dei Tedeschi (now lost) just by the church, which was the German's church in Venice, and at this time also held Albrecht Dürer's Madonna of the Rose-Garlands of 1506. The outside pair of shutters also show what Sebastiano had learnt from Bellini. Their technique has developed "from the earlier smooth surface to the application of paint in heavy brushstrokes", and the figure of Saint Sebastian shows awareness of classical sculpture. The main altarpiece for San Giovanni Crisostomo, Venice of 1510–11 shows the patron saint, Saint John Chrysostom reading aloud at a desk, a Mary Magdalene looking out at the viewer, and two other female and three male saints. The organ-shutters for the church were also painted. The style shows developments "towards a new fullness of form and breadth of movement" that may have been influenced by the Florentine painter Fra Bartolommeo, who was in Venice in 1508. Aspects of the composition were also innovative, and later copied by Venetian painters, including even Titian. Rome 1511–1520 In 1511 the Papal banker Agostino Chigi was the richest man in Rome, and a generous patron of the arts. Early in the year he was sent to Venice by Pope Julius II to buy Venetian support for the papacy in the War of the League of Cambrai. When he returned to Rome after a stay of some six months, he brought Sebastiano with him; Sebastiano was to remain based in Rome for the rest of his life. Sebastiano began by painting mythological subjects in lunettes in the Sala di Galatea in Chigi's Villa Farnesina, under a ceiling just done by Baldassarre Peruzzi. In these he already shows an adaption to Roman style, especially that of Michelangelo, whose Sistine Chapel ceiling had just been completed. Probably the next year, he added a large Polyphemus. It is possible that Raphael's famous Galatea of 1514, which is in the next bay and now dominates the room, replaced a fresco by Sebastiano. A larger cycle on the lower walls was apparently intended, but abandoned, for reasons that are not clear. Sebastiano had also been producing easel paintings from soon after his arrival, showing the development of his new style. A Death of Adonis in the Uffizi dates to about 1512–13, and shows that he "had achieved a working dialectic of Roman and Venetian classical styles", in which he "enlarged the proportion of his figures into an almost bulking