refore, having set to work, executed it with such zeal
and diligence, that it was held to be, as it is, a very beautiful piece
of painting. From the small design by Michelagnolo he made some larger
ones for his own convenience, and one of these, a very beautiful thing,
which he drew with his own hand, is in our book. Thinking that he had
discovered the true method of painting in oils on walls, Sebastiano
covered the rough-cast of that chapel with an incrustation which seemed
to him likely to be suitable for this purpose; and the whole of that
part in which is Christ being scourged at the Column he executed in oils
on the wall. Nor must I omit to tell that many believe not only that
Michelagnolo made the small design for this work, but also that the
above-mentioned Christ who is being scourged at the Column was outlined
by him, for there is a vast difference between the excellence of this
figure and that of the others. Even if Sebastiano had executed no other
work but this, for it alone he would deserve to be praised to all
eternity, seeing that, in addition to the heads, which are very well
painted, there are in the work some hands and feet of great beauty; and
although his manner was a little hard, on account of the labour that he
endured in the things that he counterfeited, nevertheless he can be
numbered among the good and praiseworthy craftsmen. Above this scene he
painted two Prophets in fresco, and on the vaulting the Transfiguration;
and the two Saints, S. Peter and S. Francis, who are on either side of
the scene below, are very bold and animated figures. It is true that he
laboured for six years over this little work, but when works are
executed to perfection, one should not consider whether they have been
finished quickly or slowly, although more praise is due to him who
carries his labours to completion both quickly and well; and he who
pleads haste as an excuse when his works do not give satisfaction,
unless he has been forced to it, is accusing rather than excusing
himself. When this work was uncovered, it was seen that Sebastiano had
done well, although he had toiled much over painting it, so that the
evil tongues were silenced and there were few who found fault with him.

[Illustration: THE FLAGELLATION

(_After the oil fresco by =Fra Sebastiano Viniziano del Piombo=. Rome:
S. Pietro in Montorio_)

_Anderson_]

After this, when Raffaello painted for Cardinal de' Medici, for sending
to France, that alta