While Raphael was at the height of his fame in Rome, the banker Chigi invited Sebastian to that city, and in the Farnesina he painted works which were very inferior beside Raphael's. Then Sebastian tried to improve by study under Michael Angelo. This last great master would not compete with Raphael himself, but he was very jealous of the fame of the younger man, and it is said that he aided Sebastian, and even made his designs for him, in the hopes that thus he might eclipse Raphael. We have spoken of one large picture of the "Raising of Lazarus" said to have been made from Michael Angelo's design, which Sebastian colored; it was painted in competition with Raphael's Transfiguration, and even beside that most splendid work the Lazarus was much admired. This is now in the National Gallery, London. After Raphael's death Sebastian was called the first painter in Rome, and was made a _piombatore_. It was necessary to be an ecclesiastic to hold this office, and it is on account of this that he gave up his real name, and became a friar. He wrote to Michael Angelo: "If you were to see me as an honorable lord, you would laugh at me. I am the finest ecclesiastic in all Rome. Such a thing had never come into my mind. But God be praised in eternity! He seemed especially to have thus decreed it. And, therefore, so be it." It is not strange that he should have been so resigned to a high office and a salary of eight hundred scudi a year! Another Venetian, of the same time with Giorgione, was JACOPO PALMA, called IL VECCHIO, or the elder (about 1480-1528). He was born near Bergamo, but as an artist he was a Venetian. We do not know with whom he studied, and he was not a very great man, nor was he employed by the state--but he dwelt much in the palaces of noble families and did much work for them. When he died he left forty-four unfinished paintings. His female figures are his best works, and one of his fine pictures at Dresden, called the "Three Graces," is said to represent his daughters. The work which is usually called his masterpiece is an altar-piece in the Church of Santa Maria Formosa, in Venice; the St. Barbara in the centre is very beautiful, and is said to have been painted from his daughter Violante. [Illustration: FIG. 45.--PORTRAIT OF TITIAN. _From the etching by Agostino Caracci._] The greatest master of the Venetian school is called TITIAN, though his real name was TIZIANO VECELLI, and sometimes Cadore is added to this, because of his having been born in that village (1477-1576). His family was noble and their castle was called Lodore, and was in the midst of a large estate surrounded by small houses; in one of these last, which is still preserved, the painter was born.