of San Domenico, lie painted a picture of the Madonna, in the second chapel on the right hand; there are besides three figures in this work, one of which, a San Sebastiano namely, is worthy of the highest praise.[1] Pietro had worked so much, and received such perpetual demands for his works, that he frequently used one and the same object or figure several times in different pictures, his theory and mode of treatment in art had, indeed, become so mannered, that he gave all his figures the same expression. Now Michelagnolo was, by this time, coming forward to his place, and Pietro earnestly desired to see his works, because of the great jiraise bestowed on them by the artists, but as he perceived that the greatness of the name which he had himself acquired in all places, began to be obscured by others, he sought much to lower and mortify all who were then labouring to distinguish themselves, by the caustic severity of his remarks. This caused him to receive various offences from different artists, and Michelagnolo told him publicly, that he was but a dolt and blockhead in art.[2] But Pietro could not endure so grievous an affront, and the two artists presented themselves before the Council of Eight, whence Pietro withdrew, however, with very little honour. Meanwhile the Servite Monks of Florence, desired to have the picture for their high altar painted by some master of great renown, and had given the commission for it to Filippo Lippi on account of the
- ↑ These pictures are in good preservation, with the exception of the centre, which has been somewhat injured by injudicious cleaning. The Monastery is now a Convent of Nuns; and the place being under Clausura, the pictures cannot easily be seen, but a description of them will be found in Rumohr, who obtained admission by an order from the archbishop.—See Ital. Forsch., vol. ii. p. 845. They are engraved in the R. Galleria di Firenza, serie i, vol. ii. tav. lxxxv., and there is a replica of the St. Sebastian, at Rome, (in the Sciarra Palace).
- ↑ “This bitter remark, uttered in the heat of resentment,” observes an Italian Avriter, jealous for the honour of our artist, ‘‘ must not be permitted to prejudice our Perugino, nor should it be turned to his injury, as Della Valle, with his wonted acerbity, has dared to do. He Avho does not appreciate the works of Pietro is incapable of doing justice to those of the Urbinese,” (so do they of Urbino fondly call their Raphael), “and for me I prefer to that of Della Valle, the judgment of a distinguished Briton, who, after having contemplated the two pictures of these masters, that Avere in San Giovanni-in-Monte (Bologna), remarked as follows:—‘ In the picture of Pietro, I see Raphael as he is to be, in the picture of Raphael, I see Pietro as he has been.’ ”
