The midsummer of Italian art . t this direct competition betweenMichel Angelo and Raphael, which could only resultto the disadvantage of the latter,—for Sebastian wasalso a better colorist than any of Raphaels assist-ants. He offered Sebastian one of the chambersoccupied by Alexander Borgia, and Sebastian de-clined it. This peculiar partnership, however, wasnot without important consequences in the history,of Italian art. THE RAISING OF LAZARUS. A somewhat faded picture in the National Gal-ery records the friendship between Michel Angeloand Sebastian del Piombo and their united opposi-tion to
The midsummer of Italian art . t this direct competition betweenMichel Angelo and Raphael, which could only resultto the disadvantage of the latter,—for Sebastian wasalso a better colorist than any of Raphaels assist-ants. He offered Sebastian one of the chambersoccupied by Alexander Borgia, and Sebastian de-clined it. This peculiar partnership, however, wasnot without important consequences in the history,of Italian art. THE RAISING OF LAZARUS. A somewhat faded picture in the National Gal-ery records the friendship between Michel Angeloand Sebastian del Piombo and their united opposi-tion to Raphael. It was painted at the height ofthe Raphael craze and does not appear to have at-tracted the interest it deserved at the time it wasfinished, though Sebastian wrote to Michel Angelothat those who spoke with him concerning it es-teemed it superior to Raphaels cartoons. Therewere, no doubt, cool-headed and sensible judges notcarried away in the general current of adulation for* the Prince of the Synagogue. When in good. THE LIBYAN SIBYL, by MICHELANGELO Sistine Chapei, Rome The Works of Michel Angela. 121 condition it must easily have surpassed any of thecartoons. The traditional notion that it was paintedin direct competition with Raphaels Transfigurationis one of the myths of Italian art history; for theTransfiguration still remained unfinished at Ra-phaels death and we may judge from Sebastiansletters that the Raising of Lazarus was completedbefore that was begun. The comparison with thecartoons would seem to be sufficient evidence ofthis. Michel Angelos drawing was as much superior toRaphaels as the skill of Raphaels brush was superiorto Sebastians. Nevertheless Sebastian was a finecolorist and had an excellent chiaroscuro. Althoughhe was unable to do full justice to Michel Angelosdesign, their composite picture in its pristine condi-tion must have been one of the most magnificent oilpaintings of the sixteenth century. The plain truth-fulness of Michel Angelos drape
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Keywords: ., bookauthorstearnsf, bookcentury1900, bookdecade1910, bookyear1911
