_References to books in the following pages are, except where otherwise stated, to the works of Ruskin. Wherever possible, the references to his books are by sections and paragraphs, instead of by pages, so as to make them applicable to all the different editions. The references to Vasari are to Bohn's translation, 5 vols., 1855._ 1. THE RAISING OF LAZARUS. _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.