beautifully disposed.

Sebastiano del Piombo lightened the old man's labour by his genial humour
and jovial companionship; Sebastiano followed his teaching with great
industry and skill, as all his later works show; such as the Scourging of
Christ, in San Pietro in Montorio, and the Raising of Lazarus, in our own
National Gallery: drawings by the hand of Michael Angelo still exist for
the principal figures in both these pictures. There is a Pieta by
Sebastiano, at Viterbo, evidently following the lines of one of Michael
Angelo's religious drawings; it is so beautiful in the expression of its
colour and the high finish of the nude, that we cannot but think that
Michael Angelo's exacting eyes were peering over the shoulder of
Sebastiano when he painted it.

Per ritornar la donde venne fora,
L' immortal forma al tuo carcer terreno
Venne com' angel di pieta si pieno
Che sana ogn' intelletto, e'l mondo onora.

Questo sol m' arde, eqesto m' innamora;
Non pur di fora il tuo volto sereno:
Ch' amor non gia di cosa che vien meno
Tien ferma speme, in cu' virtu dimora.

Ne altro avvien di cose altere e nuove
In cui si preme la natura; e'l cielo
E ch' a lor parto largo s' apparecchia.

Ne Dio, suo grazia, mi si mostra altrove,
Piu che 'n alcun leggiadro e mortal velo;
E quel sol amo, perche 'n quel si specchia.

APPENDIX

THREE DIALOGUES ON PAINTING COMPOSED
BY FRANCISCO D'OLLANDA, A PORTUGUESE
MINIATURE PAINTER WHO WAS IN ROME
IN THE YEAR 1538. TRANSLATED
FROM THE PORTUGUESE, WITH
THE HELP OF MR. A.J. CLIFT,
BY CHARLES HOLROYD. THE
MANUSCRIPT WAS PUBLISHED
FOR THE FIRST
TIME IN THE RENASCENCA
PORTUGUEZA
NO. VII.
PORTO,
1896

FIRST DIALOGUE

My intention in going to Italy was not to seek for advantage or honour,
but to study. I was sent there by my King, and I had no other interest in
view (such as having intercourse with the Pope or with the Cardinals of
the Court; and this God knows and Rome knows, if I had wished to dwell
there per-adventure I did not lack opportunities, both for myself and by
the favour of the p