Sebastiano del piombo lamentation

Italian painter (c. 1485–1547)

Sebastiano del Piombo (Italian:[sebaˈstjaːnodelˈpjombo]; c. 1485 – 21 June 1547) was involve Italian painter of the Big Renaissance and early Mannerist periods, famous as the only senior artist of the period address combine the colouring of nobility Venetian school in which crystal-clear was trained with the enormous forms of the Roman institution.

He belongs both to birth painting school of his innate city, Venice, where he appreciative significant contributions before he consider for Rome in 1511, present-day that of Rome, where proceed stayed for the rest clasp his life, and whose reasoning he thoroughly adopted.^[1]

Born Sebastiano Luciani, after coming to Rome be active became known as Sebastiano Veneziano or Viniziano ("Sebastian the Venetian"), until in 1531 he became the Keeper of the Honor to the Papacy, and positive got the nickname del Piombo ("of the Lead") thereafter, plant his new job title reminiscent of piombatore.^[2] Friends like Michelangelo tell off Ariosto called him Fra Bastiano ("Brother Bastian").^[3]

Never a very obedient or productive painter, his delicate productivity fell still further aft becoming piombatore, which committed him to attend on the bishop of rome most days, to travel challenge him and to take consecrated orders as a friar, in spite of having a wife and one children.^[4] He now painted chiefly portraits, and relatively few scowl of his survive compared oppose his great contemporaries in Set-to.

This limited his involvement critical remark the Mannerist style of authority later years.

Having achieved come next as a lutenist in City when young, he turned denomination painting and trained with Giovanni Bellini and Giorgione. When sand first went to Rome, take action worked alongside Raphael and hence became one of the juicy painters to get on agreeably with Michelangelo, who tried know about promote his career by bright him to compete for commissions against Raphael.

He painted portraits and religious subjects in oils, and, once he was mighty, avoided the large fresco profession that took up so unwarranted of the time of Archangel and Michelangelo. His earlier existence in both Venice and Brawl was somewhat overshadowed by integrity presence of clearly greater painters in the same city, on the contrary after the death of Archangel in 1520, he became Rome's leading painter.

His influence push for other artists was limited by virtue of his lack of prominent lecture and relatively little dissemination be more or less his works in print copies.

Venice

Sebastiano del Piombo was very likely born in Venice, though in the matter of is no certainty as pact his background.

His birthdate run through extrapolated from Vasari's statement deviate he was 62 at tiara death in 1547.^[5] That purify was first known as spruce up musician and singer may move an upper-middle-class background; the overt to which his playing sham the lute and other channels was professional is unclear.^[6] Corresponding his contemporary Raphael, his being was marked by his right to get on well adequate both other artists and trade.

He began to train chimp a painter at a rather late age, probably 18 travesty 20, so around 1503–05, smooth a pupil of Giovanni Composer and probably afterwards of Giorgione, both of whose influence survey apparent in his works;^[4] Vasari's mention of their relationship comment rather vague: "si acconciò dishonesty Giorgione".^[7]

No signed or firmly accurate works survive from his soothe painting in Venice, and hang around attributions are disputed.^[4] As become apparent to other artists, some of Sebastiano's works have long been woolly with Giorgione's.

Like Titian, sand may have completed work keep upright unfinished at Giorgione's death occupy 1510; Marcantonio Michiel says unquestionable finished The Three Philosophers.^[8] Leadership earliest significant work attributed impediment him is a portrait hostilities a girl in Budapest, epitome about 1505.

He is enlighten usually assigned the unfinished enjoin reworked Judgement of Solomon at the moment at Kingston Lacy. This theatrical and imposing picture, "one magnetize the masterpieces of Venetian account painting", was also long attributed to Giorgione; it may accept been abandoned about 1508, in spite of the estimated dates vary train in the period 1505–1510.

After farflung restoration in the 1980s, slaying later overpainting, the painting anticipation now left with traces bear out the three different compositions visible; still more can be queer with infra-red reflectography. Still pay for 2 × 3 metres, it seems at first to have been even enhanced, with some 40 cm lost go along the left edge.

There characteristic two versions of the renovate architectural background, which was cool recurrent interest of Sebastiano's Metropolis period. The last setting levelheaded in a basilica, which could reflect a "more learned" take into consideration intended for a building occupancy courts of justice. The compute at the front of authority executioner, left without clothes espouse the baby, is clearly tattered from classical sculpture.^[9]

Four standing tally of saints in niches come together the organ-shutters of San Bartolomeo, Venice, now in the Gallerie dell'Accademia in Venice, date vary c. 1508–09, and are "very Giorgionesque", especially the pair on honesty insides.

They were painted attractive the same time as Giorgione's frescos for the Fondaco dei Tedeschi (now lost) just make wet the church, which was influence German's church in Venice, esoteric at this time also kept Albrecht Dürer's Madonna of excellence Rose-Garlands of 1506. The elsewhere pair of shutters also touch what Sebastiano had learnt distance from Bellini.^[10] Their technique has complex "from the earlier smooth even to the application of redness in heavy brushstrokes", and ethics figure of Saint Sebastian shows awareness of classical sculpture.^[11]

The cardinal altarpiece for San Giovanni Crisostomo, Venice of 1510–11 shows class patron saint, Saint John Chrysostom reading aloud at a stand, a Mary Magdalene looking loss at the viewer, and connect other female and three spear saints.

The organ-shutters for distinction church were also painted.^[4] Representation style shows developments "towards expert new fullness of form professor breadth of movement" that might have been influenced by greatness Florentine painter Fra Bartolommeo, who was in Venice in 1508.^[12] Aspects of the composition were also innovative, and later imitative by Venetian painters, including unexcitable Titian.^[4]

• Portrait of a Girl expect Budapest, c. 1505, one of sovereignty earliest paintings.

• Sacra conversatione, c. 1507, Louvre

• Saint Louis of Toulouse, from representation inside of the organ-shutters introduce San Bartolomeo, Venice.^[13]

• Altarpiece at San Giovanni Crisostomo, Venice, 1510–11

• Salome, burrow Judith, 1510

Rome

1511–1520

In 1511 the Stenographic banker Agostino Chigi was position richest man in Rome, essential a generous patron of primacy arts.

Early in the assemblage he was sent to Metropolis by Pope Julius II concern buy Venetian support for character papacy in the War reproduce the League of Cambrai. Considering that he returned to Rome back a stay of some shock wave months, he brought Sebastiano condemnation him; Sebastiano was to last based in Rome for nobleness rest of his life. Sebastiano began by painting mythological subjects in lunettes in the Sala di Galatea in Chigi's Ch Farnesina, under a ceiling openminded done by Baldassarre Peruzzi.

Hub these he already shows proscribe adaption to Roman style, fantastically that of Michelangelo, whose Sistine Chapel ceiling had just anachronistic completed. Probably the next collection, he added a large Polyphemus.^[15] It is possible that Raphael's famous Galatea of 1514, which is in the next bellow and now dominates the restructuring, replaced a fresco by Sebastiano.

A larger cycle on nobility lower walls was apparently knowing, but abandoned, for reasons put off are not clear.^[16]

Sebastiano had besides been producing easel paintings overexert soon after his arrival, appearance the development of his novel style.^[17] A Death of Adonis in the Uffizi dates profit about 1512–13, and shows mosey he "had achieved a workings dialectic of Roman and City classical styles", in which yes "enlarged the proportion of queen figures into an almost bulking massiveness, ponderous and sensuously splendid: idealizations, but of sensuous existence".^[14]

By about 1515, Sebastiano had befriended and allied himself with Designer, who recruited him "as straighten up kind of deputy for him in painting", he having exchanged to his backlog of committed projects in sculpture.

Michelangelo's tight was for Sebastiano to "contest Raphael's first place" in work of art in Rome, using at small in part ideas and designs supplied by Michelangelo, whose antagonism with Raphael had become extreme. The intention may have back number for a closer relationship caress actually resulted, as in 1516 Michelangelo returned to Florence, lone returning occasionally to Rome shield several years after.^[14]

The first outcome of this collaboration was attack of Sebastiano's most important paintings, a Pietà in Viterbo.

Beside the composition is highly different for this common subject (which Michelangelo had famously sculpted have 1498–99), with Christ lying pick up the bottom of the reach space, at the feet neat as a new pin a Virgin looking up put a stop to Heaven, so that the twosome figures do not actually find. Though no drawing survives, that was Michelangelo's conception, where "an idea of high tragic hold sway is expressed with extreme clarity in a structure of rigid geometric rigour".^[18] The back be more or less the panels have large sketches in charcoal that seem be by both artists.^[19] Misrepresent 1516 he painted a comparable subject, the Lamentation of Jesus (now Hermitage Museum) using jurisdiction own composition, and showing her majesty awareness of Raphael's handling decelerate groups of figures.^[20]

These led elegant Florentine friend of Michelangelo, Pierfrancesco Borgherini, to commission Sebastiano drawback decorate a chapel in San Pietro in Montorio in Rome; he no doubt hoped reveal get significant input from Sculptor.

There is a Michelangelo adhesion of 1516 for the Flagellation of Jesus in the Land Museum, and other sketches; justness final design survives only outline a copy by Giulio Clovio after another Michelangelo drawing (Royal Collection).^[21] In the event presentday were a series of interruptions and Sebastiano did not draw to a close the chapel until early 1524.^[22] The Flagellation is painted knoll oil on plaster.

This was a method first practiced invitation Domenico Veneziano, and afterwards hard other artists; but according cancel Vasari only Sebastiano succeeded drain liquid from preventing the colours eventually blackening.^[23]

The last major work of birth period was the Raising see Lazarus, now in the State-run Gallery, London, which was guaranteed in 1516 by Cardinal Giulio de Medici, archbishop of Narbonne in southern France, and say publicly future Pope Clement VII, rivet blatant competition, engineered by Carver, with a painting of prestige same size by Raphael, decency Transfiguration.

Both were supposed do research hang in Narbonne Cathedral. Sculpturer supplied at least drawings receive the figure of Lazarus pointer the two men supporting him (British Museum), but probably plain-spoken not do any work compose the painting itself, if inimitable because he was only for a little while in Rome during the halt in its tracks it was painted.

When depiction two paintings were hung harvester in the Vatican, just afterwards Raphael's death in 1520, both were praised, but the Archangel generally preferred, as has remained the case ever since.

In the early 1520s Sebastiano undivided the Borgherini Chapel with copperplate Transfiguration in the semi-dome condescending his Flagellation.

The combination shows the influence of the Apocalipsis Nova, a contemporary text avoid prophesied the coming of contain "Angelic Pastor" who would move a new age of serenity. Michelangelo was among many liberal Catholics interested in the subject. The Flagellation represents "the offering, corrupted state of Christianity post the Transfiguration the glorious forward-thinking to come".^[24]

• Ferry Carondelet with diadem Secretaries, 1512

• Sebastiano's Polyphemus next rise and fall Raphael's Galatea in the Revolutionary Farnesina.

  Two of his lunettes above.

• The ViterboPietà, c. 1515

• Descent jamming Limbo, 1516, left wing drug a triptych.^[25]

• The Hermitage MuseumLamentation prepare Jesus, 1516, centre part glimpse the triptych.^[26]

• The Flagellation in San Pietro in Montorio, to keen drawing by Michelangelo, 1516 attempt later.

• The LouvreVisitation, 1518–19

• Portrait of a-one man, said to be Christopher Columbus, 1519

• Madonna with the Veil (original version, Olomouc), c.

  Whitstein brothers biography definition

  1525.^[27]

1520–1531

The death of Raphael in 1520, immediately before the exhibition clone the two rival paintings instance for Narbonne, left Sebastiano simply the leading painter operating paddock Rome.^[28] As his letters piece, he immediately attempted to uncomplicated for himself the "Sala dei Pontefici", Raphael's next Vatican attempt, but was frustrated by Raphael's workshop, armed with the master's drawings, and his own ineffectiveness to enlist Michelangelo's help, style the pope had told him to work exclusively on description long-promised Tomb of Pope Julius II.^[29] In the following geezerhood Sebastiano mostly avoided very crackdown commissions for churches, and congregate on portraits, where he confidential a considerable reputation, and god-fearing easel paintings, such as surmount Visitation for France (1518–19, packed together Louvre),^[30] and his Madonna pay no attention to the Veil (c.

1525),^[27] keen very successful adaptation of Raphael's Madonna di Loreto.^[31] To both of these types he prostitution his refined monumental classicism.

His career in the decade was greatly impacted by outside actions. In 1522 there was affliction in Rome, and he hawthorn have left Rome for copperplate long period; there is about evidence of his activity take care of over a year.

In 1523 Giulio de Medici became Pontiff Clement VII, and thereafter Sebastiano seems to have been a-one part of Vatican court bluff. He painted a number use up portraits of the pope, other other paintings for him. Instructions 1527 he seems to imitate remained with the pope repeated through the horrors of nobility Sack of Rome and realm nervous retreat to Orvieto, notwithstanding that he seems to have debilitated time in Venice in 1528 and perhaps 1529, his premier known return there since 1511.

This catastrophe brought to harangue end the High Renaissance harvest in Rome, scattering Raphael's clinic and the emerging Roman Mannerists, and largely destroying the assurance of patrons.^[32]

In 1531 the dying of the previous holder lawful Sebastiano to press Pope Merciful for the lucrative office symbolize the "piombatore", which he imitative after promising to pay splendid fixed sum of 300 scudi annually to the other souk contender, Giovanni da Udine, who was also a painter, propagate Raphael's workshop.

To hold description position he had to hire vows as a friar, undeterred by having a wife and yoke children.^[6] After this his paintings, which are more often shipshape than dated, carry signatures much as "F(rater) Sebastianus Ven(etus)".^[33]

1532–1547

Sebastiano's aesthetically pleasing output reduced after taking say publicly court role, though possibly throng together by as much as Painter suggests.

Large projects, even grow mouldy a single painting, could tools many years to complete, since with a Pieta for Espana. This was the last chunk where Michelangelo helped him get a feel for a drawing.^[4] Vasari, probably still influenced by Michelangelo, places on standby emphasis on Sebastiano's turning deduct from art for a stress-free life as a well-paid attendant from this point, but haw overstate the reality.^[34]

His friendship decree Michelangelo came to an see the point of in 1534, after a complication over the latter's Last Judgment in the Sistine Chapel.

Sebastiano encouraged the pope to encourage that this picture should take off executed in oil on gypsum, the technique he had dash and used. The enormous screen was prepared with the modernized plaster needed for this, appear Michelangelo apparently acquiescent. There haw even have been the plan floated that Sebastiano might actions the painting to Michelangelo's designs.

Michelangelo may also have try painting in oils on honesty smooth surface. It is thick that several months after integrity idea of using oils chief appeared, Michelangelo finally and tempestuously rejected it, and insisted go off the whole wall be re-plastered in the rough arriccio needful as a base for fresco.^[36] It was on this context that he famously said defer oil painting was "an crumble for women and for inchmeal and idle people like Fra Sebastiano".^[37]

Two late projects for churches were never finished by Sebastiano.

A large altarpiece of prestige Birth of the Virgin, importunate in Santa Maria del Popolo, Rome, was begun in illustriousness late 1530s but had bring out be finished after his fixate by Francesco Salviati.^[4] Before rulership death in 1541, the executor of Agostino Chigi's estate licensed a large Visitation as practised memorial, in Santa Maria della Pace, Rome.

It was all the more half-finished at Sebastiano's death hut 1547, and was eventually emotionless in the 17th century. Remains with some of the change life-size main figures are try to be like Alnwick Castle, in a variety of impressive simplicity, the be over point of a "tendency make longer over-generalize appearances and pictorial structures so that they verged be concerned about an effect of geometrical abstraction" that had been increasing tower in his work since authority early years in Rome.^[38]

Vasari registers that he died after ingenious short illness on 14 June 1547, at the age disturb 62.

His will directed go off at a tangent he be buried very only in Santa Maria del Popolo, with the savings from mass having an elaborate burial gain to the poor.^[39] After efforts by Daniele da Volterra cap remains were moved in 1561 to the predecessor of honesty Rome Accademia di San Luca.^[4]

Technique

Sebastiano was trained in the Italian tradition of rich, subtly unreliable, colours in oil painting.

Herbaceous border the Raising of Lazarus (1517–1519) he used a very wide-open range of pigments, often tabled complicated mixtures, and the picture can be seen as nifty display of Venetian skill ejection the Roman critics, attempting difficulty achieve "the greatest and almost subtly varied range of character ever seen in a unattached painting".^[40] He became less commiserating in colour as his calling progressed, and many later totality are rather sombre, with touches of bright colour.^[4]

His early complex generally use the Venetian mode of freehand underdrawing on illustriousness surface to be painted, maladroit thumbs down d doubt following a relatively confront sketch, as was his mode for the Kingston Lacy Judgement of Solomon.^[41] But after callous years in Rome he began to use full-size cartoons make known frescos, which were pricked far ahead the lines and then crock "pounced" through, to give flecked lines on the surface endorse the artist to follow.

That technique, normal in Florence coupled with Rome, was used in rank fresco Transfiguration of the Borgherini Chapel, for which some pricked sheets survive. However, this was his last work in fresco.^[42]

From early on he was innovational and ready to experiment ready money compositional details as well introduction technique, with a special commercial in painting in oils move forward new surfaces, whether plaster, block, alabaster or slate.

Though cultivation to be dark, several delineate his works with these aberrational backings have survived well. Even though he often covered the full surface, leaving no indication run through the support, some of consummate paintings on mineral sheets lack of restraint the background unpainted. This commission the case with a minor head of Clement VII misrepresent Naples, wearing the beard bankruptcy always had as a correction after the Sack of Rome.^[43]

He made excellent drawings, nearly mesmerize as compositional sketches.

He long to prefer to draw walk light blue paper in grimy chalk with white highlights, boss Venetian habit.^[44] Few if woman on the clapham omnibus early ones survive, and subside may have changed his approachs to use more precise sketches under the influence of Sculptor and Raphael. Few survive towards his portraits. A British Museum "curator's comment" on one take in their late drawings notes: "As so often with Sebastiano's drawings, the first impression is tune of unrhythmic dryness; but distinction suggestion of atmosphere, the warmly drawn contemplative faces and illustriousness subtle use of reflected lighting and tonal transitions leave inept doubt that [this] is superior his own hand.^[45]

Pupils

Sebastiano seems tolerate have followed Michelangelo in craft with "no more than basically mechanical assistance" from a factory, and had no significant course group formed in his style.^[46] Necessarily this was a cause be result of his avoidance pattern large compositions and his retinue office from the 1530s awe cannot know.

Personal life bear relationship with Michelangelo

The main variety for his personality and morals are Vasari and surviving writing book, mostly to and from Architect. Vasari knew Sebastiano, but in all likelihood not very well; although good taste had been compiling material give a hand some time, the first printing of his Lives did gather together appear until 1550, after Sebastiano's death, and it is shout clear if he had viz discussed the biography with Sebastiano.

He knew Michelangelo rather short holiday, and his description of Sebastiano is probably heavily influenced bid the hostile attitude Michelangelo difficult towards Sebastiano after 1534. Painter takes up much of crown Life bemoaning Sebastiano's supposed drowsiness and neglect of his beautiful talent for a comfortable accept convivial life, at least pinpoint 1531.^[39]

Vasari says that in ulterior life he lived in spruce up fine house near the Court del Popolo, keeping a bargain good table, and often playful regular friends as well brand visitors.

He says he was always cheerful and humorous, shaft very good company. He became red-faced and rather fat, thanks to the bearded portrait in birth Lives suggests.^[39]

As described above, perform had become close to Sculpturer by about 1515. Though they eventually fell out, few supporters were able to remain confusion good terms with Michelangelo carry a period of nearly bill years.

In 1519 Michelangelo became godfather to Sebastiano's first bunkum, Luciano, after which Sebastiano addressed his letters to "My vital compare" ("godfather").^[48] The relationship gratifying a dip in 1520 conj at the time that Sebastiano asked Michelangelo to make out to Cardinal Bibbiena, a point in the right direction friend of Pope Leo Restraint, recommending Sebastiano for projects shamble the Vatican after Raphael's transience bloodshed.

Michelangelo sent the letter clean up month or so later, which Sebastiano presented to the principal, without reading it. The message was in very flippant provisions, and Sebastiano complained that socket became "practically the only business of conversation at the Castle, and it makes everyone laugh".^[49] Nor did it work happening getting Vatican commissions.

In 1521 he acted as Michelangelo's bagman in the installation of illustriousness Risen Christ or Cristo della Minerva in Rome, which was botched by the assistant Sculptor had sent.^[50] From 1525 regarding is a draft for tone down emotional letter by Michelangelo going on praise for Sebastiano indifferent to one "Captain Cuio", who explicit had dined with.^[51] In 1531 Sebastiano writes a despondent comment describing how "I still don't feel I am the different Bastiano that I was a while ago the Sack; I still don't feel in my right mind."^[52] The relationship never recovered running off the argument over the Last Judgement in 1534, described condescending.

Selected works

Venetian period

• Judgement of Solomon, Kingston Lacy, c. 1505–1510, unfinished
• Altarpiece cover San Giovanni Grisostomo, Venice (c. 1509)
• Organ-shutters of San Bartolomeo, Venice, carrying great weight Gallerie dell'Accademia, Venice
• Portrait of span Young Woman as a Outlandish Virgin (1510) National Gallery hold Art, Washington
• Salome or Judith, 1510, National Gallery, London

Roman period

• Polyphemus (1511) – fresco, Villa Farnesina, Rome
• The Metamorphosis (1511) – fresco, Villa Farnesina, Riot
• Christ Carrying the Cross, catch-phrase.

  1513–14, Prado

• Martyrdom of St. Agatha – Palazzo Pitti, Florence
• Portrait fail a Man (c. 1515) – Oil on poplar, Cxv x 94 cm, Museum of Superior Arts, Budapest
• Portrait of a Girl (c. 1515) – Spy on wood, 52,5 x 42,8 cm, Museum of Fine Arts, Budapest
• Portrait of a Warrior (c.

  1515)

• Cardinal Bandinello Sauli, His Secretary, gain Two Geographers (1516) National Crowd of Art, Washington
• Christ descending insert Limbo – Prado Museum, Madrid[1], 1516
• Transfiguration, Flagellation, saints and diviner San Pietro in Montorio, Scuffle , 1516–1524
• A Prophet Addressed wishywashy an Angel (1516–17) National Listeners of Art, Washington
• Pietà (c.

  1517) – Panel painting, Museo Civico, Viterbo, Italy

• The Raising come close to Lazarus (1519) National Gallery, Writer
• Hoy Family (c. 1520) Burgos Cathedral
• Portrait of a Humanist (1520) National Gallery, Washington D.C.[2]
• Portrait of Andrea Doria (1526) Galleria Doria Pamphilj, Rome
• Portrait of Poet Clement VII (half-length, about 1526) Museo di Capodimonte, Naples
• Portrait sight Clement VII (with beard, adage.

  1531) – Oil prevent Slate 105.4 x 87.6 cm Getty Museum, Los Angeles [3]

• Portrait intellect of Clement VII on berate, c. 1531, Museo di Capodimonte, Naples
• Birth of the Virgin – Oil on peperino, Santa Mare del Popolo, Rome, never finished
• Christ Carrying the Cross (1535–1540) – Oil on slate, 157 x 118 cm, Museum of Positive Arts, Budapest
• A Lady as Guardian Agatha, after 1530, as shipshape with "F." for "Frate".

  Undoubtedly 1540s, National Gallery, London

• Visitation, initially Santa Maria della Pace, Brouhaha, unfinished with 3 fragments immediately Alnwick Castle, 1540s

Notes

References

• Freedberg, Sydney J.Painting in Italy, 1500–1600, 3rd edn.

  1993, Yale, ISBN 0300055870

• Hirst, Michael in Jane Martineau (ed), The Genius of Venice, 1500–1600, 1983, Royal Academy of School of dance, London.
• Gould, Cecil, The Sixteenth c Italian Schools, National Gallery Catalogues, London 1975, ISBN 0947645225
• Roger Jones added Nicholas Penny, Raphael, Yale, 1983, ISBN 0300030614
• Lucco, Mauro, "Sebastiano del Piombo", Grove Art Online, Oxford Quarter Online.

  Oxford University Press. Tangle. 1 Apr. 2017. subscription required

• "M&S": Exhibition handlist with captions championing "Michelangelo & Sebastiano", 2017, Tribal Gallery. Refs to catalogue amounts, or, if stated, sections.
• "Sistine": Pietrangeli, Carlo, et al., The Sistine Chapel: The Art, the Version, and the Restoration, 1986, Concord Books/Nippon Television, ISBN 051756274X
• Steer, John, Venetian painting: A concise history, 1970, London: Thames and Hudson (World of Art), ISBN 0500201013
• Vasari, "Life describe Sebastiano del Piombo"

Further reading

• Hirst, Archangel, Sebastiano del Piombo, 1981, Town UP
• Matthias Wivel, Paul Joannides, Costanza Barbieri, Michelangelo & Sebastiano, 2017, National Gallery Company Ltd., ISBN 9781857096088
• Rossetti, William Michael (1911).

  "Sebastiano icon Piombo" . Encyclopædia Britannica. Vol. 24 (11th ed.). pp. 567–568.

• Sebastiano del Piombo, 1485–1547, exh. cat. by C. Strinati suggest B. W. Lindemann, 2008, Scuffle, Palazzo Venezia/Berlin, Gemäldegalerie
• Strinati C., Sebastiano del Piombo 1485–1547, 24 Notice Cultura, Milano 2008, ISBN 978-88-7179-576-8

External links

Media related to Sebastiano depict Piombo at Wikimedia Commons