Veneziano became his disciple, and soon acquired, in the new style, a degree of masterly power and felicity of handling, and a corresponding degree of renown, both in the painting of portraits and historical subjects.

His first public essays were in portraiture; and his portraits were much admired for their strength of resemblance to the originals; and for a certain sweetness and plenitude of style with which they were executed--so much resembling the work of Giorgione as to give rise to frequent mistakes concerning their authorship, among the Italian connoisseurs.

Of this, the picture before us-comprehending the likenesses of Sebastian himself, and of his liberal patron Cardinal Hippolito de Medicis is a pregnant instance; appearing rather more like a genuine Giorgione than even his own Martyrdom of Peter the Dominican, so possible is it, in painting, as in moral conduct—while we regard pictures and actions severally for two individuals to resemble each other, more than the same individual always resembles himself. Another seemingly anomalous fact is, that these portraits scarcely appear to be from the same palette as that of a noble lady by del Piombo, which was used to hang nearly opposite. Yet it is very possible that the gentlemen were florid, and the lady so fair, in complexion, as to account for the difference.

The present picture evidently represents some biographical incident which has given occasion for the Cardinal and the Painter to meet, and to refer to a parchment deed, which lies unfolded on a carpeted table between them. The two faces receive, of course, conspicuous portions of light, and this local incident

has afforded to the artist an opportunity of introducing a third breadth of light with good effect, and which prevents the two former from appearing like painted spots.

Fine Art and Literature have been duly grateful to the illustrious house of de Medicis. Their portraits, their names, and their generous patronage, have been transmitted with honour, as connected with most of the great works that were produced during the period of their splendid ascendancy. Our countryman Roscoe-with kindred feelings as a noble minded merchant, has become their biographer; and our historian Gibbon, has enshrined their memory in a perspicuous and magnificent sentence, which will-or, at least, should-long serve to excite the emulation of the powerful and the wise. They were a family (he says) of opulent merchants, who governed a republic without arms, whose credit was ennobled into fame, and whose riches were dedicated to the service of mankind. For loftier moral praise we might elsewhere seek in vain. But Roscoe compels us to some abatement from this ideal beauty; for with more strict regard to truth, he has shown that there was much which was very exceptionable in the moral and political conduct of the de Medicis.

The Cardinal Hippolito, his right hand holding a pen, here places a finger of his left, on the point at issue, or common centre of pleasurable attraction, between him and Sebastian: but there is nothing about this latter figure, or his dress, to denote the Painter. It is a fine head: but looks more like that of a learned doctor, or venerable privy counsellor, habited in his black, or raven-grey, cloak.

After a little reflection, we think that the picture

is not unlikely to represent and commemorate, the artist's accession to the office of Fraté del Piombo; the law-deed to be that of his appointment, and his dress, the proper costume of his office. He is known to have received the appointment late in life: he died in the year 1547, at the age of sixty-two, and he does not here appear to be much short of that age. Yes:-We can now see nothing else in this picture than two biographical portraits. The engrossed parchments before them are two, which the parties are executing, and about to exchange. The hand of Sebastian is on the seal of one, and he seems as if declaring, that by the delivery thereof, he entered into the engagements therein specified. To the other, Hippolito is about to affix his signature, His right hand holds the pen in readiness, while his left is placed on the part of the parchment to be subscribed.

The Cardinal is here attired in his proper paraphernalia of a short red cloak, with a white under vest having sleeves, while the back-ground, a dark green curtain, shows off this and his red cap, and other smaller portions of that colour, which enter into the picture, to advantage, and holds the whole in harmony. The draperies throughout, are cast and painted with much taste and talent; and the carpetcovered table, takes up the colours which are elsewhere spread in masses, with good effect.

Hippolito, although a spurious offspring, became an acknowledged branch of the family of de Medicis, and, like the rest of his kindred, acquired, within the limits of a short life, a considerable share of reputation. Dignified with the rank of cardinal, and possessed, by the partiality of Clement VII., of

an immense revenue, he became at once the patron, the companion, and the rival, of all the poets, the musicians, and the wits of his time. Among these patronised companions, was Sebastian Veneziano. Without territories, and without subjects, the cardinal maintained, at Bologna, a court far more splendid than that of any Italian potentate: his associates and attendants—all of whom could boast of some peculiar merit or distinction which had entitled them to his notice-formed a body of about three hundred persons. Shocked at his profusion, which only the revenues of the church were competent to supply, Clement admonished him, and by means of a trusty agent, required the dismissal of some of his numerous attendants, as being unnecessary. "I do not retain them because I have occasion for their services, but because they have occasion for mine," was the liberal reply of Hippolito. He was afterwards poisoned, at the real or supposed instigation of his relative and rival, Alessandro de Medicis.

IT

PORTRAIT OF JULIA GONZAGA,

AS A SAINTED MARTYR.

SEBASTIAN DEL PIOMBO.

It appears that this lady was high in the favour of Cardinal Hippolito de Medicis (whose portrait we have just dismissed). That he, or Sebastiano, should have chosen to pay her the religious compliment (if these words may, without impropriety, be thus united) of transmitting her to posterity as a martyr and a saint, might have excited the reader's surprise, had

we not, in treating of Mazzolini of Ferrara, rendered him aware of the prevalence of this species of poetic fiction in Italy.

The commentators have not specified what saint the Lady Julia impersonates, but a little reflection brings us to the conclusion, that Cecilia must bemeant, and that for the following reasons. 1st, The Italian painters, with whom their musical saint, Cecilia, was a favourite subject, have universally represented her with the handsome cast of features which we here behold, and as here represented, bearing a palm branch, symbolical both of her martyrdom and her musical triumphs. 2dly, Cecilia was, throughout Europe, regarded as the christian patroness of the art to which both Hippolito and Sebastian were devotedly attached, she having taken the organ from Tubal Cain, and the harp from the hands of Apollo. 3dly, and perhaps principally, her legend says, what was then generally believed that she was visited nocturnally by an angel, who brought with him wreaths of roses and lilies from the garden of Eden -so that an insidious compliment to the cardinal also, was thus conveyed with much address on the part of the painter.

Gonzaga is here depicted rather larger than life, with a fine matronly, and somewhat majestic, cast of countenance, that would almost have suited a Zenobia; her head rises nobly from her shoulders, as if on a Tuscan column, and she is habited in a quiet green dress, which, being perfectly unobtrusive, sets off the carnation tints to advantage. This dress-which also looks like a portrait, or matter of fact-is trimmed with green a little more vivid than itself; and it is not unlikely that the artist, seeing how well it became