_Sebastiano del Piombo_ (Venetian: 1485-1547).
This large picture is generally accounted the masterpiece of
Sebastiano Luciani. He was called _del Piombo_ (lead), from
his holding the office of Keeper of the Leaden Seal (see No.
20). Sebastiano was originally a painter and musician at
Venice, where he studied successively under John Bellini and
Giorgione. But in 1512 he was invited to Rome by the famous
banker Agostino Chigi. Here he fell under the influence of
Michael Angelo, who employed Sebastiano to execute several of
his designs, and saw in him a means, says Vasari, of outdoing
Raphael. The opportunity occurred when the Cardinal Giulio de'
Medici commissioned Raphael to paint the "Transfiguration"
(now in the Vatican), and at the same time Sebastiano to
paint this picture, on the same scale, of the Raising of
Lazarus. The pictures when finished were exhibited side by
side, and there were some who preferred Sebastiano's. "The
picture was painted," says Vasari, "with the utmost care,
under the direction, and in some parts with the design, of
Michael Angelo." There are in the British Museum two original
drawings by Michael Angelo which are evidently preparatory
studies for the figure of Lazarus; but Sebastiano cannot have
painted under his friend's direction, for Michael Angelo was
at Florence at the time, and Sebastiano writes to him, "There
has been some delay with my work. I have endeavoured to keep
it back as long as possible, that Raphael might not see it
before it is finished.... But now I do not hesitate any more. I
believe I shall not, with my work, bring discredit upon you."
Another masterpiece of Sebastiano has recently been added to
the Gallery (1450), which also contains two of his portrait
pieces (20 and 24), a branch of art in which he obtained great
success; Vasari particularly notices his skill in painting the
head and hands.
This famous picture is especially remarkable for its dramatic unity.
It is crowded with figures, but all combine to concentrate attention
on the central subject. The time chosen by the painter is after the
completion of the miracle: "He that was dead came forth, bound hand and
foot with grave-clothes; and his face was bound about with a napkin."
Jesus in the middle of the picture is uttering the words, "Loose him,
and let him go;" with his right hand Jesus points to heaven, as if he
said, "I have raised thee by the power of him who sent me." The three
men, who have already removed the lid of the sepulchre, are fulfilling
Christ's command. The grave-clothes, by which the face of Lazarus is
thrown into deep shade, express the idea of the night of the grave
which but just before enveloped him; and the eye looking eagerly
from beneath the shade upon Christ shows the new life in its most
intellectual organ. To the left, behind Christ, is St. John, answering
objections raised against the credibility of the miracle. Farther off,
behind this group, is one of the Pharisees, whose unbelief is combated
by the man who points in evidence to the raised Lazarus. Behind Lazarus
is his sister Martha, sickening now at what she most desired; behind
her are other women--holding their noses.[38] At the foot of Jesus is
the other sister, Mary, full of faith and gratitude--
Her eyes are homes of silent prayer,
Nor other thought her mind admits
But, he was dead, and there he sits,
And he that brought him back is there.
Then one deep love doth supersede
All other, when her ardent gaze
Roves from the living brother's face,
And rests upon the Life indeed.
TENNYSON: _In Memoriam_, xxxii.