Part 22

In that ruin, besides many other beautiful intellects that came to an evil end, Sansovino was forced to his great loss to depart from Rome and to fly to Venice, intending from there to pass into France to enter the service of the King, whither he had been already invited. But, halting in that city in order to make himself ready and provide himself with many things, for he was despoiled of everything, it was announced to the Prince Andrea Gritti, who was much the friend of every talent, that Jacopo Sansovino was there. Whereupon there came to Gritti a desire to speak with him, because at that very time Cardinal Domenico Grimani had given him to understand that Sansovino would have been the man for the cupolas of S. Marco, their principal church, which, because of age and of weak foundations, and also from their being badly secured with chains, were all opening out and threatening to fall; and so he had him summoned. After many courtesies and long discussions, he said to Sansovino that he wished, or rather, prayed him, that he should find a remedy for the ruin of those tribunes; which Sansovino promised to do, and to put it right. And so, having agreed to do the work, he caused it to be taken in hand; and, having contrived all the scaffoldings in the interior and made supports of beams after the manner of stars, he propped in the central hollow of woodwork all the timbers that sustained the vault of each tribune, and encircled them on the inner side with curtains of woodwork, going on then to bind them on the outer side with chains of iron, to flank them with new walls, and to make at the foot new foundations for the piers that supported them, insomuch that he strengthened them vastly and made them for ever secure. By doing which he caused all Venice to marvel, and not only satisfied Gritti, but also--which was far more--rendered his ability so clearly manifest to that most illustrious Senate, that when the work was finished, the Protomaster to the Lords Procurators of S. Mark being dead, which is the highest office that those lords give to their architects and engineers, they gave it to him with the usual house and a passing handsome salary. Whereupon Sansovino, having accepted it most willingly and freed his mind of all doubt, became the head of all their fabrics, with honour and advantage for himself.

[Illustration: THE LIBRARY OF S. MARCO

(_After =Jacopo Sansovino=. Venice_)

_Alinari_]

First, then, he erected the public building of the Mint, which he designed and distributed in the interior with so much order and method, for the convenience and service of the many artificers, that in no place is there a Treasury ordered so well or with greater strength than that one, which he adorned altogether in the Rustic Order, very beautifully; which method, not having been used before in Venice, caused no little marvel in the men of that city. Wherefore, having recognized that the genius of Sansovino was equal to their every need in the service of the city, they caused him to attend for many years to the fortifications of their State. Nor did any long time pass before he took in hand, by order of the Council of Ten, the very rich and beautiful fabric of the Library of S. Marco, opposite to the Palazzo della Signoria, with such a wealth of carvings, cornices, columns, capitals, and half-length figures over the whole work, that it is a marvel; and it is all done without any sparing of expense, so that up to the present day it has cost one hundred and fifty thousand ducats. And it is held in great estimation in that city, because it is full of the richest pavements, stucco-work, and stories, distributed among the halls of the building, with public stairs adorned by various pictures, as has been related in the Life of Battista Franco; besides many other beautiful appurtenances, and the rich ornaments that it has at the principal door of entrance, which give it majesty and grandeur, making manifest the ability of Sansovino. This method of building was the reason that in that city, into which up to that time there had never entered any method save that of making their houses and palaces with the same order, each one always continuing the same things with the same measure and ancient use, without varying according to the sites as they found them or according to convenience--this, I say, was the reason that buildings both public and private began to be erected with new designs and better order.

The first palace that he built was that of M. Giorgio Cornaro, a most beautiful work, erected with all proper appurtenances and ornaments at a cost of seventy thousand crowns. Moved by which, a gentleman of the Delfino family caused Sansovino to build a smaller one, at a cost of thirty thousand crowns, which was much extolled and very beautiful. Then he built that of Moro, at a cost of twenty thousand crowns, which likewise was much extolled; and afterwards many others of less cost in the city and the neighbourhood. Wherefore it may be said that at the present day that magnificent city, in the quantity and quality of her sumptuous and well-conceived edifices, shines resplendent and is in that respect what she is through the ability, industry, and art of Jacopo Sansovino, who therefore deserves the highest praise; seeing that with those works he has been the reason that the gentlemen of Venice have introduced modern architecture into their city, in that not only has that been done there which has passed through his hands, but also many--nay, innumerable--other works which have been executed by other masters, who have gone to live there and have achieved magnificent things. Jacopo also built the fabric of the loggia in the Piazza di S. Marco, in the Corinthian Order, which is at the foot of the Campanile of the said S. Marco, with a very rich ornamentation of columns, and four niches, in which are four figures the size of life and in bronze, of supreme beauty. And that work formed, as it were, a base of great beauty to the said campanile, which at the foot has a breadth, on one of the sides, of thirty-five feet, which is about the extent of Sansovino's ornamentation; and a height from the ground to the cornice, where are the windows of the bells, of one hundred and sixty feet. From the level of that cornice to the other above it, where there is the corridor, is twenty-five feet, and the other dado above is twenty-eight feet and a half high; and from that level of the corridor to the pyramid, spire, or pinnacle, whatever it may be called, is sixty feet. At the summit of that pinnacle the little square, upon which stands the Angel, is six feet high, and the said Angel, which revolves, is ten feet high; insomuch that the whole height comes to be two hundred and ninety-two feet. He also designed and executed for the Scuola, or rather, Confraternity and Company of the Misericordia, the fabric of that place, an immense building which cost one hundred and fifty thousand crowns; and he rebuilt the Church of S. Francesco della Vigna, where the Frati de' Zoccoli have their seat, a vast work and of much importance.

[Illustration: LOGGETTA

(_After =Jacopo Sansovino=. Venice: Piazza di S. Marco_)

_Anderson_]

Nor for all this, the while that he has been giving his attention to so many buildings, has he ever ceased from executing every day for his own delight great and beautiful works of sculpture, in marble and in bronze; and over the holy-water font of the Friars of the Cà Grande there is a statue executed in marble by his hand, representing a S. John the Baptist, very beautiful and much extolled. At Padua, in the Chapel of the Santo, there is a large scene in marble by the same hand, with very beautiful figures in half-relief, of a miracle of S. Anthony of Padua; which scene is much esteemed in that place. For the entrance of the stairs of the Palace of S. Marco he is even now executing in marble, in the form of two most beautiful giants, each of seven braccia, a Neptune and a Mars, signifying the power that is exercised both on land and on sea by that most illustrious Republic. He made a very beautiful statue of a Hercules for the Duke of Ferrara; and for the Church of S. Marco he executed four scenes of bronze in half-relief, one braccio in height and one and a half in length, for placing around a pulpit, and containing stories of that Evangelist, which are held in great estimation for their variety. Over the door of the same S. Marco he has made a Madonna of marble, the size of life, which is held to be a very beautiful thing, and at the entrance of the sacristy in that place there is by his hand the door of bronze, divided into two most beautiful parts, with stories of Jesus Christ all in half-relief and wrought excellently well; and over the door of the Arsenal he has made a very lovely Madonna of marble, who is holding her Son in her arms. All which works not only have given lustre and adornment to that Republic, but also have caused Sansovino to become daily more known as a most excellent craftsman, and to be loved by those Signori and honoured by their magnificent liberality, and likewise by the other craftsmen; for every work of sculpture and architecture that has been executed in that city in his time has been referred to him. And in truth the excellence of Jacopo has well deserved to be held in the first rank in that city among the craftsmen of design, and his genius is rightly loved and revered by all men, both nobles and plebeians, for the reason that, besides other things, he has brought it about, as has been said, with his knowledge and judgment, that that city has been almost entirely made new and has learned the true and good manner of building.

But, if she has received from him beauty and adornment, he, on the other hand, has received many benefits from her. Thus, in addition to other things, he has lived in her, from the time when he first went there to the age of seventy-eight years, full of health and strength; and the air and that sky have done so much for him, that he does not seem, one might say, more than forty. He has had, and still has, from a most talented son--a man of letters--two grandchildren, one male and the other female, both of them pictures of health and beauty, to his supreme contentment; and, what is more, he is still alive, full of happiness and with all the greatest conveniences and comforts that any man of his profession could have. He has always loved his brother-craftsmen, and in particular he has been very much the friend of the excellent and famous Tiziano, as he also was of M. Pietro Aretino during his lifetime. For all these reasons I have judged it well to make this honourable record of him, although he is still living, and particularly because now he is by way of doing little in sculpture.

Sansovino had many disciples in Florence: Niccolò, called Tribolo, as has been related, and Solosmeo da Settignano, who finished with the exception of the large figures the whole of the tomb in marble that is at Monte Casino, wherein is the body of Piero de' Medici, who was drowned in the River Garigliano. His disciple, likewise, was Girolamo da Ferrara, called Lombardo, of whom there has been an account in the Life of Benvenuto Garofalo of Ferrara; which Girolamo has learned his art both from the first Sansovino and from this second one in such a manner, that, besides the works at Loreto of which we have spoken, both in marble and in bronze, he has executed many works in Venice. This master, although he came under Sansovino at the age of thirty and knowing little of design, being rather a man of letters and a courtier than a sculptor, although he had previously executed some works in sculpture, nevertheless applied himself in such a manner, that in a few years he made the proficience that may be perceived in his works in half-relief that are in the fabrics of the Library and the Loggia of the Campanile of S. Marco; in which he acquitted himself so well, that he was afterwards able to make by himself alone the statues of marble and the Prophets that he executed, as has been related, at the Madonna of Loreto.

[Illustration: THE MIRACLE OF S. ANTHONY

(_After the relief by =Jacopo Sansovino=. Padua: S. Antonio_)

_Alinari_]

A disciple of Sansovino, also, was Jacopo Colonna, who died at Bologna thirty years ago while executing a work of importance. This Jacopo made for the Church of S. Salvadore in Venice a nude S. Jerome of marble, still to be seen in a niche near the organ, which was a beautiful figure and much extolled, and for S. Croce della Giudecca he made a Christ also nude and of marble, who is showing His Wounds, a work of beautiful artistry; and likewise for S. Giovanni Nuovo three figures, S. Dorothy, S. Lucia, and S. Catharine. In S. Marina may be seen a horse with an armed captain upon it, by his hand; and all these works can stand in comparison with any that are in Venice. In Padua, for the Church of S. Antonio, he executed in stucco the said Saint and S. Bernardino, clothed. Of the same material he made for Messer Luigi Cornaro a Minerva, a Venus, and a Diana, larger than life and in the round; in marble a Mercury, and in terra-cotta a nude Marzio as a young man, who is drawing a thorn from his foot, or rather, showing that he has drawn it out, he holds the foot with one hand, looking at the wound, and with the other hand seems to be about to cleanse it with a cloth; which last work, because it is the best that Jacopo ever did, the said Messer Luigi intends to have cast in bronze. For the same patron he made another Mercury of stone, which was afterwards presented to Duke Federigo of Mantua.

Another disciple of Sansovino was Tiziano da Padova, a sculptor, who carved some little figures of marble in the Loggia of the Campanile of S. Marco at Venice; and in the Church of the same S. Marco there may be seen, likewise fashioned and cast in bronze by him, a large and beautiful cover for a basin in bronze, in the Chapel of S. Giovanni. This Tiziano had made a statue of S. John, with which were the four Evangelists and four stories of S. John, wrought with beautiful artistry for casting in bronze; but he died at the age of thirty-five, and the world was robbed of an excellent and valiant craftsman. And by the same hand is the vaulting of the Chapel of S. Antonio da Padova, with a very rich pattern of compartments in stucco. He had begun for the same chapel a grating of five arches in bronze, which were full of stories of that Saint, with other figures in half-relief and low-relief; but this, also, by reason of his death and of the disagreement of those who had the charge of having it done, remained unfinished. Many pieces of it had already been cast, which turned out very beautiful, and many others were made in wax, when he died, and for the said reasons the whole work was abandoned. The same Tiziano, when Vasari executed the above-described decorations for the gentlemen of the Company of the Calza in Canareio, made for that work some statues in clay and many terminal figures. And he was employed many times on ornaments for scenic settings, theatres, arches, and other suchlike things, whereby he won much honour; having executed works all full of invention, fantasy, and variety, and above all with great rapidity.

Pietro da Salò, also, was a disciple of Sansovino; and after having toiled at carving foliage up to the age of thirty, finally, assisted by Sansovino, who taught him, he set himself to make figures of marble. In which he so delighted, and studied in such a manner, that in two years he was working by himself; to which witness is borne by some passing good works by his hand that are in the tribune of S. Marco, and the statue of a Mars larger than life that is in the façade of the Palazzo Pubblico, which statue is in company with three others by the hands of good craftsmen. He also made two figures for the apartments of the Council of Ten, one male and the other female, in company with two others executed by Danese Cattaneo, a sculptor of highest renown, who, as will be related, was likewise a disciple of Sansovino; which figures serve to adorn a chimney-piece. Pietro made, in addition, three figures that are at S. Antonio, in the round and larger than life; and these are a Justice, a Fortitude, and a statue of a Captain-General of the Venetian forces, all executed with good mastery. He also made a statue of Justice in a beautiful attitude and with good design, which was placed upon a column in the Piazza of Murano, and another in the Piazza del Rialto in Venice, as a support for that stone where public proclamations are made, which is called the Gobbo[13] di Rialto; and these works have made him known as a very good sculptor. For the Santo, in Padua, he made a very beautiful Thetis; and a Bacchus who is squeezing a bunch of grapes into a cup, which figure, the most difficult that he ever executed, and the best, he left at his death to his children, who have it still in their house, seeking to sell it to him who shall best recognize and reward the labour that their father endured for it.

[Footnote 13: Hunchback.]

Likewise a disciple of Jacopo was Alessandro Vittoria of Trento, a most excellent sculptor and much the friend of study, who with a very beautiful manner has shown in many works that he has executed, as well in stucco as in marble, that he has a ready brain and a lovely style, and that his labours are worthy to be held in estimation. By the hand of this Alessandro, in Venice, at the principal door of the Library of S. Marco, are two great women of stone, each ten palms high, which are full of grace and beauty and worthy to be much extolled. He has made four figures for the tomb of the Contarini in the Santo of Padua, two slaves, or rather, captives, with a Fame and a Thetis, all of stone; and an Angel ten feet high, a very beautiful statue, which has been placed upon the Campanile of the Duomo in Verona. And to Dalmatia he sent four Apostles also of stone, each five feet high, for the Cathedral of Traù. He made, also, some figures in silver for the Scuola of S. Giovanni Evangelista in Venice, which were all in full-relief and rich in grace, and a S. Teodoro of two feet in silver, in the round. For the Chapel of the Grimani, in S. Sebastiano, he wrought two figures in marble, each three feet high; and then he made a Pietà, with two figures of stone, held to be good, which are at S. Salvadore in Venice. He made a Mercury, held to be a good figure, for the pulpit of the Palazzo di S. Marco, which looks out over the Piazza; and for S. Francesco della Vigna he made three figures large as life--S. Anthony, S. Sebastian, and S. Rocco--all of stone and full of beauty and grace, and well wrought. For the Church of the Crocicchieri he made in stucco two figures each six feet high, very beautiful, which are placed on the high-altar; and of the same material he made, as has been already told, all the ornaments that are in the vaulting of the new staircase of the Palazzo di S. Marco, with various patterns of compartments in stucco, where Battista Franco afterwards painted in the spaces the scenes, figures, and grotesques that are there. In like manner, Alessandro executed the ornaments of the staircase of the Library of S. Marco, all works of great mastery; and a chapel for the Friars Minors, and in the altar-piece of marble, which is very large and very beautiful, the Assumption of Our Lady in half-relief, with five great figures at the foot which have in them something of the grand and are made with a beautiful manner, a lovely and dignified flow of draperies, and much diligence of execution; which figures of marble--S. Jerome, S. John the Baptist, S. Peter, S. Andrew, and S. Leonardo--each six feet high, are the best of all the works that he has done up to the present. And as a crown to that chapel, on the frontispiece, are two figures likewise of marble, each eight feet high and very graceful. The same Vittoria has executed many portraits in marble and most beautiful heads, which are good likenesses, such as that of Signor Giovan Battista Feredo, placed in the Church of S. Stefano, that of Camillo Trevisano, the orator, placed in the Church of SS. Giovanni e Polo; the most illustrious Marc'Antonio Grimani, likewise placed in the Church of S. Sebastiano; and in S. Gimignano, the rector of that church. He has also portrayed Messer Andrea Loredano. M. Priano da Lagie, and two brothers of the Pellegrini family--M. Vincenzio and M. Giovan Battista--both orators. And since Vittoria is young and a willing worker, talented, amiable, desirous of acquiring name and fame, and, lastly, very gentle, we may believe that if he lives, we are destined to see most beautiful works come from him from day to day, worthy of his name of Vittoria, and that, if his life endures, he is like to be a most excellent sculptor and to win the palm from all the others of that country.

There is also one Tommaso da Lugano, a sculptor, who likewise has been many years with Sansovino, and has made with the chisel many figures in the Library of S. Marco, very beautiful, in company with others. And then, having left Sansovino, he has made by himself a Madonna with the Child in her arms, and at her feet a little S. John, which are all three figures of such beautiful form, attitude, and manner, that they can stand among all the other beautiful modern statues that are in Venice; which work is placed in the Church of S. Bastiano. And a portrait of the Emperor Charles V, which he made from the breast upwards, of marble, has been held to be a marvellous thing, and was very dear to his Majesty. And since Tommaso has delighted to work rather in stucco than in marble or bronze, there are innumerable most beautiful figures by his hand and works executed by him in that material in the houses of various gentlemen of Venice. But it must suffice to have said this much of him.