPTER XXI

SEBASTIAN DEL PIOMBO

It was very natural that Rome should wish for works of the masters of
the new Venetian School, but the first-rate men were fully employed at
home. All the efforts made to secure Titian failed till nearly the end
of his career. On the other hand, Venice was full of less famous masters
following in Giorgione's steps. When Sebastian Luciani was a young man,
Giorgione was paramount there, and no one could have foretold that his
life would be of such short duration. It was to be expected, therefore,
that a painter who consulted his own interests should leave the city
where he was overshadowed by a great genius and go farther afield. The
influence of the Guilds was withdrawn in the sixteenth century, so that
it was a simpler matter for painters to transfer their talents, and
painting was beginning to appeal strongly to the _dilettanti_, who
rivalled one another in their offers.

Only one work of Sebastian's is known belonging to this earlier time in
Venice. It is the "S. Chrysostom enthroned," in S. Giovanni Crisostomo,
and its majesty and rich colouring, and more especially the splendid
group of women on the left, so proud and soft in their Venetian beauty,
make us wonder if Sebastian might not have risen to greater heights if
he had remained in his natural environment. He responded to the call to
Rome of Agostino Chigi, the great painter, [TN: Chigi was a banker] art
collector, and patron, the friend of Leo X. Chigi had just completed
the Farnesina Villa, and Sebastian was employed till 1512 on its
decoration, and at once came under the influence of Michelangelo. The
"Pieta" at Viterbo shows that influence very strongly; in fact, Vasari
says that Michelangelo himself drew the