nsed by such men as have the means,
causes the same students to grow negligent and to abandon them. And for
this reason both ancients and moderns censure as strongly as they are
able those Princes who do not support every kind of man of talent, and
who do not give due honour and reward to all who labour valiantly in the
arts. But, although this rule is for the most part a good one, it may be
seen, nevertheless, that at times the liberality of just and magnanimous
Princes produces the contrary effect, for the reason that many are more
useful and helpful to the world in a low or mediocre condition than they
are when raised to greatness and to an abundance of all good things. And
here we have an example, for the magnificent liberality of Clement VII,
bestowing too rich a reward on Sebastiano Viniziano, who had done
excellent work as a painter in his service, was the reason that he
changed from a zealous and industrious craftsman into one most idle and
negligent, and that, whereas he laboured continually while he was living
in poor circumstances and the rivalry between him and Raffaello da
Urbino lasted, he did quite the opposite when he had enough for his
contentment.

Be this as it may, let us leave it to the judgment of wise Princes to
consider how, when, towards whom, in what manner, and by what rule, they
should exercise their liberality in the case of craftsmen and men of
talent, and let us return to Sebastiano. After he had been made Friar of
the Piombo, he executed for the Patriarch of Aquileia, with great
labour, Christ bearing the Cross, a half-length figure painted on
stone--a work which was much extolled, particularly for the head and the
hands, parts in which Sebastiano was truly most excellent. Not long
afterwards the niece of the Pope, who in time became Queen of France, as
she still is, having arrived in Rome, Fra Sebastiano began a portrait of
her; but this remained unfinished in the guardaroba of the Pope. And a
short time after this, Cardinal Ippolito de' Medici having become
enamoured of Signora Giulia Gonzaga, who was then living at Fondi, that
Cardinal sent Sebastiano to that place, accompanied by four light
horsemen, to take her portrait; and within a month he finished that
portrait, which, being taken from the celestial beauty of that lady by
a hand so masterly, proved to be a divine picture. Wherefore, after it
had been carried to Rome, the labours of that craftsman were richly
rewarded by the Cardi