Note 36 — SECOND LECTURE.

When M. Angelo pronounced oil-painting to be Arte da donna e da huomini agiati e infingardi, a maxim to which the fierce Venetian manner has given an air of paradox, he spoke relatively to fresco: it was a lash on the short-sighted insolence of Sebastian del Piombo, who wanted to persuade Paul III. to have the Last Judgement painted in oil. That he had a sense for the beauties of oil-colour, its glow, its juice, its richness, its pulp, the praises which he lavished on Titiano, whom he called the only painter, and his patronage of Frà Sebastian himself, evidently prove. When young, M. Angelo attempted oil-painting with success; the picture painted for Angelo Doni is an instance, and probably the only entire work of the kind that remains. The Lazarus, in the picture destined for the cathedral at Narbonne, rejects the claim of every other hand. The Leda, the cartoon of which, formerly in the palace of the Vecchietti at Florence, is now in the possession of W. Lock, Esq. was painted in distemper (a tempera); all small or large oil-pictures shown as his, are copies from his designs or cartoons, by Marcello Venusti, Giacopo da Pontormo, Battista Franco, and Sebastian of Venice.