He was a court chamberlain with the military rank of lieutenantBernardino, the son of Messer Sebastiano degl' Antinori, who had translated Boccaccio's works for Cosimo.

[Illustration: CHURCH OF SAN SEBASTIANO, MANILLA.]

Sebastiano, for instance, wrote to him about the benches: "Our Lord wishes that the whole work should be of carved walnut.

In his next letter, Sebastiano communicates the fact that he has been appointed to the office of Piombatore; "and if you could see me in my quality of friar, I am sure you would laugh.

Staccoli, on the Duke's part, raised objections; and Sebastiano had to remind him that, unless some concessions were made, the scheme of the tomb might fall through: "for it does not rain Michelangelos, and men could hardly be found to preserve the work, far less to finish it."

The other day I went, as you requested, to Fra Sebastiano.

"Fra Sebastiano says that you wish to dismount at your own house.

Writing to Sebastiano from Florence in this year, he says: "I beg you, if you see Messer T. Cavalieri, to recommend me to him infinitely; and when you write, tell me something about him to keep him in my memory; for if I were to lose him from my mind, I believe that I shou

In Sebastiano's letters there is one allusion to Cavalieri, who had come to visit him in the company of Bartolommeo Angelini, when he was ill.

As examples of his lighter vein, we might allude to the sonnet on the Sistine and the capitolo in answer to Francesco Berni, written in the name of Fra Sebastiano.

Perino del Vaga, Sebastiano del Piombo, and the young Giorgio Vasari are said to have furnished designs.

Montelupo and Montorsoli, among sculptors, Marcello Venusti and Pontormo, Daniele da Volterra and Sebastiano del Piombo, among painters, felt his direct influence.

" Both Sebastiano del Piombo and Giorgio Vasari were appreciated by Michelangelo for their lively parts and genial humour.

"Sebastiano del Piombo was ordered to paint a friar in a chapel at S. Pietro a Montorio.

I was actually christened Edoardo Sebastiano Conolly.

The old arch over the Appian way is still standing, near the modern Porta San Sebastiano through which we entered on the far-famed road.

In this endeavour Crowe and Cavalcaselle led the way by suggesting the author was probably an imitator of Sebastiano del Piombo.

Its resemblance, moreover, is, as regards the general lines of the composition, a very striking one to the celebrated Sciarra 'Violin-Player,' by Sebastiano del Piombo....

To him is certainly due the general composition, with its superb lines, its beautiful curves, its majestic and dignified postures, its charming sunset background, to him is certainly due the splendid chiaroscuro and magic colour-chord; but it becomes a question whether some of the detail was not actually finished by Giorgione's pupil, Sebastiano del Piombo.

The drawing, for instance, of the hands vividly suggests his help, the type of S. Joseph in the background reminds us of the figure of S. Chrysostom in Sebastiano's Venice altar-piece, while the S. Catherine recalls the Angel in Sebastiano's "Holy Family" at Naples.

The drawing, for instance, of the hands vividly suggests his help, the type of S. Joseph in the background reminds us of the figure of S. Chrysostom in Sebastiano's Venice altar-piece, while the S. Catherine recalls the Angel in Sebastiano's "Holy Family" at Naples.

That Sebastiano stood in close relation to his master, Giorgione, is evidenced not only by Vasari's statement, but by the obvious dependence of the S. Giovanni Crisostomo altar-piece at Venice on Giorgionesque models.

Sebastiano was twenty-five years of age in 1510, and appears to have worked under Giorgione for some time before removing to Rome, which he did on, or shortly before, his master's death.

This is the secret of his overwhelming influence on succeeding painters in Venice,not, indeed, on his direct pupil Sebastiano del Piombo, and on his friend and associate Titian (who may fairly be called his pupil), but on such different natures as Lotto, Palma, Bonifazio, Bordone, Pordenone, Cariani, Romanino, Dosso Dossi, and a host of smaller men.

His uncle directly carried the child to the house of Sebastiano, father of the gentilissìmo Valerio and of Francesco Zuccati (distinguished masters of the art of mosaic, by them brought to that perfection in which we now see the best pictures) to learn the principles of the art.