SCULPTURE 
 NORTHERN, SOUTHERN, AND EASTERN ITALY. 
 
LONDON : PRINTED BY 
 SPOTIISWOODE AND CO., NEW-STREET SQl'iEE 
 AND Pilll.lAMENT 5IRKEI 
 
ITALIAN SCULPTOKS 
 
 A HISTORY OF SCULPTURE 
 
 NORTHERN, SOUTHERN, AND EASTERN ITALY. 
 
 BY 
 
 CHARLES C. PERKINS. 
 
 Quia vires, quas labor Artis 
 Ingeniumque negat, devotio pura ministrat. 
 
 Gulielmus Appulus, lib. i. 
 
 WITH ETCHINGS BY THE AUTHOE, AND ENGRAVINGS ON WOOD FROM 
 ORIGINAL DRAWINGS AND PHOTOGRAPHS. 
 
 LONDON: 
 LONGMANS, GEEEN, 
 1868. 
 
 AND 
 
 CO. 
 
Digitized by the Internet Archive 
 in 2013 
 
 http://archive.org/details/italiansculptorsOOperk 
 
PREFACE. 
 
 JN the Introduction to 'Tuscan Sculptoes' the history of 
 Pre-Revival Sculpture throughout Italy is sketched. That of 
 Pre-Revival sculptors and sculpture in other parts of Italy was 
 there rapidly gone over, in view of the possibility that the 
 present volume might never be published. Some repetition 
 has unavoidably resulted from the course then adopted, but as 
 the subject there touched upon is here treated ' in extcnso,' 
 an apology seems hardly necessary. 
 
 To this volume is added an Appendix, containing some 
 additional matter, corrected dates, and four plates engraved 
 for M. Charles Haussoullier's French Translation of ' Tuscan 
 Sculptors.' 
 
 I take this opportunity of expressing my thanks to the Baron 
 de Triqueti, who has kindly allowed me to engrave some of his 
 admirable drawings from Sculptures in Italy for that translation, 
 and for this volume. 
 
 London : October 18G8, 
 
CONTENTS. 
 
 CHAPTER I. 
 
 PAGE 
 
 APULIA AND THE ABEUZZI 1 
 
 CHAPTER II. 
 
 NxVPLES AND ITS NEIGHBOURHOOD 49 
 
 • 
 
 CHAPTER III. 
 
 ROME 72 
 
 CHAPTER IV. 
 
 LOMBARDY 94 
 
 CHAPTER V. 
 
 VENICE 164 
 
 CHAPTER VI. 
 
 VERONA, VICENZA, PADUA, MANTUA, AND BRESCLi . . .213 
 
 CHAPTER VII. 
 
 BOLOGNA, FERRARA, MODENA, REGGIO, PARMA, PIACENZA, 
 
 GENOA, AND CARRARA 237 
 
 APPENDICES .......... 269 
 
 a2 
 
ILLUSTRATIONS. 
 
 ETCHINGS. 
 
 ILATE FAOB 
 
 Equestrian Statue of Bartolomeo Coleoni at Venice by Andi-ea 
 Verocchio and Alessandro Leopardi . . Frontispiece 
 
 I. No. 1. Bas-relief from a Pulpit in the Duomo at Troja. — 
 No. 2. Capital of a Column which supports the Ciborium in the 
 Church of S. Nicolo at Bari. — No. 3. Figure of Christ over the 
 Portal of S. Andrea at Barletta . . . . .to face 
 
 II. No. 1. Cathedra from San Nicolo da Bari. — No. 2. Fragment of 
 a Basso-rilievo on the outside of the Duomo at iiitetto. — 
 No. 3. Fragment of a Basso-rilievo from the Pulpit in the Duomo 
 at Bitonto. — No. 4. Corbel from Castel del Monte . . „ IG 
 
 ni. No. 1. Bas-relief from the Architrave of the Great Portal of the 
 Abbey of San Clemente in Casauria. — No. 2. Panel ornament 
 from the Pulpit, and Capital of the Paschal Candlestick, ibid. — 
 No. 3. Bas-rehef from the Shrine of San Bernardino at Aquila. — 
 No. 4. Paschal Candlestick from Sta. Maria d'Arbona near Chieti „ 21 
 
 IV. Ornament, Inscription and incised Figure from the doors of the 
 
 Grave Chapel of Bohemund at Canosa . , . . „ 27 
 
 V. No. 1. Pidpit in the Church of Sta. Maria del Lago at Moscufo. — 
 No. 2. Ornament from the Archivolt of the Portal of the Duomo 
 at Trani ..,.....„ 28 
 
 VI. No. 1. Bronze Dragon from the Bronze Gates of the Duomo at 
 
 Troja. — No. 2. Capital of a Column at Sta. Maria d'Arbona . „ 33 
 
 VII. Two Panels from the Bronze Gates at Kavello, by Barisancs of 
 
 Tkani ...,....„ 35 
 
 VIII. Monument of the Countess of Montorio, in the Church of San 
 
 Bernardino at Aquila, by Andkea ball' Aqtjila . . „ 40 
 
 IX. No. 1. Bas-relief from the Tomb of the Infant Mai-ia Durazzo at 
 Sta. Chiara. — No. 2. Bas-relief from the Pulpit, ib. — No. 3. Angel 
 from the Tomb of King Bobert, ib. — No. 4. Statue of King Robert 
 from diti o, ib, . . . . . . . „ 55 
 
X 
 
 ILLUSTRATIONS. 
 
 PLATE PAGE 
 
 X. j\.llegorical Statue from the Tomb of the Viceroy Don Pedro di 
 
 Toledo, in San Giacomo degli Spaguuoli, by Giovanni da Nola to face 08 
 
 XI. No. 1. Tomb of Bishop Guglielmo Durante, at Sta. Maria sopra 
 Minerva, by Giovanni Cosmati. — No. 2. Angel from ditto. — 
 No. 3. Statue of Pope Nicholas IV. at the Lateran . • » 77 
 
 XII. Statue of King Charles of Anjou in the Hall of the Capitol at 
 
 Rome ......... 86 
 
 Xm. Ornamental Marble-work at the Certosa . . . . „ 118 
 
 XIV. Bas-relief, formerly at the Certosa, by the Brothers Mantegazza „ 12G 
 
 XV. Roundel from the Iligh Altar of the Certosa, by Omodeo . . „ 133 
 
 XVI. Statuette from a Tomb of one of the Borromei, at Isola Bella, by 
 
 Omodeo ......... 131 
 
 XVn. Statue of Adam, on the Roof of the Duomo at Milan, by Solari . „ 140 
 
 XVni. No. 1. Design for the Tomb of Gaston de Foix by Bambaja. — 
 
 No. 2. Panel from ditto, by Bambaja . . . • » 147 
 
 XIX. Sepulchral ElRgy of Gaston de Foix, by Bambaja . . • » I'lS 
 
 XX. No. 1. Half-Figure in relief, from the Facade of San Petroni at 
 Bologna, by Bonafuto Veneziano. — No. 2. Slab from the 
 Cancellum at Torcello. — No. 3. Madonna and Child. Bas-relief 
 from the Carmine at Venice, by Aeduinus Venetus , . „ 1(37 
 
 XXI. Groups of Adam and Eve and of the Judgment of Solomon from 
 
 the angles of the Ducal Palace at Venice . . . „ 177 
 
 XXII. Trajan and the Widow, from the Capital of the Column of Justice. 
 
 Ibid ,,178 
 
 XXni. Effigy from the Tomb of Jacopo Cavalli, in the Church of San Gio- 
 vanni e Paolo at Venice, by Paolo di Jacomello de' Massegne „ 185 
 
 XXIV. The Baptism of Sant' Ansano, in the Facade of the Hospital at 
 
 Venice, by TuLiio Lombaedo (?) . . . . 199 
 
 XXV. Baa-relief in the Museum of the Ducal Palace, by one of the 
 
 LOMBAEDI . . . . . . • }, 201 
 
 XXVI. Candelabrum at S. Antonio at Padua, by Riccio, from a drawing 
 
 by the Baron II. de Triqueti ...... 220 
 
 XXVII. Details of the same, from drawings by the Baron de Triquoti . „ 228 
 
 XXVHI. No. 1. Bust of Andrea Mantegna, in the Church of S. Andrea at 
 Mantua, by Sperandio.— No. Reliefs from a Tomb in the 
 Museo Patrio at Mantua ....... 238 
 
 XXIX. Group from a Mortorio in the Church of San Giovanni Decollato 
 
 at Modena, by GuiDO Mazzoni ...... 252 
 
ILLUSTRATIONS. 
 
 WOODCUTS. 
 
 PAGE 
 
 Chap. I. Head of the Emperor Ileraclius from the colossal statue at Barletta 
 
 {Tailpiece) ........ 48 
 
 Chap. II. SS. Elisabeth and Chiara from the tomb of Marie de Valois at Sta. Chiara. 
 
 Masuccio II. P (Tai'/^Mt'ce) . . . . . .71 
 
 Chap. III. Portion of the shaft of the Paschal Candlestick at St. Paul's, Rome, by 
 
 Niccol5 di Angelo ( Tailpiece) . . . . .9-3 
 
 C'hap. IV. Statue of a Saint in Santa Maria della Valle at Cividale . . .99 
 
 Angels from the Certosa, by the Beothees Mantegazza . . . 126 
 
 Basso-rilievo from the chimney-piece of the Ducal Palace at Urbino, by 
 
 Ambeogio da Milano ....... 143 
 
 The Dead Christ and St. John, from a Mortorio at San Satire, by 
 
 Cabadosso {Tailpiece) ....... IG3 
 
 Chap. V. Temperance. Statuette from the Porta della Carta, by Baetolosieo 
 
 Bon 187 
 St. Jerome. Statuette from the Giustiniani Chapel. ScnooL of the 
 
 LOMIiAEDI ........ 201 
 
 Head of Bart. Coleoni, from his equefstrian st.atue at Venice. A. LEorARDi 20G 
 
 The Lion of St. Mark, from the column in the I'iazzetta at Venice ( Tailpiece) 212 
 
 Chap. VI. Statuette of Sta. Chiara, in S. Maria de' Miracoli at Venice, by Gieolamo 
 
 Campagna {Tailpiece) ....... 23G 
 
 Chap. VII. Statue from the Tomb of .Tacopo di San Severino, at Naples. By Giovanni 
 
 Meeliano da Nola {Tailpiece) ..... 2G8 
 
 ERRATA. 
 
 Pago 9, note 5th line, for (ibid. pp. 18, 19) read {Introduction to Le Bcstiaire Divbi. Par 
 
 M. C. Hippeaii, pp. 18, 19.) 
 Page 68, line 20, after ' niches,' insert ' See Tailpiece.' 
 Page 127, note 2nd line, for ' Toppa ' read ' Foppa.' 
 
 Page 162, 6th hne, for 'lay in figure sculpture rather than in ornament' read 'lay in 
 
 ornament rather than in figure sculpture.' 
 Page 177, 4th line, instead of ' Plate XIX. No. 2,' read ' Plate XXI. No. 2.' 
 
ITALIAN SCULPTOES 
 
 CHAPTER 1. 
 
 APULIA AND THE ABRUZZI. 
 
 APULIA since the romantic period of her history may be said P«st and 
 ^ _ . present 
 
 to have fallen into a state of semi-barbarism ; but the influence condition 
 
 of a United Italy has Avithin a few years Avorked a visible change, 
 and we may look forward to a time when she will take that place 
 among the provinces of the peninsula, to which her natural advan- 
 tages and past history entitle her. Railroads already intersect this 
 land, which is connected in our minds with the Crusades and the 
 Norman heroes who took part in them ; with the Greek and 
 Lombard who fought upon her rich plains, and with the Ilohen- 
 staufFens, Frederic and Conrad and Manfred, Avho found withni her 
 limits a kingdom and a grave. The ports whence the followers of 
 Peter the Hermit embarked for Palestine are being widened and 
 deepened; Brindisi has renewed her relations with the East, and 
 the track which Horace followed in his memorable journey to that 
 long-ncglcctcd haven, will soon be familiar to tourists. They -svill 
 gaze with wonder upon the noble churches of Apulia Avith their 
 storied gates of bronze, their portals covered with mystical sculp- 
 tures and Oriental ornament, and their pul})its and bishops' thrones 
 resting upon Saracen prisoners, lions or elephants ; and upon her 
 ]\Iedia;val castles, one of which still stands in such perfect pre- 
 servation that were Frederic and his Infidel hosts to return to 
 earth they might again find shelter within its marble halls.. 
 
 B 
 
2 
 
 ITALIAN SCULPTORS. 
 
 Etfeet pro- 
 (liu-eii Ijy 
 lipr mouu- 
 nieiits. 
 
 Name of 
 Apulia 
 ilivcrsoly 
 applied. 
 
 Condition 
 of Southern 
 Italy in tho 
 clevontli 
 century. 
 
 A.n. r>so. 
 
 These interesting examples of architecture and sculpture affect 
 us differently from those we meet Avith in other parts of Italy, 
 in that they belong to one period, and stand isolated between 
 the ancient and the modern world of art. In Rome we can 
 start from the supposed site of the hut of Faustulus, and 
 successively examine architectural remains of the Kingly, Repub- 
 lican, and Imperial epochs; study Mediaeval churches and Renais- 
 sance palaces, and thus pass from the buildings of Bramantc, 
 Michel-Angelo, and Maderno, to those of our own day. In the 
 same way we can follow sculpture from the Etruscan wolf at the 
 Capitol through numerous Greco-Roman marbles, and early Chris- 
 tian bas-reliefs, and almost shapeless sculptures of the Bassi Tempi, 
 to the works of the Cosimati, Paolo Romano, and Michel-Angelo, 
 of Bernini and Canova. But it is not possible to do this in Apulia, 
 Avhere architecture and sculpture flourished only during a certain 
 period under foreign influences, which marked them so strongly that 
 they cannot be understood without some knowledge of the contem- 
 porary state of the country. 
 
 The very name of Apulia, which properly belongs to a province 
 of Southern Italy, has been applied at different periods to a larger 
 or smaller portion of country; thus, under Norman domination 
 it was given to all the peninsula south of Rome, including the 
 provinces which were afterwards formed into ' 11 Regno,' while, by 
 a singular fiction, when the possessions of the Greeks in Italy 
 had been reduced to the province of Apulia proper, they clung to 
 the shadow of their former wide-spread domination, and called it 
 Italy.i 
 
 At the end of the tenth century the emperors of the East, who 
 had nominally ruled over the south of the Peninsula from the 
 dismemberment of the Carlovingian empire, bounded their posses- 
 sions by an ideal line drawn from Monte Gargano on the Adriatic 
 to the bay of Stderno on the Mediterranean, and governed this ter- 
 ritory, which included Apulia proper, the Capitanatn, Otranto, 
 Calabria, and Beneventum (one of the three great duchies founded 
 by the Lombards^), by a Greek officer residing at liari, who bore 
 
 ' GiannoTie, Storia dl Napoli, lib. xi. cli. iv. p. 135, voL ii. 
 
 ■■^ IJrncventnm fell into liyzaiitino hands a.d. 891, more than a coiiiniy after tlic 
 overtlirow of the fjombards a.d. 774. The other two Lombard dueliies -were Friiili 
 the north and Si)oloto in the centi-e of Italj'. 
 
APULIA AND THE AlUiUZZI. 
 
 3 
 
 the title of Catapan or Capitan;^ while the German emperors, as 
 successors of Charlemagne, chiimed feudal homage from the repub- 
 lics of Naples, Gaeta, Amalfi, and Sorrento, and the Aglabite 
 Saracens occupied Sicily and Malta, keeping the Italian sea-coast 
 cities in constant dread of their ever-renewed incursions.''^ This a.", idog. 
 
 1' ir.st a))- 
 
 state of affairs was completely changed by the Normans, who made ixaram.- 
 their first appearance in Italy at the l^egmnnig of the eleventh Normans, 
 century, and by their impetuous valour speedily reduced Greek rule 
 to the mere shadow of its former self. At that time pilgrimages to 
 holy shrines were frequently undertaken by Christians from far- 
 distant countries, and it was on their return from such a visit of 
 devotion to Jerusalem that a small trooj) of Norman knights, vari- 
 ously stated as from forty to one hundred in luunber, landed at 
 Salerno, and were hospitably received by its duke, Guaimar 111. 
 Soon after their arrival, a fleet of Saracen ships approached the 
 coast, bringing a host of Infidels, who landed and encamped under 
 the walls of the city, and demanded a large sum of money for its 
 ransom from pillage and destruction. The duke being too weak to 
 fight, would have submitted to these terms, as on former like occa- 
 sions, had not his fiery guests volunteered to defend him,^ and 
 rushing upon the Saracens, who had given themselves up to rest 
 or revelry, massacred them in large numbers, and put the remainder 
 to flight. Grateful for this succour, Guaimar offered the Normans 
 every inducement to settle in his dominions, but he was obliged to 
 content himself with their promise to i-eturn, or to send others 
 of their countrymen in their stead ; and loaded with rich presents 
 they embarked for France. Ten years elapsed before a second band a.d. lou;. 
 of Normans, pilgrims to the shrine of the Archangel Michael at visit"')!' tii,- 
 Monte Gargano, set foot on the shores of Italy, Shortly before this 
 
 " ' J J J5;iri re- 
 
 time the citizens of 13ari led by Melo, a noble of Lombard extrac- ■^"'"^ 
 
 ^ ' Mi'lo 
 
 tion long resident among them, had revolted against the tyrannical :ic:ni"«t the 
 rule of the Greek Catapan. But when they beheld a numerous 
 
 ' Probably derived from Capitanus — tlicuce the name of the province Capitanata 
 • — or from tbe Greek kutu. iray, ' apud Gra3C0S generalis totius cxercitus pra)fectus ' 
 {Lelh. n. 14, p. 235 ; Mur. Script. Ber. Ital. v. lib. 1). 
 
 2 The Saracens' incursions into the Mediterranean, which date from tlieir con- 
 quest of Africa, A.D. 698, increased after they seized upon Sicily {Oriijino do la 
 Question d' Orient, St.-Marc de Girardin. 
 
 ^ ' Et non pour pris de monnoie, mes qu'il non povient sousteuir taut superbo 
 de li Sarrazin.' — Aimc, L'ljstoire de li Noriiiuiif, liv. i. p. 1-5. 
 
 B 2 
 
4 
 
 ITALIAN SCULPTORS. 
 
 army, sent against them from Byzantium, they trembled, and with 
 cowardly treachery wished to purchase immunity fur themselves 
 by giving up their brave leader, who saved himself by timely 
 Meio's flight to Monte Gargano. He there met the Norman pilgrims, 
 "Tth'tifo who tempted by their love of adventure, and by his promises 
 Normaus; reward for their services, enlisted under his banner.^ Melo 
 had gained three pitched battles when the tide of fortune turned 
 against him on tlie plains of Cannaj, which so disheartened him, 
 iiegonsto that he appealed for aid to Henry II., whose interests like his own 
 an'rii'ie7-,t wcrc imperilled by the successes of the Greeks. While urging his 
 i>.inib(ig. yjg^^g upon the emperor, he was taken ill, and died at Bamberg 
 and Henry soon after perceived the wisdom of his counsels, when 
 tidings reached him from Italy of such aggravated danger to his 
 imperial rights, as could only be averted by prompt and immediate 
 The Vaii- action. He accordingly crossed the Alps at the head of a large 
 
 Keciuls into 
 
 army, marched through Lombardy and the Marca d' Ancona into 
 it<i'y- Apulia, and taking the Normans into his pay laid siege to Troja, 
 which shortly after surrendered. The further prosecution of his 
 designs was frustrated by the excessive heat of the climate, under 
 which his German soldiers sickened and died like sheep, and he 
 returned home, leaving the Normans to expel the Greeks by the 
 aid of the princes of Beneventum, Salerno, and Capua, who how- 
 ever soon left them to prosecute the enterprise alone. 
 
 As the necessity of having a stronghold for a place of refuge 
 and a centre of operations now pressed heavily upon this handful 
 ThoNor- of brave men in a strange land, they seized upon Aversa, a for- 
 upon tress near Na})les, in Avhich they established themselves under the 
 
 iVVGl'SjI, TLX 
 
 A.i). 1028. Norman Rainulph, Avhom Conrad the Salic soon after created Count 
 of Aversa. Their numbers were constantly increased by fresh 
 arrivals of adventurous spirits from Normandy ; and as they gave a 
 
 ' Guill. Appulus (Muiatori, Script. Ecr. Ital. vol. v.) relates this meeting with 
 Melo in Latin verses. 
 
 ^ The following account of Meio's reception by Henry and of his death is taken 
 fi'oni Uystuir de U Normanf, par Aime moine de Mont-Cassin, liv. i. p. 9, Paris, 
 iHoo : — ' Lo impereor li promit de fairc ce quo Melo requcroit. Et lo impercor 
 lit guai'de do li prince de H Thodes coment de ceste chevaher se appareilla d'aler 
 a restituer Melo en sa pi'opre honneur. Et la crudele s'en rit de ceste covenance 
 quar Melo fu niort (1020) et fu sousterre en I'eglisc de Babiparga, laquelle avoit 
 laiste cestui impercor, et en lo sepulcre de li noble fut mis, et en ot triste ce I'im- 
 pcreor et tout son cxercit.' 
 
APULIA AND THE ABRUZZI. 
 
 6 
 
 hearty reception to all men of whatever country or antecedents, 
 who were possessed of the one necessary quality of courage, they 
 became more and more formidable and aggressive. Nine years a.d. 1037. 
 later, William, Drogan, and Humphrey, three of the twelve sons of 
 Tancred de Hauteville who came from Normandy to fight against 
 the Sicilian Saracens, joined their countrymen on the mainland, 
 seized upon Melfi, and Avithin three years overran the whole of a.d.^io4o- 
 Apulia, leaving only Bari, Brindisi, Otranto, and Tarentum in the c.mqucst 
 hands of the Greeks. Their conquests were then divided between 
 twelve Norman counts assembled at Melfi, which town was set apart 
 to be held in common as the seat of government. Robert Guiscard,' 
 the eldest and most famous of Tancred's sons, soon after joined his 
 brothers with his son, the hero Bohemund, who figures with mythic 
 grandeur in the history of the Crusades among those of his brave 
 countrymen who made Southern Italy a stepping-stone to dominion 
 in the East, and led on the European hosts to the cry of ' Dieu le 
 veut ! Dieu le veut ! ' till they stood as conquerors within the walls a.d. 1099. 
 of the holy city.^ 
 
 We need not here relate the subsequent history of Apulia, as it 
 was during the period of which Ave have been speakmg that the 
 churches were built, whose fa9ades and portals furnish us Avith the 
 most important examples of 8cul])ture. They consist of bas-reliefs Eiement.s 
 in the lunettes, or upon the architraves and side-posts of the doors, sciiiptmc. 
 representing Scriptural personages or scenes from holy Avrit, sculp- 
 tured in the conventional style of Byzantine^ ivories, mosaics, and 
 
 * Guiscard oi* Wiscard, i.e. callidus, crafty, astute. No. 1, p. 7, Mem. ct Hid. 
 lies Normands, par M. H. de Breliolles. 
 
 2 The ciy of ' Dieu le veut ' was first uttered by an immense assembly of people 
 at the Council of Clermont, November 14, 1095, in answer to the appeals of Pope 
 Urban II. and Peter the Hermit. 
 
 ^ The wide-spread influence of the Byzantine school is remarked upon by 
 Salzenberg in the preface to his work entitled AU-Christliche BauioerJce zu 
 Covstantlnope'l. So far as Justinian's sceptre ruled over Christians it gave laws 
 for building of churches, in Europe, Asia Minor, Palestine, Egypt, and Africa. 
 When in the seventh century the Arabs made their raid through Asia and Africa 
 into the heart of Europe, they brought with them no art of their ovn\. The 
 Moslem mosques were built by Greek artists, and the caliphs of the Abbacide 
 dynasty, who made Bagdad their abode in the eighth century, employed Greek 
 architects. Artists and savants were drawn from Constantinople, and Greek 
 classics were translated into Arabic. So also in Spain, Byzantine artists and 
 architects, as the best of their time, were called to Cordova to build the palace of 
 Zahra (see Cardonne, Hist, de FAfriquc el de VEspatjne, vol. i. pp. 330-G ; v. Gibbon). 
 
6 
 
 ITALIAN SCULPTORS. 
 
 paintings, and of rich and complicated ornaments of a mixed 
 Oriental and classical character, very skilfully combined with an 
 infinitely varied series of animals, either carved in relief upon the 
 archivolts of the portals and around the windows, or sculptured iu 
 the round, and half set into the walls, from which they protrude 
 with an eccentric effect. 
 
 In the presence of these ditFerent elements we recognise the 
 united influence of Greeks, Saracens, and Normans upon the 
 national genius, which clung with tenacity to classical forms and 
 incorporated early Christian and Media3val symbolism with them. 
 Let us see how and to what extent each of these nations and 
 systems worked upon Southern Italy. The Byzantine influence is 
 sufiiciently accounted for by the political and commercial relations 
 between the governed and the governors, and the presence of a 
 Greek ruler with his dependents. It was further developed by 
 the artists and artisans who returned from the East in the ranks 
 of the Crusaders,^ bringing with them new ideas about ornament 
 and architecture,'^ derived not only from Byzantium, but also from 
 the Syrian cities, which were even greater centres of art. Orien- 
 tal ivories, gold and silver ornaments, and stuffs of rich and varied 
 patterns, served them as models for sculptural ornament, and it 
 was rather from these than from Eastern sculpture that they derived 
 their combinations of ornament with animal forms and figures, for 
 
 So also Russia, Hellas, the islands of tlie Archipelago, and the towns of the Adriatic 
 coast, Calabria, Sicily, and the neighbourhood of Naples show Byzantine influence 
 on buildings as late as the tenth century. 
 
 ' Baron Hammer's ingenious theory about the introduction of Mediajval sym- 
 bolism into France, and thence into England, at the time of the Conquest, lOGO, 
 by the Templars and Free Masons, who had been instructed in its mysteries by a 
 sect of Syrian Gnostics, and who returned from the East in the ranks of the 
 Crusaders, is disproved by the fact that the order of the Knights Templar was not 
 instituted till the year 1118, as well as by the character of the sculptures about 
 the Temple church in London, and St. Michael's Hall in Normandy, which are 
 simple and not at all symbolic. Baron Hammer's dissertation is entitled ' Mys- 
 terium Baphometis Eevelatum,' vide Fniuhjnlheii dcs Orients, vol. v. 
 
 These ideas bore fruit both in Italy and France. ' Nous voyons, par exemple, 
 a cette epoque, le Poitou, la Saintonge, la Normaudie, I'ilo de France, la Picardie, 
 I'Auvergne, repandre sur leurs edifices, des rinceaux, des chapiteaux, des frises 
 d'ornements d'un trcs-beau style, d'une bonne execution, qui semblent copies, ou du 
 moins iminediatement inspires, par I'ornementation byzantine de la Syi'ie, tandis 
 ([nil cote de ces orncments, la statuaire demeurc a I'ctat barbare et ne semblo pas 
 faire un progres sensible.'— Viollet-le-Duc, Bid. raisonne de V Architedure fmnqaisc, 
 vol. viii. p. lOG. 
 
APU[,IA AND THE ABRUZZI. 
 
 7 
 
 the stuffs which the Byzantines fabricated are filled with them, 
 though they made use of neither in sculpture. The Syrians also, 
 whose cities as far back as the fifth century possessed examples of a 
 peculiar system of ornament derived from old Greek art, modified 
 by Roman and Asiatic influences, almost altogether discarded 
 animals and human figures, and used dentellated leaves of a con- 
 ventional form deeply marked and sharply cut out, combined with 
 geometrical patterns formed by the intersection of circles or of 
 straight and angular lines. The Saracens, who succeeded the Tiie sici- 
 Greeks as masters of Sicily and thence acted upon the mainland, ctns. 
 decorated their buildings Avith ornaments made up of plants, leaves, 
 and flowers, called arabesques,^ nor could they exceed these limits, 
 as they were forbidden l)y the Koran to represent the image of any 
 liviu": thino-. 
 
 The Norman element is much more difficult to define, as Tim 
 our knowledge of it is more vague. It is even questionable ci.mem. 
 whether the Normans possessed any art of their own when they 
 invaded France in the tenth century. They were ' exiled and 
 banished people, who made themselves kings of the sea because 
 they had no land which they could call their own,'^ When after 
 seizing by force upon Neustria they took to themselves wi"S'es, the 
 children born to them grew up speaking the language of their 
 mothers, showing that the fathers did not cling to their nationalit}', 
 so that in all probability such principles of art as they may have 
 brought with them were quickly lost. The little sculpture' found Eh vonth 
 upon the oldest Norman buildings consists of clumsily interlaced dia'raKei- 
 lines (entrelacs), and of animals biting each other, analogous in ll^^.l^n-. 
 
 ' Arabesques were a characteristic element of Persian art. They are divided 
 into two kinds: viz., flowered ai-abesques, i.e. arabesques made up of forms bor- 
 rowed from climbing plants, sometimes inteimiingled witli animals of strange 
 shapes ; and geometrical arabesques, composed of interlaced lines most skilfully 
 combined, whose most essential condition is that they never break off or stop. 
 The Persians did not submit to the Mahomcdan law, which forbade the repre- 
 sentation of figures of men and animals, and continued, like their ancestors, to 
 compose arabesques made up of birds, plants, and animals (Adalbert do Beaumont, 
 Bcv. des deux mmides, October 15, 1866, p. 991). 
 
 2 Michelet, Hist, de France, vol. i. p. 320. 
 
 3 Romanesque architecture in Normandy in the twelfth century was 'severe, 
 methodique, savante, puissante, recherchee commc constriiction, mais imuvre cii. 
 sndpture. Les Normands furent d'habiles constructeurs, precision dans I'appareil, 
 execution soignee, mais absence de sculpture.'— M. Viollet-le-Duc, Enivcticns sitr 
 V Arcluteduix, vol. i. pp. 227-280. 
 
8 
 
 ITALIAN SCULPTORS. 
 
 character to those common to Celtic, Anglo-Saxon, Icelandic, and 
 Scandinavian art.^ 
 
 Egyptian The earliest adaptations of natural forms to architectural orna- 
 sian ailap- mcut are found among the Egyptians, who decorated the tympani, 
 natoai" fnczcs, and column capitals of their buildings with the lotus, the 
 on™mOTtai palm, the papyrus, the acanthus, and different species of water 
 plants; and among the Persians, who laid the animal, vegetable, 
 and mineral kingdoms under contribution for the same purpose 
 but there is this capital difference between Oriental and Christian 
 symbolism, that in the first natural forms are represented for 
 
 ' See The Grammar of Ornamcni, by Owen Jones, chapter upon Celtic onia- 
 mcnts, plates G3-G5. Such ornaments are found in the Anglo-Saxon charts 
 preserved in the library of the British Museum, and in other libraries, which date 
 from the second half of the seventh century up to the time of the Conquest. They 
 are identical with those upon metal or stone of the same date. The Celtic orna- 
 ments are made up of geometrical patterns composed of interlaced ribbons, diagonal 
 or spiral lines, of animals and birds with monstrous heads and very long tongues, 
 and tails entwined in infinite knots. The absence of ornaments made vip of leaves 
 or vegetables is total. The human figure is sometimes but rarely introduced. In 
 regard to the possible origin of Celtic ornament from that of the East, Mr. Jones 
 points out its resemblance to the earliest ornaments from Mount Athos, given by 
 M. Didron in his Iconograplue de Bicu ; and adds, that elaborate ' entrelacs,' so 
 common in Moorish ornament, agree partially with Slavonic, Ethiopian, and 
 Syrian ornament, and that, as all these probably originated at Byzantium or Mount 
 Athos, the case may be the same with Celtic ornament. The analogy of this species 
 of ornament with that used in certain Hindoo sculptures has been pointed out in 
 justification of the theory of the origin of the Scandinavian races in central Asia. 
 See, iipon this subject, Le Didionnairo raismme de 1' Architecture de M. V.-le-Duc, 
 vol. viii. p. 185, article ' Sculpture.' 
 
 2 M. Adalbert de Beaumont, in an article entitled ' Les Arts Decoratifs en 
 Orient et en France' (Rev. des deux mondcs, October 15, 18G0), declares this 
 adaptation of natural forms to architectural ornament to be of Persian origin. He 
 says : ' Deja Ics Egyptiens dans leur antique architcctaire s'etaient iiarticuliercment 
 inspires de la forme des vcgetaux. Le lotus, le palmier, le papyrus, Facanthe et 
 diverses plantes d'eau entrerent, en peinture atissi bien qu'en sculpture, dans la 
 decoration des chapiteaux, des colouncs, dt'S tympans et des frises. Les Perses 
 allerent beaucoup plus loin, et chcrchant dans les lois genorales des formes na- 
 turelles, ils prirent au regne vegetal ses creations les plus diverses, an regr.e 
 mineral ses cristallisations de tout genre, au regno animal les procedes archi- 
 tectoniques des madrepores, des oursins, des coquilles et d'une foule d'animaux 
 reputes fabuleux .... Dans tonte cctte zoologie fabulcuse de I'Orient, dans ces 
 leopards rampants ct armes, ces tigres grimpants, ces taureaux et ces chevaux ailes, 
 ces lions couronncs combattants ou sautants, dans les animaux allegoriques tels 
 que la salamandre, le gTiffon, le pelican, le cocatrix, I'ibis, la licorne, qui depuis la 
 langue hieratiquc jusqu'a nos jours font partie de la poesie orientale, nous ne 
 pretcndons pas voir, sans doute, des copies exactes de la creation; il nous sufTit de 
 constater que I'aspeet do ces animaux rcste tres vrai, tres caractcrise, tout en 
 devenant arabesque, et passo dn nalnrel an mervcilleux sans effort et sans secousse.' 
 
APULIA AND THE ABRUZZI. 
 
 9 
 
 worship as symbolic of deities, or as typical of natural forces and 
 phenomena; while in the second they are signs of a hidden reli- Animal 
 gious meaning, and as such are often described by the Church as signs in 
 Fathers, who, while regarding all created things as witnesses to the art'"''^'"'" 
 power and intelligence of the Supreme Being, considered them 
 chiefly worthy of attention in so far as they could, by an often 
 strained interpretation, be made to conduce to man's moral advance- 
 ment. Frequently incorrect in their ideas about the nature and 
 properties of animals, they did not seek to separate the true from 
 the false, since, as St. Augustine remarks, ' The all-important object 
 for us is to consider the signification of a fact, and not to discuss its 
 authenticity.' ^ This habit of looking for a symbol in every created 
 thing led to a system of mystical zoology contained in the ' Physiolo- The riiy- 
 gus' or 'Bestiary,'^ a work which explains the now forgotten meaning 
 of many of the strange forms carved about the fa9ades of Mediajval 
 churches. The first sentence in the version of the Bestiary made 
 by Peter of Picardy, clearly sets forth the object for which it was r. ter of 
 composed. 'Here commences the book wliich is called "Bestiary," 
 and it is so called because it speaks of the nature of beasts ; for God 
 created all the creatures upon earth for man, and that he may in 
 them find an example of faith and a source of belief.'^ So also 
 
 ' Enarratio in Psalmum cii., p. ix. : ^ BeiKifithitar sicut aquila.' Resurrectionem 
 enim quamdam significavit nobis: Efc quitlcni renovatm- et juventus aquil:i?, scd 
 non ad immortalitatem. Data est enim similitudo quantum de re mortali potuit 
 trahi ad rem utcumque significandam immortalem, non ad demonstraiidam.' 
 
 2 The Physiologus is a popular account of such facts in natural history as were 
 best adapted to the religious instruction of the early Christians. Whether it is the 
 title of a treatise composed by one of the Church Fathers, or whether some great 
 Greek naturalist, like Aristotle or Theophrastus, is designated under the name of 
 Physiologus, is uncertain (ibid. pp. 18, 19). The subject-matter of the Latin 
 and French Bcstiaires and Lnpidaires is derived from Albertus Magims, Vincent 
 de Beauvais, Barthelemy do Glanvil, and the Phijsiolofjus (ibid. p. 27). A French 
 and Latin version of the Fhijsiologus is given in the 2nd and 3rd vols, of the 
 Melanges d'Archeologie, par Ch. Cahier et Arthur Martin. At p. 85 of the Intro- 
 duction to this work, vol. ii., it is stated that the oldest prose version is that of 
 Philippe de Thaun, a Norman troubadour of the twelfth century. About a 
 hundred years later Guillaume le Normand rhymed the Bestiarg, and about the 
 same time a clerk of Picardy put it into prose in the Beauvoisis dialect. The 
 origin of the Physiologus is doubtful. It has been attributed to St. John Chry- 
 sostom and to St. Ambrose. There are several MSS. of this work of the tliirteenth 
 century in the Bibliotheque Imperiale, and one at Brussels of the tenth (ibid, 
 p. 99). 
 
 ^ Melanges d'Archeologie, op. cit. vol. ii. 
 
 C 
 
10 
 
 ITALIAN SCULPTORS. 
 
 William of William of Normandy tells us that 'all the examples collected in 
 the book are intended for the amelioration of sintul man^ and for 
 Kk*cm ftom profit of his soul.'^ One or two extracts from the ' Physiologus ' 
 the Phy- y^^ii a.[yQ ^]^q reader an idea of the way in which the difi"erent 
 
 siologus. o ^ ^ ^ 
 
 The lion animals are described in view of man's instruction. ' The lion has 
 three properties. He lives in the high mountains ; when he finds 
 himself pursued by the hunter he conceals his track by effacing his 
 footsteps with his tail ; when he sleeps he has his eyes oj)en; after 
 the young lion cubs are born they lie lifeless upon the ground for 
 three days, abandoned by the lioness; then the lion comes, and 
 breathing upon them recalls them to life. Thus Jesus Christ con- 
 cealed his coming upon the earth so completely that the devil even 
 was unaware of it. Three days, like the lion whelps, he lay lifeless, 
 then God the Father brought him forth from the tomb and glori- 
 
 The tiger, ously rcsuscitatcd him.'^ ' When the hunter has seized the young 
 tiger cubs and is pursued by the tiger, he places a mirror in the 
 path of the furious animal, who on perceiving himself in it is so 
 charmed by the spectacle of his own beauty, that he gives up the 
 chase and forgets his loss. The hunter is the devil, the cub is the 
 soul which he wishes to steal away, and the mirror the temptations 
 of the world put in man's way to absorb and divert his attention 
 from matters connected with the welfare of his soul.'^ In the same 
 
 The cock, strain a writer of the thirteenth century^ says, that the cock who 
 marks the hours of the night by his song, wakes up sleepers, and 
 
 ' ' Qucr les cssamples qu'cl aihie 
 
 Sont totes por ramendement 
 D'ome qui erre follement.' 
 
 ^ ' Essamplcs por le preu a I'ame.' 
 
 ^ The idea that the lion effaced his footsteps was taken by St. Epiphanins from 
 Plutarcli or from Claudius ^lianus, an author of the third century ; and the story 
 of the resuscitation of the lion whelps from Aristotle and Pliny (Hippeau, op. cif. 
 p. 75). 
 
 * No. 8, Melanges, &c. op. cit. vol. ii. 
 
 5 Rationale Divinorum Officionim, Guglielmo Durando (M. 129G) ed. in-8vo. 
 Lugduni, 1G12, liber i. p. 7. The same author, in speaking of the .symbols of the 
 evangelists, prefigured in the visions of St. John and the prophet Ezekiel illus- 
 ti-ates their fitness as applied to Christ, who was born a man, who died the death 
 of a calf, who rose like a lion, who ascended like an eagle. St. Matthew, he says, 
 was symbolised as a man, because his object was especially to illustrate the 
 Immaiiity of Christ ; St. Mark as a lion roving in the desert, because his office 
 was to describe the Lord's resurrection ; St. Luke as a calf, because he was ap- 
 pointed to describe liow Christ offered himself as a victim ; and St. John as an 
 
APULIA AND THE ABRUZZI. 
 
 11 
 
 announces the dawn, after exciting himself to crow by flapping his 
 wings, is placed on church spires as an emblem of the preacher 
 who HAvakens sleepers slumbering in their sins. 
 
 The Medieeval sculptor who represented these and the many Purpose 
 other animals described in the ' Physiologus,' was probably not ani- Modiwvai 
 mated by as" deliberate a purpose as the learned doctors of the ^"^"^p'""""' 
 Church in their treatises and homilies, for he dealt only with the 
 sign, and left to his spiritual teachers its interpretation, which was 
 less generally understood as it became more and more recondite. 
 In the early periods of the Church the simpler forms of symbolism Symbolism 
 were clear to all disciples, and only to them ; their very object, "iriy 
 indeed, being that the initiated might possess a language which was 
 a dead letter to the heathen. To this language, Avhich had become 
 dear to them in hours of danger, they clung long after the establish- 
 ment of their religion, not only from force of habit but from a 
 repugnance to images of holy persons, which suggested idolatry, 
 and also from a reverence for the commandment of the Jewish law. 
 Gradually however these feelings were weakened, and even before 
 a final blow was given to art symbolism in the seventh century by 
 the permission to represent Christ and the Saints and the mysteries 
 of the Passion, many of the old forms had lost their m}^stical signi- 
 ficance, and were used only because well adapted for decorative 
 purposes. 
 
 How far this had become the case in the tliirteenth century is st. Ber- 
 shown in a striking passage in the writings of St. Bernard against 
 extravagance in the decoration of churches ' whose walls glow with 
 colour, and whose stones are covered with gold, while the poor are 
 in want and go naked.' ' What,' he says, ' is the use of those 
 absurd monstrosities displayed in the cloisters before the reading 
 monks? See what deformed beauty and what beautiful deformity. 
 Why are unclean monkeys and savage lions, and monstrous cen- 
 
 cagle, because he was taken up into heaven, that he might describe the divinity 
 of the Lord {Uationale, Ub. vii. p. 464) . See also the following Latin lines quoted 
 by M. Hippeau, op. cit. p. 79, from Hildebert de Lavardin : — 
 
 ' Christus homo, Christus vitulus, Christus leo, Christus 
 Est avis, in Christo cuncta notare potes : 
 Est homo dum vivit, bos dum moritur, leo vero 
 Quando rcsurgit, avis quando superna petit.' 
 
 Vide Ezekicl i. 10, and Revelation iv. 7. 
 
 c 2 
 
12 ITALIAN SCULPTORS. 
 
 taurs, and semi-men, and spotted tigers, and fighting soldiers, and 
 pipe-playing hunters represented? You may see there many bodies 
 with one head, and one body with many heads. Here a quadruped 
 with the tail of a serpent, there a fish with the head of a quadruped. 
 Here a beast half horse and half goat, there another with horns and 
 a horse's body. The variety of form is so great everywhere that 
 marbles are more pleasant reading than manuscripts, and the whole 
 day is spent in looking at them instead of in meditating upon the laAV 
 Hidden of God.'^ Did we not still possess the writings of the early Church 
 or^yn\"ok Fathers Ave might accept the argument furnished by this passage 
 f^i'"is. against there having been hidden meanings of high religious import 
 in this symbolism; but we must remember that St. Bernard saw 
 that little or no account was made in his day of the only reason, 
 Avhich could ever have authorised its employment about sacred 
 buildings. 
 
 The noble Apulian churches, whose ornamental sculptures we 
 have endeavoured to characterise and explain, have in many cases 
 suffered greatly by modern restoration, which has too often substi- 
 tuted false glitter for solid splendour ; but fortunately much of 
 their marble-work has been left untouched. Their ground-plan 
 General^ is generally that of the Roman basilica, and their style is either 
 style of Romanesque, i.e. debased Roman — often called Lombard or Nor- 
 dmreiies. man of the first period — or Gothic, modified by classical influences, 
 
 also called Norman of the second period.''^ • 
 St. Mi- Ages before any of these stately buildings were raised by man 
 
 Grotto. to the honour of his Maker, nature had hollowed out a vast cave 
 near the rocky summit of Monte Gargano,^ which was to become one 
 
 ' Sancfi Bernanli Opera, Parisiis, 1690, vol. i. p. 538, ch. xii. : Luxum et abusum 
 in templis et oratoriis extruendis, ornandis, pingendis, ai'guit. 
 
 ^ The Norman circular style, which reached its height in the eleventh cen- 
 tury, was one of the modifications of the Romanesque, whose parent stock was 
 Iloman architecture. The eai'liest churches built in Normandy and England, 
 as in Apulia, are basilicas in form. Norman Romanesque does not abound in orna^ 
 ment ; it is rather characterised by plaimiess and simjilicity. Very few sculptures 
 adorned the exterior of Norman buildings. Vide Antiq. of Normandij, J. Britton, 
 1 vol. fol. London, 1828 ; and Viollct-le-Duc, Eniretiens sur V Architecture. 
 
 ^ The Mens Garganus of the Romans was in ancient times covered with thick 
 woods of oak and ash, twice mentioned by Horace — 
 
 ' Aut Aquilonibus 
 Querceta Gargani laborant, 
 
 Et foliis viduantur orni.' — Car. ii. 9. 
 ' Gargannm mitgire putes nemus.' — Ejh ii. i. 202. 
 
APULIA AND THE ABRUZZI. 
 
 13 
 
 of the most famous shrines in the world. In ancient times, a Pagan 
 temple stood above it,^ whose priests doubtless used it for oracular 
 purposes, but its existence had been long lost sight of, when one 
 day at the end of the fifth century (says the legend) a shepherd 
 having shot at a wild bull upon the mountain, saw his arrow fly 
 back to him, as if sent by an invisible hand. Amazed at this 
 mysterious occurrence, he sought out the holy Laurentius, then 
 Bishop of Sipontum, who repaired to the spot to fast and pray. 
 After three days the Archangel Michael appeared to him, and led May s, 
 him to the cave, which he declared henceforth sacred to himself and 
 the angels. Within it the bishop found that Oriental sign of con- 
 secration — an altar covered with a red cloth — upon which he cele- 
 brated mass; and ever since on the anniversary of that day crowds 
 of pilgrims climb the steep mountain path to pray in the grotto. 
 Each man as he passes across its threshold, shakes one of the rings ^ 
 pendant from its venerable bronze gates, which were cast at Byzan- 
 tium eight hundred years ago, and given to fill tliis portal by one 
 of the noble family of the Pantaleone from Amalfi. The grotto a.d. iotg. 
 contams nothing of artistical interest except a marble cattedra of 
 the twelfth century, supported upon crouching lions of the old 
 Romanesque type, and adorned with rich Arabic ornament and 
 with a small bas-relief of St. Michael and the Dragon.^ 
 
 It was taken possession of by the Lombards who were expelled by the Emperor 
 Constans II., and long occupied by the Saracens. ' Multoque adhuc extant Sara- 
 cenorum scpulchra saxo excavata' (Ughclli, 1st. Sacra, torn. vii. p. 809). 
 
 ' The temple of the demi-god Colchas, spoken of by Strabo {Ocog. vi. 3). 
 
 2 ' Armilla januse,' rings of iron placed upon church facades, and much venerated 
 by the people (Montfaucon, Monarch, frang.. p. 193 ; Lopez, note 42, p. 204, II 
 Battistero di Parma). 
 
 3 As I visited the Grotto on the great fete of St. Michael, which takes place on 
 the 8th of May, I could not approach the cattedra or the high altar, on account of the 
 immense crowd of pilgrims. This I the more regretted as Ughelli {op. cit. p. 809) 
 mentions a statue of St. Michael, by Michel- Angelo, upon the high altar. No 
 such work by that gi-eat sculptor is known. These are Uglielli's words : ' Aureum 
 Archangelis Michaclis patroni simulacrum hoc in loco fuisse olim narrant, cujus 
 loco argenteum collocatum, eoque detracto marmoremn jjulcherrimum a Michaele 
 Angelo Bonarotu celeherriino sctdptore elahoratum appositum, quod adhuc spectatur. 
 Schultz {Benlcmaler der Kunst des Mittelalters in Unter-Italien, vol, i. p. 240) says 
 it is certainly not by Michel- Angelo. According to tradition the cattedra was 
 made in the days of the holy St. Laurence, and the Emperor Henry II. is 
 said while sitting upon it to have seen a vision of Christ and the holy angels. 
 The outer church and adjacent buildings, as well as the Gothic portal at the 
 head of the long flight of steps leading down to the Grotto, belong to Chai-les of 
 
14 
 
 ITALIAN SCULPTORS. 
 
 1087 
 
 The More than five hundred years after the consecration of St. Michael's 
 
 ft™ . Grotto, a Greek bishop named Bisantius ^ founded the duomo^ at Bari,^ 
 1035-1062. which was completed under his successor Bishop Nicolaus. Restored 
 in the very worst modern taste, and deprived of its ciborium which 
 Aifanus da was made for this bishop by Alfanus da Termoli, and of its pulpit, 
 10G2-'' erected shortly after under Bishop Andreas, this church is now 
 utterly without interest. Fortunately however we can form a very 
 accurate idea of the destroyed ciborium by that at the neighbouring 
 church of San Nicolo, which tallies almost exactly with the descrip- 
 tion given of it. Its pyramidal roof was divided by colonnettes, 
 and supported upon marble columns, whose capitals were elabo- 
 rately sculptured with little angels, leaves, branches, and climbing 
 serpents, and rich, deeply-cut ornament. The artist's name was 
 inscribed upon each capital, with descriptive and highly laudatory 
 verses.^ The ciborium at San Nicol6, which was erected by the 
 
 Anjou's time. Tlie bas-relief over this portal, of the Madonna and Child, with 
 Saints Peter and Paul and a kneeling donator, has been too much whitewashed 
 to allow of any judgment upon its original merits. It is inscribed with the name 
 of ' M. Simon de Rac . . . (perhaps Ragusa), qui fecit hoc opus ad honorem Sancti 
 Michaelis Archangeli.' The bas-reliefs of Scripture scenes and personages upon 
 the capitals of the columns of the adjoining baptistery, which are also of the 
 thirteenth century, are excessively rude. 
 
 * Bisantius is evidently a patronymic. The bishop is said to have decorated the 
 duomo with 500 large and 200 small columns brought from Paros for the purpose 
 (Ughelli, op. cit. vol. vii. p. 603). 
 
 ^ The duomo was consecrated October 28, 1035. Archbishop Elias (a. D. 1091) 
 discovered the bones of St. Sabinus under the old altar, where they had been con- 
 cealed for 240 years. According to a tradition mentioned by Ughelli, these relics 
 were brought to Bari by Archbishop Angelarius, Bishop of Canosa, a.d. 860. 
 
 3 Bari, called Bapiov by Strabo, and by Pliny (Hist. Nat. iii. 11), Barrium 
 and Barrctum, was the chief city of Apulia in 1087 (vide Chr. Protosp., Muratoii, 
 Scrip. Rcr. Ital. vol. v.). Horace thus mentions Bari and the road leading to it 
 in the account of his journey to Brindisi — 
 
 ' Via pejor ad usque 
 Bari moenia piscosi.' — Sat. i. v. 97. 
 
 The following inscriptions are given by Ughelli {op. cit. vii. G03) — 
 
 1st column's capital: ' Summi sculptoris Alfani dextra perita 
 
 Angelicas species marmore fecit ista.' 
 2nd ,, ' Ascendit ramos is tamen vipcra qusequc, 
 
 Ut dignum clament Alfanum versibvis ffique.' 
 •^I'tl n „ ' Alfanus civis me sculpsit Thermolitanus ; 
 
 Cujus, qua laudor, sit benedicta manvis.' 
 ^^^'^ » >, ' Viribus Alfanus studviit quod sculi)ere (*v'c) totis 
 
 EHrem Icgavit, complexit cum uepotis.' 
 
PLANCHE I 
 
 N° 1 
 
APULIA AND THE ABRUZZI. 
 
 16 
 
 Abbot Eustachius early in the twelfth century, differs from it only Ciborium 
 in the designs sculptured upon the capitals of the columns, which Nicoio. 
 consist of angels with large heads, small bodies, and pointed wings, 1123. 
 kneeling upon long drooping leaves, whose structure is marked by 
 deep-cut lines (see Plate 1, No. 2), and of eagles, rams' heads, and 
 leaf-work. What strikes us most in this Apulian marble-work is 
 its firm, decided character, and we are led to observe that the 
 artist, though apparently ignorant of the first principles of form, 
 deals as boldly with the human figure as he does with the leaves 
 and animals which he has studied from nature. So peculiar a 
 sanctity was given to this church by the relics of St. Nicholas, 
 that it was selected for the coronation of the kings of Sicily 
 and Italy, one of whom, King Roger II., is represented upon a 1131. 
 niello plate set into the middle of the arch of this ciborium, receiv- 
 ing his crown from the antipope Anacletus.^ This St. Nicholas, San Ni- 
 who was Bishop of Myra in Lycia, was one of the Church Fathers 32.5. 
 who condemned the Arian heresy at the Council of Nice, and espe- 
 cially renowned as a destroyer of heathen temples and idols. His 
 bones, from which flowed a healing oil of miraculous power, remained 
 at Myra until the latter part of the eleventh century, when some 
 merchants of Bari, trading at Antioch, succeeded in obtaining 
 possession of them, and brought them back in triumph to their May 9, 
 native city, where this splendid church was immediately founded 
 in honour of the saint. The relics were deposited in the vast 
 crypt, whose vaulted roof rests upon twenty-four columns with rich 
 Byzantine capitals, decorated with carved leaf-work, lions' heads, 
 and a great variety of sharp, clear-cut ornament. Hardly had the 
 
 The same writer tells us that Archbishop Nicolaus belonged to the noble Effrem 
 family, which was of Greek origin, that he was made Archbishop of Bari in 1035, 
 and died in 1062 on the 27tli of April. 
 
 • Schultz (op. cit. p. 42) quotes an inscription in the duomo which records the 
 coronation of King Roger by Pope Anaclctus, A. D. Mcxxxi. This king assumed 
 the pompous device, ' Appulus et Calaber, Siculus mihi servit et Afer ; ' and in a 
 document quoted by Falco of Beneventum he styles himself, ' Dei gratia Sicilise et 
 Italian rex, Christianorum adjutor et clypjeus ' (Cantu, St. derjli Italian), ii. 393). 
 Despite this inscription, Giamione (op. cit. lib. xl. ch. iv.) absolutely denies that 
 the Norman or Suabian kings were crowned elsewhere than at Palermo. Beatillo 
 (Storia di Bari, ch. xx.) says that Henry VI. and his wife Constance were crowned 
 here and Manfred who carried off the rich ornaments used at the ceremony. 
 
 ' Bari, che a' suoi rcgi albergo scelso 
 Foi'tuna, e die corona e insegne excelse.' — Tasso. 
 
16 
 
 ITALIAN SCULPTORS. 
 
 1097. building been roofed in, when it became the scene of a great Church 
 council, held by Pope Urban II. to denounce the errors of the 
 Greek Church, at which Anselmus, Archbishoj) of Canterbury, and 
 one hundred and eighty-five bishops assisted ; ^ and in commemora- 
 tion of this important event its founder Archbishop Elias caused 
 The cat- the marble cattedra to be made, which in memory of the long occu- 
 tedra. patiou of Bari by the Saracens in the ninth century, is supported by 
 two wild, grotesque-looking Arab prisoners kneeling on -one knee, 
 and by a short standing figure of a man with a staff in his hand, 
 and a conical cap upon his head. Its back rests upon a lion holding 
 a man's head in his paws,^ and lions' heads are introduced below 
 the foot slab, which like the other slabs and panels of the sides 
 and back of the chair, is adorned with ornaments of elegant design. 
 (See Plate 2, No. 1.) 
 Fa<;ade The fa9ade and portal scidptures of this church consist of bas- 
 
 seuip^turelf. reliefs of Samsou and the lion, and other Bible subjects; of lions 
 and syrens, vines and arabesques, a centaur, a man carrying a hare, 
 and of beasts of different kinds encircled by winding lines which 
 spring from vases; a sphinx sits above the gable of the fa9ade, and 
 bulls standing upon consoles are placed below the cornices, while 
 two flying angels of a strongly Byzantine character fill up the 
 spandrils of the portal arch. 
 The duomo The animals are by no means so well sculptured or so numerous 
 1093°"^^ as those upon the fagade of the cathedral at Troja,^ which was 
 commenced, soon after the churches at Bari, by Bishop Gerardus, 
 Thefagade. and Completed by Bishop Guglielmus 11."* Its fagade is certainly 
 
 ' The discourse of Anselmus at the council is contained in his work entitled 
 De Processione Spiritus Sancti, contra Grcecos (Ricci, oj). cit. i. 477, nota 10). 
 
 2 This ornament, introduced later into the monument of Frederic II. at Palermo, 
 is supposed by M. Villemain {Mom. Ined. vol. i.) to be a souvenir of the throne 
 of Solomon. 
 
 ^ Troja, twelve miles from Foggia, was founded in 1008 or 1013 by Bubagnauus, 
 a Greek captain, on the site of the ancient Qllclana (Eclanum). M. de Breholles 
 {Eecherches sitr les Monuments et I'Histoire des Normands et de la maison de Soziahe, 
 Paris, 1844, p. 36, not. 7) says : Date of foundation uncertain ; but from a passage 
 in the inscription on the bronze gates of the duomo, it is supposed to have taken 
 place in 1019. 
 
 * A notice of Guglielmus II., Bishop of Troja, will be found in the Chr. Falc. 
 Benev., Muratori, Scn'2]t. Ber. Ital. v. 116. It was he who, in 1133, headed the 
 procession of clergy who, dressed in white as penitents, went out to meet King 
 Roger when, after devastating Apulia, that monarch threatened to destroy Troja, 
 which had resisted his authority. ' Rex autem ipse furibundus civitatem ingressus 
 
APULIA AND THE ABRUZZI. 
 
 17 
 
 the most bizarre of all Apniian fa9ades, for not only is it peopled 
 with all created things, but its surface glows with yellow and 
 green stones, after the fashion of the Sicilian churches, uniting 
 the sharp-cut, clear-lined sculpture of the East with the poly- 
 chromatic decoration of the Saracens. It is divided into two parts 
 by a cornice, richly carved with heads of men, lions and leaf- work. 
 In the upper one is placed a great wheel window, encircled with a 
 row of rudely-sculptured beasts, and surmounted by the figure of a 
 man seated upon the back of a nondescript animal. Oxen, elephantp, 
 porcupines and apes protrude from the wall on each side. Four 
 columns, with lions above their capitals and at their bases, support 
 a plain round arch above the window, and six smaller arches, with 
 dentellated arcliivolts and leaf-work capitals, arc; set against the 
 wall in the lower portion of the fa9ade, on either side of the great 
 central arch over the portal. The slabs of marble which decorate 
 the central arch are covered with Arabic ornament, and the reliefs 
 on the architrave are composed of rudely-chiselled figures, of a 
 I'yzantine type, representing Christ enthroned between the A'irgin 
 and St. John, SS. Secundinus^ and Eleutherius, and the symbols of 
 the Evangelists in medallions ; while in the lunette of one of the 
 lateral doors, whose side-posts and architrave are sculptured with 
 ornament, is a bas-relief of Christ treading on the lion and the 
 dragon, with two rudely-carved angels of a Byzantine type. Tiic •'^oMipturos 
 varied and elaborate capitals of the many columns, which divide iiiti-.i.T. 
 the nave from the side aisles, furnish another example of rudely- 
 chiselled heads suri'ounded by rich and tasteful ornaments, whose 
 
 . . . oculis arclentibus processionem illani destruxit. Nolo, inqiiit, nolo Lnjiis- 
 modi gloriam, scd, vita coniite, omncs destruam et omnes exsulabo ' (p. 137). There 
 is a mention of the death of Duke Rainulphiis, a.d. 1139, and of his burial in tlif 
 duomo amidst the tears and lamentations of Bishop Guglielmus and his clergy. 
 Again Roger appeared before the city, and again the bishop endeavoured to turn his 
 wrath, but in vain. The king forced them to exhume the body of their beloved duke, 
 whom he stigmatised as a traitor, and to drag it, with a rope round the neck, 
 ' usque ad Carbonarium, foris civitatem, ubi stagneum lectenm putridumque inerat, 
 Ducis ipsius suffocaverunt cadaver.' Note 56 describes the place Avhere the body 
 was thrown as a receptacle for all sorts of filth. The inscription on the great door 
 of the duomo says that Bishop Guglielmus ' a proprio ecclesife rerario ijisam 
 quoque fabricam a fundainentis fere erexit.' 
 
 • St. Secundimis Melius (Ughelli, op. cit. i. 1336 et seq.) one of the saints 
 buried in the duomo ; his body was found when the foundation of the duomo was 
 laid; his life has been wi'ittcn by Cauferius Cassinonsis qui floruit A.n. 1060, temp. 
 Desiderii Abbatis Cassinensis. 
 
 D 
 
18 
 
 IT A I J AX SC ULrTOPtS. 
 
 The pulpit, 
 A.D. 11C7. 
 
 TheDuoino 
 at Otranto. 
 
 About. 
 A.D. 1160. 
 
 8an Gio- 
 vanni in 
 Yen ere. 
 About 
 A.D. 1200. 
 
 patterns arc intricate but never confused in line. On the right- 
 linnd side of the nave stands an oblong pulpit of the twelfth centurj', 
 decorated with deep-cut, flat-surfaced ornament, and supported by 
 columns whose ca2:)itals are divided by volutes, upon one of which 
 sits a bearded figure with broad nose and long hair. The raised- 
 work is gilded and relieved against a green background. An eagle 
 with spread wings, holding a beast in his talons, and standing upon 
 a human head supported on a colonnette, occupies the centre of 
 the front of this pulpit under the reading-desk, and on the end 
 towards the high altar is a very curious bas-relief of a lion, with 
 foliated body, curling hair, and staring eyes, who while tearing 
 a sheep to pieces, is himself seized by a sort of tiger-cat, whicli 
 has mounted on his back and fixed his teeth m his flank. ^ (See 
 Plate I, No. 1.) 
 
 The churches of the twelfth century bear as strong marks of 
 Byzantine influence, as those of the eleventh of which we have been 
 speaking. In the crypt of the cathedral at Otranto, for instance, 
 some of the capitals of the columns are carved with patterns exactly 
 like those of St. Sophia at Constantinople. So also at San Giovanni 
 in Venere,^ near Lanciano, the three figures in alto-relief of our 
 Lord, the IVladonna, and St. John, which fill the Moorish arch 
 over the great portal,'^ are Byzantine in their forms and draperies, 
 as is the nimbus about our Lord's head, and the ornament upon 
 the cattedra on which He sits. Some of the leaves and ornaments 
 carved upon the caj^itals of the columns and pilasters which flank 
 this portal are antique in character, while the bas-reliefs beyond 
 them are freer and less conventional than the lunette sculptures, 
 and would therefore seem to be Italian works of a later date. 
 Though not devoid of expression nor ill -draped, the figures are ill- 
 proportioned, the faces are marked by high cheek-bones, the eyes 
 are large, and the hair is formally arranged. The upper relief of 
 the left-hand series represents tuo peacocks drinking from a vase (a 
 
 ' This pulpit was removed to the duomo from the church of St. BasiHo. Its 
 inscription is to this effect : ' Anno D'" Incarnationis mclxvii. regni vero D"' 
 BRI.W Dei grati A, Sicilia3 et Italife regis magnifici olim regis W Filii Anno iiii. 
 Mense Mai ii. Factum est hoc opus.' 
 
 ^ It derives its name from a temple dedicated to Venus Conciliatrix, whose site 
 it occupies. Although traditionally said to liave been founded under Justinian, it 
 was really commenced in the twelfth century by the abbot. 
 
 3 Abbot Raynaldus, who built this portal, died February 19, A.D. 1204. 
 
APULIA AND THE ABRUZZI. 19 
 
 common representation in earl}' Christian sculptures) ; and tliat in 
 the corresponding panel below, two griffins with a kneeling figure 
 between them. St. John the Baptist, attended by a youth, figures 
 with two other saints in one of the upper panels, while in the lower 
 Mary and Elizabeth meet before a little temple, which stands below 
 a series of pointed arches sei)arated by towers, perhaps meant to 
 indicate those of Jerusalem. The upper panel of the corresponding 
 series is enriched with an arabesque ornament, and with a relief of 
 two men firing arrows at a bird. Moses with the Tablets of the 
 Law and Jonah, represented in the next relief, are both typical of 
 the Old Dispensation, while St. John the Baptist with the Madonna 
 and Child are typical of the New. Below is another series, in 
 which Daniel is seen praying between two lions, and Zacliarias, 
 with a censer in his hand, listens to an angel Avho announces to 
 him the birth of St. John the Haptist. 
 
 Standing in the quiet country, out of the reach of those jarring 
 sights and sounds which mar the elFect of the noblest buildini"" in 
 the midst of a busy town, this church is peculiarly impressive. No 
 profane hands have restored and re-decorated it ; all is as it was 
 centuries ago, save those scars and i-ents which time has made in 
 roof and parapet. All surrounding objects are in harmony Avith it, 
 and that past of which we catch but a faint echo at Bari, Trani, 
 and Troja, here speaks to us plainly. The sturdy oaks which 
 shelter the venerable building are like those which first saw its 
 towers rise heavenward; and the sea which stretches in blue im- 
 mensity below the hill on which it stands, is the same Adriatic 
 that broke upon the coast when the first stone of its now crumbling- 
 walls was set in its appointed place. 
 
 If on leaving San Giovanni in Yenere Ave travel northward to 
 Chieti, and then mland towards the snow-caj)ped })eaks of Monte 
 Majella, we shall find nearly at its base a mountain valley, in which 
 stands one of the most isolated, most ancient, and most interesting San ch- 
 churclies in this part of Italy. ^ Until the middle of the ninth CasaurL 
 century its site Avas occupied by a small church dedicated to St. circa 
 Quirmus, which the Emperor Louis II. caused to be pulled doAvn, °' 
 
 ' San Clemente a Casauria. All tlie circumstances of its fomidation are related 
 in the Chr. Gasaurievse (Muratori, Scrijjt. lier. If. vol. ii. pji. 7(39—780). It is in 
 the commune of Castigliono, olini 'alia Pcscara,' near a little town called Tor de' 
 Passeri, and can be reached cither from Popoli or Chieti. 
 
 i> 2 
 
20 
 
 ITALIAN SCULPTORS. 
 
 A.D. 872. 
 The Em- 
 peror 
 Louis II. 
 brings the 
 body of 
 St. Cle- 
 ment from 
 Rome. 
 
 Additions 
 and re- 
 storations, 
 A.D. 1110. 
 
 A.D. 1176. 
 
 in order to erect upon it a church and monastery. The buildings 
 were already far advanced when the emperor having succeeded 
 in obtaining the body of St. Clement from Pope Hadrian III., 
 journeyed from Rome with a crowd of priests and devotees to 
 escort the holy relic to its new resting-place in his abbey church, 
 which he determined to dedicate to the saint as well as to the Holy 
 Trinity.^ When the procession reached the bank of the river 
 Pescara it was found to be impassable, for swollen by recent rains 
 it had swept away the bridge, and was bearing down huge rocks 
 in its impetuous current. While the monks stood singing psalms 
 and canticles upon the bank, the emperor ordered the body of St. 
 Clement to be placed on the back of a mule, and striking the beast 
 with his hand, cried with a loud voice, ' Let Clement guide you,' 
 and lo ! the tumultuous waves became like rocks under the mule's 
 feet, and the precious burden was conveyed unharmed to the shore 
 of the island.^ It was then deposited in the church, and the em- 
 peror having aj^pointed Romanus to be its first abbot, presented 
 him with his own sceptre, to be borne in lieu of a crozier by him 
 and his successors. 
 
 Three times plundered by the Saracens in the course of the first 
 two centuries after its foundation, the church was restored early in the 
 twelfth century by the Abbot Grimoaldus, who constructed the crypt 
 and adorned it with paintings, and was almost completely rebuilt by 
 the Abbot Leonas^ about sixty years later on a much more magnifi- 
 
 ' Pope Clement was the third successor of St. Peter. He was drowned in the 
 Chersonesus during the reign of Trajan. 
 
 2 ' Dixit, et imposuit sanctissima membra jumenti 
 
 Unius in dorso : Te Clemens dirigat inquit ; 
 Percutieusque manu leviori, spinea linquit. 
 Intrat, et extemplo fluctus sese cohibentes ^ 
 Et nomen Domini, Sanctique sui metuentes, 
 Sub pedibus muli quasi saxum diriguerunt 
 Et sanctum corpus pedc sicco transposuerunt.' 
 
 Chr. Cap. Metrical Hist. aj;. Muratori, Scrq). Tier. It, ii. 788. 
 
 ' ' Hoc templum pi-imo Ludovicus struxit ab imo, 
 
 Abbas quod clare Leonas cupiens renovare 
 Cum Yoto magno domini fundavit in anno 
 Milleno seno centeno septuageno.' — Muratori, ttt supra. 
 The Emperor Louis II., St. Clement, the Abbot Leonas, and his successor the 
 Abbot Joel, were represented in bronze upon the panels of the now almost entirely 
 dilapidated doors of the church. These doors, which must have been cast at the 
 end of the twelfth century, were made of wood, upon which bronze plates were 
 
APULIA AND THE ABRUZZI. 
 
 21 
 
 cent scale. He added to it the chapels of St. Michael, St. Thomas 
 of Canterbury, and the Holy Cross, erected the fa9ade, and built 
 the narthex or portico supported upon columns with Byzantine 
 capitals. The two round arched lateral portals have alto-reliefs Portal 
 of the Madonna and the Archangel Michael in their lunettes, but ""''^^ 
 that in the centre, which is much larger, greatly surpasses them in 
 the richness of its decorations. In its lunette St. Clement appears 
 seated upon a throne, holding the imperial sceptre in his left hand, 
 and attended by a deacon and a sub-deacon, to whom Abbot Leonas 
 reverentially kneeling offers a model of the restored church.^ The 
 archivolt of the arch is adorned with leaf- work, and the frieze is richly 
 sculptured with human figures, dragons, syrens, and leaf-work. 
 
 But the most interesting sculptures are the Italo-Byzantine 
 reliefs upon the broad architrave, which illustrate the history of the 
 building. (See Plate III. ISo. 1.) At one end, near a gate upon 
 which is inscribed Roma, sits Pope Hadrian in the act of giving the 
 ' cassa' containing the holy relics to Louis II., who kneels to receive 
 them;2 in the middle, the monks Celsus and Beatus issue from the 
 doors of the church to receive the emperor, who, attended by Count 
 Sippo holding a drawn sword in token of his master's sovereignty, 
 stands with his hand on the back of the mule still charged with 
 his precious burden. Further on the emperor seated on a throne 
 under which flows the river Pescara, and attended hy Count Heri- 
 baldus, gives his sceptre to the Abbot Romanus,^ and purchases the 
 island (which is figured by an oblong piece of flat stone covered 
 with flowers) from Sisenandus.^ The flat spaces on either side of 
 
 fastened with nails after the old Greek fashion. They were divided into twelve 
 rows by horizontal and vertical bands, each containing twelve panels, adorned with 
 the above-mentioned portraits, and with lions' heads, griffins, crosses, moons, stars, 
 &c. (Schultz, op. clt. ii. 23-32). 
 
 ' ' Suscipe, Sancte Clemens, tibi regia templa parata 
 
 Retribuens ccbIo Leonati regna beata.' — Muratori, ut supra. 
 * ' Cassaris ad votum Clementem confero totum. 
 
 Ecce, pater patriae, magnum tibi confero munus, 
 Clementis corpus : tu sacrum suscipe funus.' 
 
 Chr. Cap. Metrical Hist. (qi. Muratori, Scrij). Rei: If. ii. 788. 
 ' ' Romanus Abbas primus 
 
 Sceptro firmamus ; regimen tibi sume rogamus.' — Muratori, nt sniira. 
 ' Caesar, vestra sit lieec insula Piscarie ; 
 Damus vobis omne jus nostrum de hac insula. 
 Insula Piscarie, qua3 nostri jwv'xs habetur libera, 
 Pcrpetua tua, Cassar, jure vocatur.' — Muratori, ut supra. 
 
22 
 
 ITALIAN SCULPTORS. 
 
 the door are enriched with rudely-sculptured reliefs of royal per- 
 sonages. Though ill drawn, clumsily i^roportioned, and stiff in 
 action, these sculptures harmonise well with the massive character 
 of the Romanesque architecture, seeming a parasitical stone growth 
 not to be judged by common rules of criticism. 
 Interior of Among the interesting objects inside the church are the sarcopha- 
 the ehiirch. yudcr the high altar, which contains the bones of St. Clement ; ^ 
 the terra-cotta ciborium above it, adorned with the symbols of the 
 evangelists, a relief of the Madonna, some fantastic birds, and a 
 rei^etition of the historical bas-relief upon the architrave of the great 
 portal; the paschal candlestick, a round shaft of marble with a 
 Byzantine capital of remarkable elegance, surmounted by a nurnber 
 of colonnettes clustered about a central column (see Plate III. 
 No. 2); and the pulpit, which rests upon columns Avitli carved 
 capitals, and is adorned with panels filled with a flat-surfaced leaf 
 ornament sculptured with surprising boldness. (See Plate III. 
 No. 2.) The inscription upon it, which is addressed to the offi- 
 ciating priest, tells him not to let his voice be an empty sound, 
 and warns him that he greatly deceives himself who does ill and 
 sings well.^ 
 
 San Sa- '^^^^ cattcdra in the duomo at Canosa is inscribed with verses 
 
 Canosa ^ ^^^^ character, admonishing the bishop if he would hereafter 
 
 The cat- grain an eternal throne, to be that which he would seem to be, to 
 
 tedra. >=> ' _ ' 
 
 make his actions tally Avith his words, so that while giving light to 
 A.D. 1080. others he msiy not himself sit in darkness.^ This cattedra,"^ which 
 was made by a sculptor named Romoaldus for Urso the Archbishop 
 of Bari and Canosa, rests upon the shoulders of two richly-caparai- 
 soned elephants of an heraldic type. Leaf ornaments, inscriptions, 
 and geometrical patterns are sculptured upon its pointed Gothic 
 
 • ' Martiris ossa jacent hac tumba sacra Clemcntis, 
 
 Hie Pauli decus est, et Petri jura tenentis.' 
 
 2 ' Hie qui magna canis, fac, ne tua vox sit inanis ; 
 
 LIultum se fallit mala qui fecit et bona psallit.' 
 
 3 ' Pi'a)sul ut wterna postliac potiare cathedra, 
 
 Quod vox exterius, res fcrat intcrius. 
 
 Quod geris in specie, da ( ?), gestes lumen ut m re ('r'), 
 
 Lumen cum prsestas, lumine ne careas. 
 
 * The style of the cattedra and the use of Leonine verses in tlie insc'ri])tion 
 make it probable that the Urso mentioned in the inscription was the Bishoj) of the 
 eleventh century, and not him of the seventh, who was also Bishop of Canosa 
 (M. dc BrohoUcs, oj). cit. p. 42). 
 
APULIA ANT) THE ARRUZZI. 
 
 23 
 
 back find side posts; sphinxes and griffins upon its side panels; 
 eagles with red painted -wings and tails upon the slab below the 
 seat; and bearded heads upon the end of the front slab. The 
 pulpit in the nave is decorated in a style which resembles old The pulpit. 
 Latin sculpture at Ravenna and Rome. The capitals of its four 
 octagonal columns are sculptured with simple leaf-work, and its 
 reading-desk is held up by an eagle standing on a human hend.^ 
 Adjoining this church, which was founded at Canosa by the 
 Norman hero Bohemund on his first return to Italy from the East,^ a.h. iioi. 
 stands the Grave chapel which was erected to his memory by his ^uuj. 
 mother Alberada, whom Robert Guiscard repudiated under pre- 
 tence of consanguinity, in order to marry Sigelgaita, the daughter of 
 Guaimalchus, Duke of Salerno.'' This ambitious and unscrupulous 
 wom.aii on becoming the mother of a son, determined that he should 
 inherit the kingdom, and in order to compass her end caused poison 
 to be given to l)ohemund by her emissaries at Salerno. When the 
 news of his serious illness reached Robert Guiscard, he divining the 
 truth, appeared before liis wife with a solemn face, and said to her, 
 ' Is my lord Boliemund alive?' to which she answered, 'Thy servant 
 knoweth not.' Then taking his sword, and laying his hand on the 
 Holy Book, he said, ' I swear by this holy gospel, Sigelgaita, to 
 kill you with this sword if my son die of 'this disease.' Sure that 
 he would keep his word, the guilty step-mother dispatched a mes- 
 senger with an antidote, ' which,' says the chronicler,'^ 'by the help 
 of God, who had decreed to put down Turks and Infidels, the 
 enemies of the Christian faith, through Bohemund, saved his life, 
 
 ' 'P. jiissionem D'ni mei.' Guitbertus Venus. P.E.R. ' Ego Acccptus Arclii- 
 Diac. feci hoc opus.' 
 
 '■^ Canosa, an ancient Greek colony called Kai t'imoi'. is said to have been founded 
 by Diomed ; hence the name of Porta Dioniedis given to one of its gates, and of 
 Campus Diomedis bestowed upon the surrounding country. Its walls gave shelter 
 to many fugitives fi-om the hattle-field of Cannaj after Hannibal's great victory 
 over the Romans, B.C. 216. Both Greek and Oscan were spoken there in the days 
 of Horace, whence the epithet of bilingual which he applies to the inhabitants 
 (Ser. I. 8af. x. 30). He noted it in his way to Brindisi, and found the bread 
 stony and water scarce (Ser. i. Sat. v. 91). St. Sabinus, patron saint of Canosn, 
 to whom the duomo was dedicated in 1101 by Pope Paschal III., was Bishop of 
 Canosa in the sixth century. 
 
 3 Chr. L. Protospat. Rer. in Reg. Neap. gcst. ab anno sal. 860 usque ad 1102 
 (Mur. Sc. Bcr. Tf. v. 47). 
 
 ^ Orderici Vitalis Uticensis M(nia('h. Err. iri^:f. npud Dnchesn(>, Jfi.tf. N'ur. Srn']'f. 
 Aid. vii. 641-. 
 
24 
 
 ITALIAN SCULPTORS. 
 
 though the paleness of his complexion bore witness ever after to the 
 AD^ioso ^^^^^ of the poison. Baulked in her attempt, Sigelgaita intrigued 
 so successfully for her son Roger that on his father's death Bohe- 
 mund found himself disinherited, and was obliged while waiting for 
 an opportunity of winning a new realm in the East to content him- 
 self with the principality of Tarentum. Not long after, when Duke 
 A.I.. 1096. Roger was besieging Amalfi which had revolted against him, Bohe- 
 mund who was in the camp, heard that an army of Crusaders 
 was passing through Ttaly on its way to Palestine.^ Determined 
 to follow in their wake, he feigned enthusiasm for the redemption of 
 the Holy Sepulchre, and having won five hundred Norman knights 
 to his standard, he fastened crosses upon their shoulders made out 
 of the strips of two rich vestments which he ordered to be cut up 
 for the purj^ose. Crowds of followers flocked from Apulia, Calabria, 
 and Sicily, to join him, and his preparations were so rapid that in a 
 few days he was able to embark from Reggio with an army of thirty 
 thousand men. 
 
 Unable to induce Godefroy de Bouillon to join him in attacking 
 the Greek emperor Alexis Comnenus, as that wily sovereign had 
 already persuaded Godefroy to acknowledge him as his suzerain, 
 Bohemund also swore fealty to Alexis, who in return for the promise 
 of the Crusading chiefs to hold their conquests in his name, bound 
 himself to aid them by every means in his power. There is no 
 doubt that the secret intentions of Bohemund were well known at 
 the Greek court, as the Princess Anna Conmena, the daughter of 
 
 The Alexis and the Empress Irene, tells us in her ' Alexiad ' that the 
 Holy War was but a pretext under cover of which Bohenumd 
 designed to attack and make himself master of Constantinople."^ 
 
 The Trill- That this vouno; o-lrl of only fourteen years of age closely studied 
 
 cess Aiiiiii J a ts J ^ J O / . , 
 
 CoitiiKiia's and greatly admired her father's formidable guest, may be judged 
 Lohcnuind. from thc following minute portrait which she drew of him : ' Neither 
 the empire nor any foreign country has produced in our century a 
 man comparable to him. His presence dazzled the eyes as much as 
 his reputation astonished the mind. Taller than the tallest man, he 
 was narrow in the belly and hips, and broad in the back and 
 
 ' Before the spring of 1096, more than 300,000 persons had joined the crusade 
 (H. Martin, Hist, de France, iii. 165). 
 
 ^ "Ah j/c Trjc KoytM'»j>'»jc irofupvpoyevfiiTov KaifraptairijQ 'AXt^/ac (^Bih. dcs Croisndef!, 
 torn. TX. iii*" partio, Midland, E.vfraif>< ch'.f hixfnr/pnn (jrccs'). 
 
APULIA AND THE ABRUZZI. 
 
 25 
 
 stomach. His arms were strong and robust, his figure neither fat 
 nor thin, his hands large and full, and his feet firm and solid. He 
 was a little bent — by habit rather than by nature. His complexion 
 was an agreeable mixture of red and white, His fair hair fell below 
 his ears, but did not flow upon his shoulders' after the fashion of 
 the barbarians. His eyes were blue, and their expression angry 
 and proud. His nostrils were widely distended, for as his stomach 
 was broad and his heart large, he needed to inhale a great deal of 
 aij* in order to moderate the heat of his body. AVhen in good 
 humour his appearance was somewhat sweet and cliarming, but his 
 great height and j)roud glance produced a savage and terrible effect. 
 His laugh was as terrible as the anger of others. Quick-witted and 
 cunning, he spoke much to the purpose, and was never at a loss 
 for an answer to any question which was addressed to him. Alexis 
 alone surpassed him m fortune, in mind, and in eloquence.' ^ 
 
 To us he seems to have also surpassed him in cunning. He '^I'o Km- 
 was a man who promised largely and kept his word to the ear only. Alexis. 
 The troops which he offered he really sent to Nicea, but whilst the 
 Christians pressed the siege.; Alexis by secret negotiations made him- 
 self master of the city, and thus robbed them of the fruits of their 
 valour. The money which he offered to the Christian troops en- 
 camped around Constantinople he gave, but while doing so he knew 
 that as he had the monopoly of all the necessaries of life it must 
 return to him again. ^ 
 
 After remaining a whole year at Constantinople, the Crusaders 
 began their march through Asia Minor towards Syria and Palestine, 
 and won the battle of Doryclea, thanks to the opportune arrival of 
 Godefroy de Bouillon and his soldiers when Bohemund's division 
 was well-nigh spent, after fighting for five hours against the in- 
 numerable Turkish host. They then sat down before Antioch, 
 which they entered ^ after a seven months' sie^i-e, throuuh the June 3, 
 
 , o ' o 1098, 
 
 treachery of Pirro, the Armenian, 
 
 Quel clio fo il lodato inganno, 
 Dando Antiocliia prosa a Boamondo.'' 
 
 ' Bib. des Croimdes, torn. ix. iii* partie, Michaud, ExtraUs dcs hintoriens arecs, 
 pp. 38-5-iOl. 
 
 2 Michaud, Hist, des Croisades, i. 150. 
 
 Chr. L. Protospata3, Muratori, Scrij). Ecr. Ilul. vol. v. 
 ^ Gerusalevimc Libemia, vii. Ixvii. 
 
 E 
 
I 
 
 26 ITALIAN SCULPTORS. 
 
 Boiicnuind, Bohemund, saluted Princfe of Antiocli, now began to realise his 
 Antioch. golden dreams of Oriental sovereignty, but not until he had defeated 
 an army of two hundred thousand Turks who besieged the city, did 
 he feel himself really master of his long-coveted prize. It soon, 
 however, slipped from his grasp, for as if to punish him for violating 
 the oath which bound him never to forsake the Crusaders till they 
 He allows had woii the Holy Sepulchre from Infidel hands, his fortunes 
 saders^o chaugcd from the moment when he allowed them to depart without 
 
 march i . tt- 
 
 without him. His 
 
 him. Cupicio ingegno, 
 
 Ch' all' umane grandezzo intento aspirava,* 
 
 July 15, bound him to Antioch, and Jerusalem was taken without his aid. 
 
 A D 1099. 
 
 His im- Then followed his capture by the Emir Damisman at Melitoea, and 
 
 ment"' ^^^^ ycars' imprisonment in a Turkish dungeon ; ^ his defeat 
 
 before Carrhes, and flight; his return to Europe to raise fresh troops 
 — nominally for a new crusade, but secretly with the hope of com- 
 passing the conquest of Constantinople. Justified by the permission 
 
 He goes to of Popc Pasclial II. he went to France to fulfil the vow which 
 he had made in prison to lay his chains upon the altar of St. 
 Leonard at Limoges, and contracted an alliance with King Philip I., 
 to whose daughter Constance he was married at Chartres. Standing 
 upon the steps of the altar, after the conclusion of the marriage 
 ceremony, he preached a new Crusade, and promised 'castles, cities, 
 and rich possessions in Asia' to all who would join in it.^ Here 
 and at Poitiers, where he repeated his appeal, knights and barons 
 
 He returns flockcd to his Standard in such numbers, that he returned to the 
 
 to the 
 
 East. East with an army of forty-five thousand men. With these he 
 laid siege to Durazzo, which had been fortified by the Emperor 
 Alexis, but the intrigues of the wily Greek soon caused such 
 division in the Christian camp, that Bohemund, bafiled and 
 
 A.D. 1108. liard pressed, was forced to conclude a disgraceful peace. Once 
 more he became the guest of Alexis, who flattered him with 
 the title of Sebastos, and gave him a revenue ; but his restless 
 spirit knew no repose ; again he returned to Apulia with his 
 
 ' Oemsalemme Liherata, i. ix. 
 According to one account, Boliomund owed liis escape from prison to the love 
 of Melaz (om-el-Az), tlie Emir's daughter; but the more probable story is that 
 related by Raoul de Caen of his ransom by the inhabitants of Antioch (M. de 
 JBrehollcs, oj). cit. p. 19). 
 
 ^ H. Martin, nji. cit. iii. 204. 
 
APULIA AND THE ABRUZZI. 
 
 27 
 
 wife and child, and died there when on the point of re-embarking Jj^c^jn 
 for the East. 
 
 The Grave chapel at Canosa in which he was buried is sur- ^^^l^^^^' 
 mounted by an octagonal drum, pierced by round-headed wmdows. J.'j^^^^J''^'® 
 A series of pilasters, spanned by round arches whose capitals are 
 carved Avith small heads and leaf-work, are set around the outer 
 wall, and the interior is plain, with the exception of an altar niche 
 towards the East. The doorway is closed by bronze gates decorated 
 with niello-work, cast by a certain Roger from Amalfi, a slavish 
 imitator of Byzantine art, who appears by the inscription whichi 
 records his name to have at the same time made a candelabrum for 
 the chapel.^ Discs filled with Arabic ornament are engraved in the 
 upper panels of both valves ; and in the two lower of that to the 
 right are several figures kneeling and standing, in the style common 
 to Byzantine manuscripts.''^ (See Plate IV.) A lion's head in 
 relief, with a ring pendant from its jaws, occupies the lower panel 
 to the left, and Latin inscriptions commemorative of Bohemund's 
 exploits and virtues are incised upon both valves.^ 
 
 1 ' Sancti Sabini Canusii Rogerie Melfie Carapanariim fecit januas et candela- 
 briim.' M. tie Brcholles (Man a. &c. op. clf. p. 5) says tliat some Roman emig-rants 
 lamlcd at tlie mouth of the River Molfa at about B.C. 34-0, and founded Melfi, 
 afterwards called Scala, and finally Amalfi. At p. 20 lie says the use of the name 
 of Amalfi was not common for a long time. Early texts give that of Malfa or 
 Malfia. The word ' CampaniiB ' was added in the inscription to distinguish it from 
 Melfi in Puglia. 
 
 2 Scliultz, op. cit. i. 61, note 2, says these figures are Moses and Ellas; and the 
 three youths of the fiery furnace, Meschach, Shadrach, and Abednego. Pratili, 
 De Via A2)p)ia, s. 624, says they represent Bohemund, his son, and brother. 
 
 3 I, ' Undo Boamundus, quanti fucrit Boamuudus 
 
 Gra)cia tcstatur, Syria dinumerat. 
 Hanc expugnavit, illam protexit ab hoste ; 
 
 Hinc rident Gra;ci, Syria, damna tua. 
 Quod Gra;cus ridet, quod Syrus luget utei-que 
 
 Juste, vera tibi sit, Boamundc, salus.' 
 
 II. ' Vicit opes regum Boamundus opusque potcntum 
 Et meruit dici nomine jure suo : 
 Intonuit terris. Cui cum succumbcret orbis, 
 Non hominem possum dicere, nolo deum.' 
 
 III. ' Qui vivcns studuit ut pro Christo moreretur, 
 
 Promeruit, quod ei morienti vita daretur. 
 Hoc ergo Christi dementia conferat isti, 
 Militct ut cajlis suus hie athleta fidelis.' 
 
 IV. ' Intrans ccrne fores ; videas quod scribitur ; ores 
 
 Ut cx\o detur Boemundus ibique locctnr.' 
 
 E 2 
 
tures. 
 
 28 ITALIAN SCULPTORS. 
 
 at^T^!"°'"'^ About thirty years after this chapel was built, a magnificent 
 
 A.D. ii43. church was commenced at Trani,^ dedicated to St. Nicholas the 
 Pilgrim.'^ Both in structure and ornament it is a striking example 
 of the many foreign influences which acted upon Apulian art. 
 
 Mixture of Its plain, massive walls are Norman: one of the windows in 
 the bell tower ^ and portions of the ornament are Arabic ; its 
 ground-plan is that of the triple- naved Roman basilica; its bronze 
 gates are Italo-Byzantine ; and its double-arched portal, with its 
 
 Romanps- slender columns and sculptured ijilasters restino; on human figures, 
 
 que portal, . . ^ ^ . . 
 
 its sculp- like the Arab prisoners of the cattedra at Bari, is a first-rate 
 example of the Romanesque style. The flat spaces between the 
 winding lines of the ornament upon the archivolt are filled with 
 sphinxes, centaurs, dogs, and fantastic animals, among whom may 
 be seen a curious creature with the head of a devil, the body and 
 legs of a horse, and the arms of a man, who is striking with, a 
 hatchet at a sort of tiger-cat, who has seized his fish's tail in his 
 teeth. (See Plate V. No. 2.) These sculptures are kept within 
 the level of the mouldings, flat-surfaced, full of life and action, and 
 well proportioned. The same cleverness in combining figures with 
 ornament marks the Scripture subjects of Jacob's Dream, the Sacri- 
 fice of Isaac, &c.' &c. carved outside the door-posts on the left 
 hand, but the figures are much less justly proportioned. Their 
 faces are broad, their hair is sharply marked, the folds of their 
 draperies are hard and deeply cut but well indicated and arranged. 
 Elephants with small columns on their backs, a griffin holding a 
 
 ' ' Tii-renus fecit ; Ti'ajaiius reparavit ; 
 
 Ergo milii Tranum nomcn uterquc dedit.' 
 Despite this Mediasval inscription, Trani is not of as higli antiquity as other cities 
 of Apuha. In 980 it was called Trana. Under the Normans the city flourished 
 gi-eatly, because the chief port of embarkation for the crusaders. Under the 
 Angiovine kings it was the great centre of traffic with the East. It was erected 
 into an archbishopric in 1071. 
 
 ^ Date of foundation uncertain, dedicated in 1143, but not then finished, as is 
 proved by the will of a woman of Trani named Rosa, dated 1IG3, which directed 
 that in case of the death of her childi-en a third of her property should be given 
 to aid in its construction. The Saint Nicholas to whom it is dedicated was a 
 Greek pilgrim, who died at Trani in consequence of rough usage, a.d. 1094. 
 Persuaded of his sanctity by the wounds which appeared upon his corpse, Arcli- 
 bishop Bizantius of Trani caused him to be made a saint by Pope Urban II. This 
 archbishop began the cathedral which was consecrated under his successor, 
 Byzantius II. Like most Apulian churches, it is a pure basilica. 
 
 •■' Tliis campanile was built by Nicolaus, sacerdos and protomagister, a name 
 also inscribed upon tlie pu1])it in the duomo at Bitouto. 
 
APULIA AND THE ABRUZZI. 
 
 20 
 
 human figure in his claws, bulls, &c, &c. protrude from the upper 
 part of the fa9ade, and are disposed about its richly-adorned 
 windows. 
 
 Similar to these sculptures in style, but ruder in execution and 
 more stiff in outline, are those of the same period about the portal 
 of the Omissanti church at Trani. The capitals of the columns are Chiesa di 
 
 " _ ... Ognissanti. 
 
 adorned with leaves, and volutes, and angels with floating hair and 
 pointed wings; women with snakes hanging upon their breasts, 
 syrens, centaurs, a long-bearded violin-player, and various fantastic 
 figures are sculptured upon the side-posts ; and a Madonna with a 
 kneeling suppliant and an angel adorns the lunette. 
 
 There are few other Apulian churches of the twelfth century 
 worthy of particular examination. The duomo at Ortona has been Thoduomo 
 barbarously modernised withm, and the few sculptures about its a.d. 1127. 
 portal arc bedaubed with paint. The two rude bas-reliefs set into 
 the wall of its campanile, which represent Moses receiving the 
 Tablets of the Law and St. Peter walking on the waters, were 
 made by a Magister Riccardus in the thirteenth century.^ The i2o5. 
 duomo at Ruvo^ has a very ornate Gothic facade, and a richly- Jt Kuvo" " 
 decorated portal with a round arch, within which are bas-reliefs 
 of the Paschal Lamb, the symbols of the Evangelists, Christ and 
 the Madonna, with SS. John, Peter and Paul, and angels, carved 
 in a hard, rude style. The columns which support it have griflUns 
 above their capitals and lions at their bases. Consoles, upon which 
 stand a griffin and a sphinx, jut out from the wall above this i:)ortal ; 
 a mitred bishop sits in a niche above the great rose- window, and a 
 statuette of St. John the Bishop crowns the pointed roof of the 
 fa9ade. 
 
 Among the puliiits erected in this century, the most remark- Pulpit :it 
 
 Moscufo. 
 
 able IS that m the church of Santa Maria in Lago at Moscufo 
 (see Plate V. No. 1), which Avas made by a sculptor named Nico- a.d. ii58. 
 demus, who, says the inscription upon it, prayed as he worked 
 that he might hereafter obtain an eternal reward for liis labours 
 on earth. ^ Anything more bizarre than its sculptures, or more 
 
 ' ' A.D. MCCLV. hoc opus fccit Magistcr Riccardus.' 
 
 ^ ' Inde Rubos fessi pervenimus.' — Hoi\ Sat. i. v. 94. 
 
 3 ' Rainaldus istius ecclesire prajlatas hoc opus fieri fecit. 
 
 Hoc Nicodemus opus dum fecit mente fideli 
 
 Orat ut a Domino mereatur pra3mium ca-H. 
 Anno Domini, Millesimo Ccntesimo Quinquagcsimo Ottavo.' 
 
30 
 
 ITALIAN SCULPTORS. 
 
 barbaric than its polychromy, can hardly be conceived, and yet it is 
 so well proportioned, and so harmoniously planned throughout, that 
 its effect is not unpleasing. A panelled staircase, decorated with 
 very rude reliefs representing the history of Jonah, leads into the 
 square body of the pulpit, which rests upon columns spanned by 
 trefoiled arches. It has two reading-desks, one of which is held up 
 by the arms and head of an angel, whose white and green wings 
 contrast strangely with his bright red hair and robe. His face is 
 unmeaning, his eyes are round and staring, and the folds of his stiff 
 drapery are marked by curving lines cut like furrows in the stone. 
 Below his feet crouches a strange heraldic wino;ed monster, in- 
 tended for the lion of St. Mark, with huge round eyes and for- 
 midable jaws, painted after a barbarous fashion. The eagle of St. 
 John and the ox of St. Luke, placed one above the other in Hke 
 manner, support the second reading-desk, while the space between 
 these desks and the twisted octagonal columns at the corners of the 
 pulpit, which have little nude figures in the round climbing up their 
 shafts and sitting at their bases, is filled with reliefs in panels, 
 representing men fighting with lions and bears; St. George and 
 the dragon, and several saints ; and with delicate ornaments formed 
 by concentric circles. The cornice is adorned with rich leaf- work ; 
 the frieze is composed of an arcade of Moorish arches supported by 
 colonnettes ; and the spandrils of the arches upon which the pulpit 
 rests are filled with circles and winding lines, birds, sirens, griffins, 
 and harpies. 
 
 Pulpit at Xhe contemporary pulpit made for the duomo at Pianella, a 
 mountain town near Moscufo, by Magister Acutus, is far less elabo- 
 rate.^ Its reading-desk is supported by a very bizarre-looking eagle, 
 and its side panels are adorned with the symbols of the Evangelists 
 
 Pulpit at, relief. That in the church of San Pellino,''^ which was erected 
 
 San Pel- ' 
 liuo. 
 
 ^ ' Hoc opus fecit componere digne 
 
 Abbas Ecclosiaj Robcrttis honore Marie : 
 Magister Acutus fecit hoc opus.' 
 
 ^ San Pel lino stands on the site of the ancient Corfinium, in the valley of 
 Solmona. 
 
 ' Pontificum splendor, Praasul Pellini Beate, 
 Hoc ab Oderisio suscipe Martir opus.' 
 
 Oderisius da Rajano, bishop of Valva, between 11G8 and 1200. St. Pellinns, 
 bishop of Brindisi, was martyred at Rome by Julian the Apostate ; his disciple 
 Cyprian brought his body to Corfinium. In gTatitude for the assistance given ])y 
 
APULIA AND THE ABRUZZI. 
 
 31 
 
 by Oderisius, Bishop of Valva, has its panels and column capitals 
 simply and elegantly adorned with a flat-surfaced ornament com- 
 posed of interlaced lines. The church of San Vittorino, in the &ui vit- 
 neighbourhood of Aquila, contains another pulpit adorned with 
 bas-reliefs by a certain Petrus Amabilis/ who may be identical Petrus 
 
 , 'J Amabilis, 
 
 with Petrus di Paolo, a Roman marble-worker whose name a.d. 1197. 
 was inscribed with those of his father and brothers upon the 
 ciboriura of San Lorenzo at Rome;*-^ or with the Petrus from 
 Apulia, who is mentioned in one of the contracts for the 
 beautiful pulint at Siena as the father of Niccola Pisano.^ This R'^'^i 
 
 ^ ^ . ^ claims of 
 
 mention is important, as upon it certain authors of note have Apulia 
 based a claim for Apulia to be considered as the cradle of the 
 revival of sculpture in Italy.'^ If satisfactorily proved, the 
 simple fact of Niccola's Apulian parentage would not deprive 
 Pisa of what we consider her legitimate glory, as the Apulian 
 artists of the twelfth century, to whom Peter belongs, were imita- 
 tors of Byzantine or Saracenic art, whereas Niccola, Avho was un- 
 doubtedly educated at Pisa, based his style upon the antique, and 
 revived the art of figure-sculpture, of whose first principles they 
 were ii^norunt. We are however inclined to believe that Niccola 
 was a Pisan by descent as well as by birth, since to balance the i265, 
 
 •' 1266. 
 
 Sienese document referred to, we have another of equal weight Nov. is, 
 from the archives of San Jacopo at Pistoja, in which he is called 
 the grandson of Ser Blasius from Pisa, and the son of Peter from 
 Siena.' 
 
 Having now noticed the Apulian marble works of the twelfth Italian 
 century we must say a few words about the bronze-casters, who casters, 
 found models for their bronze gates in those cast at Constanti- 
 
 tlie saint to the imperial captains, who besieged and took Corfiniura Avhich had 
 revolted against Valentinian, they devoted a third part of the booty to build a 
 church in his honour. 
 
 ' The inscription upon it, given by Promis, &aye, and Leosini, was : 'a.d. mcxcvii. 
 Magist. Petrus Amabil. Hoc opiis fecit. Raynald. Nicol. Hie Eccl. Archi- 
 presbyteri.' The church of San Vittorino, who was put to death under the 
 Emperor Trajan, stands near the site of the ancient city of Amiternum. 
 
 ^ Sec the chapter upon Rome in this volume. 
 
 3 Doc. no. 8, October 8, 12G5, and no. 9, May 11, 12GG, printed by Milanesi in 
 his Doc. Sanesi, vol. i. 
 
 Cavalcaselle, Hist, of Paintiiifj in Haly, i. 130 ; Rumohr, It. Forschungen, ii. 
 155, 156 ; and Schultz, op. cit. i. 213. 
 
 s Ciampi, Not. Incd. doc. ii. p. 122, dal Libro de' Bandi nell' Archivio di S. Jacopo 
 a Pistoja, a.d. 1273. 
 
32 
 
 ITALIAN SCULPTORS. 
 
 A.D. 1066- 
 1087. 
 
 The Pan- 
 talcone of 
 Amalfi, 
 
 Byzantiuo 
 
 bronzo 
 
 gates. 
 
 Eoger of 
 Amalfi. 
 
 nople by the Byzantine bronze-caster Staurachios/ for Amalfi, 
 Atrani, Monte Gargano, and Monte Cassino. All these gates 
 were the gifts of two persons, father and son, members of a 
 noble family at Amalfi, named Pantaleone. A chronicler^ tells 
 us that Mauro di Pantaleone, the head of the family, was a man 
 of great wealth, and the father of six sons, ' the eldest of whom, 
 Pantaleone II., kept himself apart from the wickedness of his 
 people, and walked righteously before God, doing much good at 
 Salerno; lodging in his house all those who were bound on a pil- 
 grimage to Jerusalem, and providing them A\dth money and all 
 things needful for their journey. He also founded hospitals at 
 Antioch and Jerusalem, wherefore his fame spread far and wide, 
 and he was well spoken of by all men, whether they knew him 
 personally or by report.' This excellent man was the donator of 
 the bronze gates which fill the portals of the churches at Monte 
 Cassino, Amalfi, and Monte Gargano, and his son Pantaleone III. of 
 those of San Salvatore at Atrani.^ As they are not Italian works, 
 it will be sufficient to say that they are divided into panels, upon 
 which Scripture subjects and personages are represented in outline 
 by means of incised lines, filled in with silver and with metallic 
 compositions coloured red, black, and green. The figures are 
 exactly such as are represented in Byzantine manuscripts and 
 mosaics, stifi" in action, straight lined and long proportioned. They 
 were closely imitated by Roger of Amalfi in the already described 
 
 ' The following words were engraved upon them : 'Ecnyuw'fljj x^'P' ^ravpa^iov 
 TOV yjuTov' 01 ai'ayivi)(TKovTtQ Evx^rrde vw ej^ov — Worked by the hand of Staurachios 
 the founder: let those who read this pray for me (Agincourt, vol. iv. pi. 20). 
 
 ^ L'ystoire cle li Normant, par Aime moine du Mont Cassin, lib. viii. ch. iii. p. 231. 
 
 ^ The following inscriptions are engraved upon the doors. At Amalfi : ' Hoc 
 opus Andrese memori consistit honore auctoris studiis effectum Pantaleonis, his 
 ut pro gestis succedat gratia culpis.' And, ' Hoc opus fieri jussit pro redemptione 
 anima; suae Pantaleon filius Mauri de Pantaleone de Mauro de Maurone comite.' 
 Date about 1066. 
 
 At Monte Cassino : ' Hoc fecit Mauro filius Pantaleonis de comite Maurone 
 ad laudem domini et salvatoris nostri Jcsu Christi ab cujus incarnatione anno 
 millesimo sexagcsimo sexto.' Date 1066. Oderisius II., abbot of Monte Cassino, 
 enlarged them in 1123. 
 
 Monte Gargano : ' Hoc opus completum est in regiam urbem Constantinopoli 
 adjubantc domino Pantaleone qui eas [portas] fieri jussit anno ab incarnatione 
 domini millesimo septuagesimo sexto.' Date 1076. 
 
 S. Salvatore at Atrani : ' Anno ab incarnatione domini nostri Jesu Christi 
 millesimo octuagesimo septimo mcnse Februai-io indictione dccima, hoc opus fieri 
 jussit Pant(aleo) fil(ius) Pant(alcoms) (in ?) Viarecta pro mercede anime s(uc) ct 
 merita S. Sebagti(ani) martiris. 
 
FLANCHt 
 
APULIA AND THE ABRUZZI. 
 
 33 
 
 doors of the Grave chapel of Bohemund at Canosa, in the early part 
 of the succeeding century, and by his contemporary Oderisius of 
 Beneventum in the bronze gates of the great portal and side door odeiisius 
 of the duomo at Troja, which were ordered by Bishop William 11. , °en^,*;"f" 
 who built the greater part of the church. The smaller door is ^^^^ jjg? 
 made up of plain bronze panels, upon which the bishops of Troja Bronze 
 are represented in niello, in a style so thoroughly Byzantine that froja.^' 
 without the Latin inscription, which has preserved the name of 
 their Italian maker, one would believe that they were cast at Con- 
 stantinople. This is also the case with the incised figures upon the 
 panels of the great doors of the chief portal, representing Oderisius 
 the artist ; Berardus Count of Sangro, to whose domain Troja 
 belonged ; Christ the Judge, enthroned after the old Byzantine 
 type upon a rainbow, witli his right hand raised to bless, and Avith 
 a book in his left; and the donator Bishop William II., a very tall 
 figure with a minute head, standing between two plants of a con- 
 ventional type. The ornamental portions are so utterly different in 
 character, as to make us suspect that the niellos only are by tlie 
 Italo-Byzantine Oderisius. The panels are set in squares formed 
 by boldly-projecting ribs, with a quatrefoil in each corner. Rich 
 leaf- work runs around the top and sides of the door; lions' heads 
 with rings pendent from their widely-extended jaws fill eight panels ; 
 and two fantastic dragons with bell-shaped knockers between their 
 teeth decorate those in the centre. (See Plate VI. No. 1.) Boldly 
 and vigorously handled, these decorative portions give an effect of 
 great richness and variety to the whole door.^ While Oderisius 
 of Beneventum closely copied the Byzantines in style and mode of 
 work, Barisanus of Trani freed himself from such trammels to a Barisaims 
 certain extent in the gates which he cast for the cathedrals at 
 
 ° A.D. 1160- 
 
 Eavello, Monreale, and Trani. Those at Ravello are the largest, and n^o. 
 contain the greatest number of panels.^ Many of the subjects are g^slt 
 
 ' The coats of arms in tlie third row, of Cardinal Scijno Rebiba, Bishop of Troja 
 from June 19 to September 4, 15G0, and of his nephew, Prosper Rebiba, in whoso 
 favour he resigned his see, were cast by Maestro Cola Donato Mascella or da 
 Mascella, now Strongh in Calabria, in 1573. The inscription gives the artist's 
 name, and states that Prosper Rebiba caused the doors, which were in a ruinous 
 state, to be repaired. The patron saints of Troja — Secundinus, Paulianus, and 
 Eleutherius — are also by Cola Donato. The two cardinals are mentioned bv 
 Ughelli (i. 1347). Another part of the doors was restored in 1G90 by Antonio d"e 
 Sangro, who was Bishop of Troja from 1675 to 1694. 
 
 2 The name of Barisanus is given only on the doors at Monreale, thouo'li 
 
34 
 
 ITALUiN SCULPTORS. 
 
 Kavoiio identical, but whilst the panels of the Kavello ffates^ are decorated 
 
 and Trani. ' ^ /. i • i 
 
 with rosettes at each corner, and are enframed m arabesqued borders, 
 those at Trani are enriched with small medallions containing minia- 
 ture repetitions of the large subjects, executed with great delicacy 
 and skill. In all the work is clear and smooth, and there is a life in 
 the figures unknown to Greek art of the time. St. Eustace, for 
 instance, sitting draped like an Arab sheikh upon a heavy-limbed 
 
 the Due de Luynes cit. p. 43) tliinks tliat the mutilated legend in one of 
 the panels of those at Trani, ' . . . vs . . . nsis,' may mean Barisanus Tranensis, 
 and that the person kneeling at the feet of a saint above it may be the artist 
 himself. The inscriptions in the Trani door, which is the oldest, are in Greek ; 
 those at Ravello in Latin. There are thirtj'-two panels in the Trani door, and 
 fifty-four in those at Ravello. The following is a list of the subjects represented 
 upon them — 
 
 Trani. 
 
 32 Panels, 16 in each Valve. 
 Eight Valve. Loft Valve. 
 
 1, 2. Christ and angels. 1, 2. Christ and angels. 
 
 3, 4. Saints. 3. Saint. 4. Madonna and child. 
 
 5. Saint. 6. Resurrection. 5, 6. Saints. 
 
 7, 8. Seated saints. 7, 8. Saints and St. Paul. 
 9. St. Nicholas. 10. Deposition. 9. Saint. 10. St. Peter. 
 
 11. Lion's head. 12. St. Eustace. 11. St. George. 12. Lion's head. 
 
 13. Sagittarius. 14. Shield. 13. Ai-ms. 14. Sagittarius. 
 
 15. Sagittarius. 16. Fighting warriors. 15. Fighting men. 16. Arms. 
 Two lizards encircle the rings which hang from the lion's mouth. 
 
 Ravello. 
 
 54 Panels, 27 in each Valve, in Buivs of three. 
 
 Eow 
 
 1. 3, 4, 6. Adoring angels and Christ in a mandorla. 
 
 2. 2,5. Descent from the cross. 1,3,4, 6. SS. Thomas, John, James, and Simeon. 
 
 3. 2,5. The Resurrection. 1,3, 4,6. Thaddeus, Peter, Philip, and Matthew. 
 
 4. 2, 5. St. Bartholomeus, 1,3,4,6. St. Nicholas, two bishops, SS. James 
 
 St. James. and Andrew. 
 
 5. 1. St. John. 2, 5. Lions' heads. 4. Birds. 
 
 6. 1, 6. St. Eustace. 3, 4. St. George. 5. St. Paul. 
 
 7. 1,6. Sagittarii. 2. Inscriptions. 3,4. Warriors fighting. 
 
 8, 9. Coat-of-arms of the Muscetola family, the donators. 
 
 1 Sergius Muscetola, the donator of the Ravello gates, belonged to a wealthy 
 family of Roman origin, many of whose members held ofiBces of distinction in the 
 kingdom of Naples, and lent large sums of money to King Charles of Anjou, 
 (Descrizione del Regno, by Scipione Mazella. 1 vol. in 8vo. Naples, 1601.) 
 
 Inscription : — 
 
 ' Anno millesimo centesimo septuagesimo nono, incarnacio Jesu Xro Diio 
 n'ro memento Diii famulo tuo Sergio Musctule ct uxori sue Sicligayde 
 et filiis suis Mauro ct Johes et filia sua Anna quot ista porta faccre agit 
 ad honorem dei et Sancte Marie Virginis.' 
 
APULIA AND THE 
 
 ABRUZZI. 
 
 •35 
 
 but fiery steed, and the two Saracens fighting with clubs, and 
 holding cross-barred shields, are wild semi-barbarous figures, viva- 
 cious and resolute (see Plate VII.) ; while even in a composition so 
 Byzantine as the ' Taking down from the Cross ' the artist has 
 shown feeling, and attained some freedom of line. Those who 
 are familiar with the works of Bonnano the Pisan, at Pisa and 
 Monreale, or who have seen the bronze doors of San Zeno at 
 Verona, or those of the duomo at Beneventum, will agree with us a.d. ii.oo. 
 in considering Barisanus by far the best Italian bronze-caster 
 before Andrea Pisano. Nor need we thus limit our praise, for if we 
 compare his reliefs with those of such contemporary marble-workers 
 as Wiligelmus and Anselmus at Modena and Milan his superiority 
 is equally incontestable. 
 
 In the course of the thirteenth century the Oriental style of Changed 
 
 r • T churacter 
 
 ornament peculiar to Apulia began to lose somewhat of its dis- ofoma- 
 tinctive character, though still to a certain degree influenced by Ap"i':" 
 Romanesque and Byzantine traditions. The change was gradual, 
 being scarcely perceptible in the early part of the century, and was 
 not complete until towards the middle of the fourteenth, which may 
 be taken as the final period of decadence. Simon da Ragusa,^ a simon dn 
 citizen of Trani, who sculptured the Christ, the Madonna, and the ^^"'S"'"'*' 
 St. John in the lunette of the door of St. Andrea at Barletta, con- 
 tinued to work after the Byzantine type, as we see by these figures, 
 which are Greek in their attitudes, draperies, and accessories, and 
 accompanied by inscriptions in Greek letters. (See Plate I. No. 3.) 
 The sculptures about the exterior, and upon the pulpits of the 
 cathedral of St. Valentinian at Bitonto, one of the earliest so-called Catiiodi-ai 
 Norman-Gothic buildings, are a mixture of Byzantine, Romanesque, hn'iiaian' 
 Saracenic, and Italian pre-Revival types. The double-arched Ro- 
 manesque portal is flanked by small columns supported by lions, 
 with griflins above their capitals. The archivolts are covered with 
 leaf ornament of an antique character, filled in with rudely-carved 
 sirens, birds, dogs, &c. ; and upon the architrave are four small 
 reliefs, representing the angel appearing to Joseph, the meeting of 
 Elizabeth and Mary, the adoration, and the circumcision. The 
 lunette contains a row of rudely-sculptured figures, decreasing in 
 
 ' ' Incola Tranensis sculpsit Simeon Ragnseus.' This artist is probably identical 
 with the Simone da Ragnsa who sculptured a bas-relief at Monte Gargano. 
 
 F 2 
 
36 
 
 ITALIAN SCULPTORS. 
 
 height from the central Christ on the cross towards either end of the 
 semi-circular space into which they are crowded. The capitals of 
 the columns supporting the very elegant open arcade, which runs 
 along the roof of the church towards the piazza, show in their 
 Romanesque figures of animals and their Saracenic ornament, that 
 the old mixed style of decoration had not yet been abandoned. 
 This is again exemplified in the smaller of the two pulpits within 
 the church, whose supporting columns, shafts, and capitals are 
 decorated with fruits, flowers, birds, and beasts in relief, and whose 
 panels are adorned with a flat-surfaced, deep-cut Arabic ornament, 
 relieved most efl*ectively against a mosaic background. 
 Nieokus The larger pulpit is dated and signed Avith the name of Nicolaus 
 '^'d*'i229. Sacerdos et Magister,^ perhaps identical Avith the architect of the same 
 name who built the campanile of the duomo at Trani. Its reading- 
 desk rests upon an eagle standing above a crouching human figure 
 of a somewhat grotesque type, which though undraped and without 
 ■\vings is evidently meant for the angel symbolic of St. Matthew. 
 The ox of St. Luke and the winged lion of St. Mark are sculptured 
 above the capitals of the colonnettes which divide the panels from 
 each other, and within these panels are boldly-carved rosettes. 
 Those upon the staircase are enriched with conventional-looking 
 trees, relieved against a red-coloured background, with birds sitting 
 upon their branches or nestling in their leaves. While the orna- 
 ments and accessories about this pulpit and the little angel on its 
 front are well proportioned and carefully finished, the bas-relief at 
 the back of the staircase, representing Solomon and the Queen of 
 Sheba, is as barbarous in style and as rudely executed as the greater 
 part of pre-Revival sculptures in other parts of Italy. (See Plate II. 
 No. 3.) 
 
 Some excellent marble-work in the old style may be seen in the 
 sta Maria church of Santa Maria d'Arbona,^ near Chieti. The Paschal candle- 
 
 d Arliona, ^ ' 
 
 fouiKied Stick (see Plate III. No. 4), which recalls that at San Clemente, is 
 
 A.u. 1208. 1 1 1 /. 1 1 
 
 a marble shaft wreathed with a vine, and surmounted by a capital of 
 charming design made up of leaves and bunches of grapes at which 
 
 » Hoc opus fecit Nicolaus, Sacerdos et Magister, anno millcsimo ducentesimo 
 vicesimo nono indictionis secunde. Docta manus me fecit ad hoc ut lectio vite 
 liic recitata ferat fructum mentes K[d alendas(?)]. 
 
 2 This church was endowed in the year 1208, and occupied by monks from the 
 Convent of SS. Vinconzo and Anastasia at Rome. 
 
APULIA AND THE ABRUZZI. 
 
 37 
 
 birds are pecking. (See Plate VI. No. 2.) The smaller shaft above 
 it is surrounded by colonnettes, and has a capital adorned with 
 stars. Near this candlestick stands a marble tabernacle, one of 
 whose panels is decorated with an excellently-conceived and boldly- 
 sculptured arabesque ornament. 
 
 The period at which we have now arrived is that of the Emperor fj^^^ 
 Frederic IT., whose taste in art was formed upon classical models, staiiffens. 
 and who affected the style and attributes of the Roman emperors 
 in his portraits, statues, medallions, and effigies.^ This monarch did 
 much for architecture, but very little for sculpture. Lucera, 
 Foggia, and the church and monastery of San Leonardo furnish but 
 little material for the study of art in the days of the great Suabian ; 
 but there is one building which, though it has very little sculpture 
 about it, sets before us in a most striking manner the splendour 
 of his resources, and the great ability of the master-architects of 
 his time. No part of the world, perhaps, can show a more 
 admirably-constructed edifice than the Gothic castle known as 
 Castel del Monte, which Frederic erected upon the summit of a high Castei <iei 
 mountain between Ruvo and Andria, called by the Normans ' le 
 Haut Mont ' and the ' Mont Hardi.' The earliest tradition con- 
 nected with it tells of a Lombard tower, which Robert Guiscaixl 
 threw down, and replaced by a castle constructed with money found 
 by a Sicilian Saracen near an antique temple at no great distance 
 from the spot. Upon the top of this temple stood a statue with a 
 circlet of bronze about its head, upon which the following inscription 
 was engraved in Greek : — ' At the rising of the sun on the calends 
 of May I shall have a golden head.' The sharp-witted Arab read 
 and divined the enigma; and digging on the 1st of May where the 
 shadow of the statue's head fell at the rising of the sun, he discovered 
 gold.''^ 
 
 Whether Frederic II. entirely destroyed, or only enlarged and 
 rebuilt the castle of Robert Guiscard is not known, but the building, 
 which is at the same time a fortress and a palace, is generally ascribed 
 
 ' Frederic and Manfred are both represented as Ctesars in medallions upon the 
 side pilasters of the portal of the church of the Porta Santa at Andria. They are 
 probably copies from originals of their time, as the portal is Renaissance in style, 
 and consequently of a much later date. The church was commenced by Conrad 
 in 1253, and finished by Manfred in 1265. 
 
 ^ The same story is told of a discovery of treasure near a convent at Mount 
 Athos. 
 
38 
 
 ITALIAN SCULPTORS. 
 
 entirely to him.' Tenanted only by robbers or wandering shepherds, 
 it has greatly suffered of late years, and its single portal with a 
 double Gothic arch and cannellated pilasters, above whose Corinthian 
 capitals stand the Suabian lions, has been much marred and defaced. 
 Through it the traveller enters into the castle, which from its great 
 size, its peculiar distribution, the mysterious solitudes of its vaulted 
 chambers and winding stairways, and its association with one of the 
 most romantic and interesting persons in history, is eminently cal- 
 culated to affect the imagination. Involuntarily the feeling creeps 
 over the mind that the great Frederic is waiting here, like Bar- 
 barossa at Kyffhauser, until he be permitted to issue forth in pomp 
 to resume the reins of empire.^ 
 
 The edifice is as beautiful as its general plan is ingenious and its 
 masonry perfect. The same high finish and admirable taste is 
 visible everywhere ; in the windows, with their colonnettes of rose- 
 coloured marble and their deep embrasures; in the tall Gothic fire- 
 places; and in the ribbed and vaulted ceilings, with their rosettes 
 and corbels, some of which are adorned with seated figures sculp- 
 tured in the rude style of the thirteenth century. Two, in a far 
 superior style of art, representing the head of a satyr (see Plate II. 
 No. 4), and a smiling face of a very pleasing expression, are carved 
 upon the corbels above a staircase in one of the towers. The only 
 other piece of sculpture in the castle is an almost totally effaced 
 bas-relief upon the upper part of one of the walls of the central 
 court, which represented a woman kneeling before a chief with a 
 retinue of armed men.^ 
 
 The church and monastery of St. Leonardo, between Foggia and 
 Sipontum, has been classed among the buildings raised by Frede- 
 ric to recompense the devotion of the Teutonic knights, but the 
 
 1 January 29, a.d. 1240. Frederic II. wrote a letter to the Justitiary of tlio 
 Capitanate concerning the building of the castle : ' Cum pro castro, quod apud 
 Sanctam Mariana de Monte fieri volumus per te,' etc. Tlie emperor appears to 
 have raised it in 1244 (Schultz, oji. cit. i. IG4). 
 
 2 Matteo Spinello da Giovenazzo, in his Dhirnali, p. 6, Paris, Didot, 1839, 
 tlms mentions the funeral procession of the emperor, wliich he saw on December 
 28, 1250, passing through Bitonto on its way to Tarcntum. The body was placed 
 on a litter, covered with a crimson cloth. Six companies of the Saracen guard, 
 armed from head to foot, surrounded it. They marched sadly weeping for their 
 emperor through all the towns through which they passed. The royal syndics 
 and a multitude of barons dressed in black closed the procession. 
 
 3 M. de Breholles, ojd. cit. p. 113. 
 
APULIA AND THE ABRUZZI. 
 
 39 
 
 character of the sculptures about its mutilated portal is too much 
 like those of the eleventh century at Trani and Bari to make this 
 credible. The monastery has become a farm-house, and the church 
 is desecrated and fast falling into ruin, but the portal sculptures 
 where they have not been broken away by violence, are in a state of 
 tolerable preservation. Three arches, the inner one being round and 
 the upper two pointed, rise above the portal. Below the lamb 
 sculptured within the pointed arch is a rosette, like that on the 
 pulpit at San Clemente, on one side of which stands a saint, and on 
 the other a monk with a chain and a book. Griffins protrude from 
 the wall above the capitals of the round columns wliich supported 
 this arch, at whose bases stand lions, one of whom is devourmg an 
 Arab prisoner. The adoration of the Magi is carved upon one of 
 the capitals, and St. Joseph seated on an ass and guided by an 
 angel, on the other. The archivolt of the round arch is enriched 
 with a winding ornament of great beauty, into which angels and 
 fantastic animals are introduced, while the pilasters on either side 
 of the doorway are sculptured mth birds and human figures. 
 
 No vestiges remain at Lucera of the Emperor Frederic's palace, 
 which was decorated -svith statues brought from Naples upon men's 
 shoulders ; ^ and nothing of that at Foggia, which was built for him 
 by a Foggian architect named Bartholomeus, except an arch, below 
 which are sculptured the imperial eagles and several inscriptions 
 relating to its construction.''^ 
 
 The Gothic cathedral m the picturesque hill city of Atri, which ^^J^^^'i^'?''"' 
 was built during Conrad's reign, has no sculptures of his time. The a.d. 1252. 
 figures of Christ, the Madonna, and saints over its portal, were 
 
 ' Compalatii Neapolitan i inveniant liomines qui eas salubriter super collum 
 suum usque Luceram portant.' — Regesta (cite par M. de Breliolles, Mon. et Hist. 
 p. 76). Kaugton, Life of Frederi" 11. vol. ii. p. 176, says the statues were brought 
 by sea to Naples, and probably came from Pisa. The same wi'iter, at p. 814, says 
 that in 1242 Frederic ' ravaged the country round Rome, but withdrew to Melfi in 
 August, carrying off from Grotta Ferrata the brazen statues of a man and a cow 
 which poured forth water. These were meant to adorn Lucera.' 
 
 ^ Strada dei Mercanti, facing the Piazza della Pescaria. The inscriptions are : — 
 
 1. ' Sic CsBsar fieri jussit opus istum, Pto Bartholomteus sic construxit illud.' 
 
 2. ' A nn o ab Incarnatione Mccxxiii. mense Junii xi. indictione Rcverendo D"" 
 
 Nostro Federico Imperatore Romanorum semper aug-usto anno iii. ct 
 rege Sicilie anno xxvi. Hoc opus feliciter inceptum est preefato Domino 
 precipiente. 
 
 3. ' Hoc fieri jussit Fredericus Caesar ut ui-bs sit Fogia rcgu.lis scdes uitida 
 
 Imperialis.' 
 
40 
 
 ITALIAN SCULPTORS. 
 
 made by a Maestro Raymondo de Podio in the latter part of the 
 A.D. 1288- thirteenth century.^ There is also but little sculpture about the 
 
 1302 
 
 duomo which King Charles II. founded at Lucera to commemorate 
 A.D. 1300. the expulsion or forced conversion of the Saracens, who had been 
 established there by Frederic 11.'-^ Its Gothic portal is surmounted 
 The duomo by a Small group of St. George and the dragon, and the lunette is 
 cera. filled with an alto -relief of the Madonna and child, seated upon a 
 throne supported by lions. Inside it offers nothing of mterest but 
 the mutilated statue of its founder, as the ciborium, which is said 
 to have been a fine example of the Transition period from Gothic 
 to Renaissance,^ has been removed. 
 Basilica of The last great Apulian church which we shall have occasion to 
 a^Ktettof mcntiou, is a triple-naved basilica at Bitetto dedicated to St. Michael. 
 A.D. 1335. tpj^^ bas-reliefs about its fagade, which represent scenes from the 
 history of our Lord, in a style of art hardly equal to that of the pre- 
 Revival Tuscan sculptors (see Plate II. No. 2), show that Apulian 
 art, having reached its term where the Northern schools began, soon 
 fell into a complete state of decadence. The richly-ornamented 
 Gothic arch over the portal is filled with rudely-sculptured figures 
 of the Virgin and Child with angels, and of Christ with the twelve 
 Apostles; and the doorposts are adorned with sirens, bat-like birds, 
 and griffins introduced between the winding lines of vines which 
 spring from vases. On the top of that to the left sits a monkey 
 eating a plant. Two huge stone lions sit upon their haunches 
 before this portal; one of them, with his mouth wide open, is 
 watching a serpent which is coiled about his fore paws and raises 
 its head in a menacing attitude; the other sits mouth to mouth 
 with an animal like a young bear. 
 >^ "iitii The names of one or two South Italian artists bclonofinsf to this and 
 
 It'ili'vii 
 
 artists of the succeeding century remain to be noticed ; such as Maestro Nicolo 
 15th cen- da Ortona, who built the portal of S. Benedetto at Chieti,^ and Petrus 
 
 turics. 
 
 • ' Anno D'" mcccii. tempore sacre (?) domini Bernardi prtcsulis procurante 
 magi.stro Leonardo haec porta facta est yicv Mag™ Raymundum do Podio.' Also, 
 ' Anno Domini 1288 qui portam sculpsit Raymundus in arte rcfulsit.' The taber- 
 nacle and font in this chnrch, by Paolo do Garviis, a Milanese artist, are described 
 in the chapter relating to sculpture by Milanese artists. 
 
 2 Frederic II. peopled Lucera with 40,000 Saracens, transplanted for the purpose 
 from Sicily, and built an immense castle, still standing, for their accommodation. 
 
 3 Schultz, op. cit. i. 180. 
 
 * Id. ib. ii. 39, mentions a silver statue in the duomo at Chieti by a ]\Iaestro 
 Nicolo Guardiagrele, a town near Lanciano, inscribed with his name, and the date 
 
APULIA AND THE ABRUZZI. 41 
 
 Anffelus, who built that of San Antonio Abbate in the same town a.d. 1321. 
 which still exists, but in a ruined state ; the work is coarse and in- a..d. 1 375. 
 elesfant. Pietro FoUacrino da Lanciano, who made a wheel window, a d. 1412. 
 adorned with colonnettes and leaf- work, for the duomo of his native 
 town, and Franciscus Perrini or Petrini, who sculptured some a.d. 1317. 
 mediocre reliefs about the portal of Santa Maria Maggiore, repre- 
 senting Christ on the cross with angels, the Madonna, and St. John. 
 Finally, in the middle of the sixteenth century flourished Maestro 
 Ottaviano, the author of a terra-cotta Madonna, formerly in St. 
 Angelo della Pace at Lanciano, and of some reliefs taken from the a d. 1540. 
 lives of the saints, once in the duomo of this his native town. 
 
 Ascoli (Asculum Picenum) produced several meritorious artists, 
 such as the goldsmith and sculptor, Pietro Vannini, who made a a.d. 1379. 
 wooden cross covered with silver plates, ornamented with intagli 
 and figures in relief, for the duomo at Osimo;^ Lorenzo d' Ascoli, a.d. 1414. 
 who sculptured a crucifix for the church of Monte Cassiano, in the 
 Marca d' Ancona;''^ and Pietro Dini, author of a bronze tabernacle a.d. 1472. 
 and an image of the Madonna, at Amatrice. This little town, in 
 the Abruzzo Ulteriore, is the birthplace of one of the most re- 
 nowned of Neapolitan architects and painters, Nicola or Cola CoiaFi- 
 Filotesio,^ who designed the Renaissance fa9ade of the church of ^^"n'^Js^s. 
 San Bernardino at Aquila, and according to some authorities, 
 sculptured the bas-relief in the lunette of its chief portal. It 
 represents the Madonna and Child seated between St. Francis and 
 San Bernardino, who presents to her the kneeling Girolamo da 
 Norcia, an eminent benefactor of the adjoining convent. The postures 
 and draperies of the figures are decidedly wanting in grace. 
 
 1455. I could find no such work in tlie cliurch, only a silver bust of St. 
 Justinus, poor in style, and without inscription. 
 
 ' Vide Artisti Ascolani, by G. C. Carboni, p. 8. Asculum Picenum is in the 
 Abruzzo Ulteriore ; Asculum Apulum in Apulia proper. 
 
 ^ Ricci, St. deir Arch. i. 232, says it has many ornaments in alto and basso- 
 rilievo, and that the Madonna in the midst is simple and correct in outline. 
 
 3 He signed himself Filotesio, Filotteschi, or Filatichi. Vasari, ix. 117, 
 speaks of him as having worked at Ascoli, Norcia, and Calabria both as painter and 
 architect. A list of his paintings is given in notes 1-4, ibid, and by Leosini, 
 Storia e Mon. Art. di Aquila, p. 195, n. 1 ; who ascribes to him the Apostolic Palace, 
 1519-20, the church of Sta. Maria della Carita, 1553, the facade of the duomo, and 
 the portico at the side of San Francisco, all buildings at Ascoli. Milizia, Mem. dcriU 
 Architetti, vol. ii. ; Carboni, Art. Ascolani, p. 157, both mention him as a sculptor. 
 Leosini, op. cit., cites a document, dated May 28, 1537, in which Cola thus mentions 
 himself: ' Nos m.igister Nicolaus Filotesius d' Amatrice pictor et statuarius.' 
 
 G 
 
42 
 
 ITALIAN SCULPTORS. 
 
 The reader will have gathered from the preceding pages that 
 sculpture in Apulia and the Abruzzi was exclusively employed for 
 the decoration of church fagades and portals ; indeed we know of no 
 other buildings thus adorned before the sixteenth century, and then 
 but of two : one the municipal palace at Sulmona, whose rich Cinque- 
 cento fa9ade has an elaborate frieze, ornate windows, statuettes, 
 and bas-reliefs ; the other the Palazzo Sylos at Bitonto, whose open 
 loggia is covered with reliefs, Latin inscriptions, and profile heads 
 in medallions of Apollo, Neptune, Mars, Medusa, and Orpheus, 
 placed side by side with those of Scipio Africanus, Antoninus 
 Pius, and Alexander, a medley of mythic and historical personages 
 characteristic of an age of classical affectation. 
 
 Single statues were rarely made in any part of Italy even when 
 sculpture had reached the highest period of its development, but 
 in Apulia, with the exception of a pleasing figure of St. John the 
 Baptist of the sixteenth century, in the church of St. Andrea at 
 Barletta, none such exist. We say none, because we have no 
 doubt that the colossal bronze statue, which stands before the 
 guard-house in the same Apulian town, is a portrait of the Em- 
 peror Heraclius, cast at Constantinople in the seventh century. 
 The military dress and accoutrements are Roman, but the head is 
 Byzantine, and the diadem which encircles it is such as was worn 
 by the early Greek emperors.^ The noble and serene expression of 
 the face (see tailpiece) answers well to the idea which we form of 
 this valorous servant of Christ, this pioneer of the Crusaders, who 
 invaded the Persian Empire to regain the Cross which Schaharbarz, 
 the cruel ally of Chosroes King of Persia, had carried off to Ctesiphon 
 after he had taken Jerusalem and burnt the Holy Sepulchre ; and 
 who made a pilgrimage to Jerusalem to replace the holy relic, and 
 mounted the steep ascent of Calvary, bearing it like our Lord upon 
 his shoulders. The attitude of the figure recalls this passage in the 
 emperor's history; he stands holding aloft in his right hand the 
 Cross which that right hand had redeemed from the Infidels. One 
 minor point of truth to portraiture is the beardless chin, for we are 
 told that when Heraclius became emperor, he cut off his beard 
 
 ^ According to tbe Chronicon Pascale, Constantine the Great first wore a 
 diadem of pearls on May 11, A.D. 330. Coustans I. is represented upon coins 
 ■wearing a diadem made of two rows of pearls with pendant bands. Julian, 
 360—363, and Jovian, 363-364, wear exactly such a coronet as described in the 
 tdxt, on coins of the time (Sclmltz, Dcnhinller cJer Kmisf, i. 148). 
 
APULL\ AND THE ABRUZZI. 
 
 43 
 
 which he had worn till then.^ Two difFerent stories are told 
 about the arrival of this statue in Italy, both of which coincide 
 in the statement that the ship in which it was brought from Con- 
 stantinople Avas wrecked off the coast of Barletta, leaving it stranded, 
 like some huge leviathan, upon the beach, where it remained until 
 the fifteenth century, when it was brought to the town in a mutilated 
 state, and set up in the piazza, after the legs, the cross, and the 
 ball which lies in the hollow of the left hand, had been restored by 
 a Neapolitan bronze-caster named Albanus Fabius.^ One of these 
 accounts records that Heraclius himself had the statue cast by a 
 Greek artist named Polyphobus,^ and sent it to Monte Gargano as 
 an offering to the shrine of the Archangel Michael. The other, 
 which wears a much greater air of probability, states that the 
 Venetians brought it away from Constantinople, where it had pos- a.d. 1204. 
 sibly been set up soon after the emperor entered the city, on his a.d. 62s, 
 return from Persia, mounted on a triumphal car drawn by four 
 white elephants, and preceded by the rescued Cross/ 
 
 Apulia is scarcely richer in tombs than in statues. Of the few Tomi s in 
 which exist those of the Norman heroes in the church of the Holy 
 Trinity at Venosa possess the greatest historical interest.^ There 
 
 ' In this respect it coincides with the description of Ccdrcnus : ' Impcrator 
 factus, barbam raserit, quam aluerit ante' (Giannone, Storia del Regno di Napoli). 
 2 ' Albanus Fabius, qui rite peritus in arte 
 
 Crura, manusque, pedes aptat utrinque faber. 
 Ipsa [stc] crucem gestat dextraquc, pilemque sinistra, 
 Tutor namque crucis, sicque monarche [«/(■] fuit.' 
 MS. in Barletta's Archives, cited by Paolo Grimaldi ; Schultz, op. cit. i. 1 4G. 
 
 ^ ' Anno sexcenteno a partu Virginis Almse 
 
 Constantini urbis hie [Heraclius] imperit [s/c] cgregie. 
 Principis excelsi totam formavit ideam 
 
 Polyphobus Gr£ecus, doctus in arte faber.' — Ibid. 
 
 * Amedce Thierry, Les Fils et Snccesseurs d'Attila. Giovanni Villani, Tsf. 
 Fior., says this statue is a portrait of the Lombard king Eraco or Rachi (704-749), 
 to whom ho erroneously ascribes the defeat of Chosroes and the rescue of the 
 Cross ; evidently confounding the name of Erachio with that of Eraclio. Setting 
 aside the costume, which is not at all like that of a Lombard king, such a statue 
 would never have been erected in the eighth century at Barletta in preference to 
 such important towns as Bari, Capua, or Salerno, as it was then a mere tower for 
 the accommodation of travellers journeying between Trani and Cann^ (Giannone, 
 i. 257, ed. Ven. 1766). In the introductory chapter to Tuscan SmJptors, this statue 
 is referred to as possibly an Italian work, but having since seen the original, I have 
 entirely changed my oj^inion. 
 
 ® Vennsium, the birthplace of Horace, B.C. G5. The church of Santa Trinita 
 was built in the eleventh century. 
 
 fi 2 
 
44 
 
 ITALIAN SCULrTORS. 
 
 lies Robert Guiscard, whose body having been rescued from the deep, 
 'non absque labor' (sic), after the ship in which it was brought 
 from Cephalonia had been wrecked on the coast of Apulia, was 
 conveyed to Venosa and buried near Ms brothers — William of the 
 Iron Arm, Count Drogo, and Count Humphrey.^ There also lies 
 
 A.D. 1122. his repudiated wife Alberada, in a plain sarcophagus, standing under 
 a Gothic gable supported upon columns whose capitals are adorned 
 with leaf- work. ^ To the same period belongs the tomb of Arch- 
 
 A.D. 1105. bishop Elias, Abbot of the Benedictines, and founder of San Niccolo 
 at Bari, which stands in that church at the bottom of the steps 
 leading down to the crypt. The four rudely-carved and stiffly- 
 draped Apostles in niches upon the front of the sarcophagus were 
 sculptured a century after the death of the archbishop, whose 
 virtues were commemorated by his successor the Abbot Eustasius 
 in verses carved ujDon the steps of the high altar,^ None of the 
 HohenstaufFens were buried in Apulia, although Frederic and his 
 three sons, Henry, Conrad, and Manfred, all died there. Two of 
 Frederic's wives, lolanthe^ and Isabella,^ were buried in the crypt 
 of the duomo at Andria, where a few finely-worked bits of marble 
 and some small columns belonging to their monuments may still be 
 seen lying among dead men's bones.'' The sarcophagus which 
 contained the remains of King Charles II. of Anjou has disappeared 
 from the duomo at Lucera, but the sepulchral effigy has been set 
 up against the wall near the great portal. The king is dressed in a 
 suit of chain armour, half concealed by a surcoat. His hair is cut 
 across his forehead, and falls in long straight locks upon his shoulders. 
 His hands are crossed, and his feet rest upon small dogs.^ 
 
 1 Guill. Appulus, pp. 277-78 ; Muratori, Sc. Ber. It. vol. v. 
 
 ^ It is thus inscribed— 
 
 ' Guiscardi conjux Alberada hac conditur area ; 
 Si genitum quaeres, hunc Canusinum liabct.' 
 
 ^ ' His gradibus tumidis ascensus ad alta ncgatur : 
 
 His gradibus blandis quserere celsa datur. 
 Ergo ne tumeas qui sursum scandere quasris ; 
 Sis humilis, supplex, planus, et altus eris : 
 Ut pater Helias, hoc templum qui prius egit, 
 Quod pater Eustasius sic decorando regit.' 
 
 * Daughter of Walter de Brienne, King of Jerusalem, and mother of Conrad. 
 
 ® Daughter of King John of England. ^ M. de BrehoUes, op. cit. p. 91, note 9. 
 
 ' It is thus inscribed — 
 
 ' Carolus II. Ansegavensis A.S. cioccc. Templum hoc Deo et Deipara; dicavit.' 
 
APULIA AND THE ABRUZZI. 
 
 45 
 
 The tomb of Giovanni Antonio Balzo, Prince of Tarentum, in 
 the church of San Pietro in Galatina,^ is a striking example of an 
 unsparing use of colour. The deceased lies dressed as a Franciscan 
 monk, upon a sarcophagus under a Gothic baldacchino. His hair is 
 painted red, and his hands and face flesh colour. Behind him hangs 
 a red curtain, held back by angels whose crimson robes are picked 
 out with gold. The shield which contains his coat of arms is 
 supported by angels, and above it Christ sits enthroned between two 
 Apostles. The blue background of the canopy is decorated with 
 gilded stars, and the capitals of the octagonal columns which support 
 it, resting upon lions of the old Romanesque type, are adorned 
 with leaf-work painted and gilded. This tomb is probably the work 
 of an artist bred in that Neapolitan school which grafted its own 
 style of decoration upon the type of tomb introduced at Naples by 
 those Trecento-Tuscan artists who followed in the steps of Giotto 
 and Andrea Pisano ; but their influence did not otherwise penetrate 
 into Apulia, where all practice of sculpture seems to have ceased 
 after the middle of the fourteenth century. 
 
 In the Abruzzi sculpture had a longer life, and reached its Sculpture 
 best period in the fifteenth century. The famous fountain at Aquila in tho"'^* 
 called Delia Riviera, which was made by an architect and sculptor 
 of the thirteenth century named Tancredi, a native of Pentima di a.d. 1292. 
 Valva,^ consists of an immense basin, surrounded on three sides by 
 walls decorated with patterns in white and red stone. It is fed 
 with water ever running from the mouths of ninety masks, now 
 much broken and defaced. The portals of Sta. Maria di Cole- 
 maggio, Sta. Maria Paganica, Sta. Giusta, San Marco, and several 
 other churches in the Romanesque style, are adorned with sculp- 
 tured animals, full of life and truth to nature. The ornaments are Fourteenth 
 elegant in design, but the figures in the reliefs about them are, like 
 
 • San Pietro in Galatina lies to the west of Otranto. King Charles II. of 
 Anjou gave the district to Raymond del Balzo, who, with his wife Isabella, is 
 buried in the Balzo Chapel at Santa Chiara at Kaples. 
 
 2 Pentima is a small town built on the site of Corfinium, not far from Solmona. 
 Zani, Enciclopedia Met. xv. 331, mentions Tancredi and the Bolognese sculptor 
 Rengheri (Aulico di Tancredi e Boemondo), with whom he has been confounded ; 
 ibid. xvi. 72, 282. The date and the name of the artist are inscribed upon a stone set 
 into the wall of the fountain : ' a.d. mcclxxii. Magis. Tangredus de Pentima de 
 Valva fecit hoc opus.' Leosini, op. cit. p. 70, states that the north wall of the 
 fountain with its masks was added, long after Tancredi's day, by Alessandro 
 Oiccarone, an Aquilan architect and sculptor. 
 
46 
 
 ITALIAN SCULPTORS. 
 
 the statuettes, stiff and clumsy. The lords of Aquila under the 
 The Cam- Anffcvine kings were the Camponeschi.' Count Lalle and his sons 
 
 ponesehi. o o x ^ 
 
 Ludovico and Battista lie buried in a monument, made by a German 
 A.D. U32. sculptor, Walter Alemanno, in the church of San Giuseppe. ^ Its 
 Gothic arch is supported upon spiral columns resting on the backs 
 of lions. The sepulchral effigy of Count Lalle, attended by two 
 genii, lies on the sarcophagus ; and behind it appears his son 
 Ludovico on horseback, who says the poet Ciminello^ — 
 
 ' Co' suoi guarnamenti 
 Da capo a piedi, senza fallo, 
 Pai-ea un San Giorgio quando sta a cavallo.' 
 
 The general effect of this tomb is picturesque, but the work is 
 coarse, and the figures are inexpressive and ill-proportioned. Cen- 
 turies, rather than years, seem to lie between it and the very beautiful 
 monument which Maria Pereira, Countess of Montorio, the widow 
 of Count Lalle, a woman of remarkable intelligence and piety, 
 caused to be sculptured for herself and her infant daughter Beatrice 
 at San Bernardino. Its general design is that adopted by Civitale, 
 Desiderio, and other eminent Tuscan artists of the Cinque-cento. 
 The sarcophagus, adorned ^vith beautifully-carved cherub heads, 
 festoons, and leaf-work, is raised upon a high base, and stands 
 within an arched recess. Upon it lies the mother, her head covered 
 with a veil, and her figure concealed under a long robe. (See 
 Plate yilL ) Her hands rest upon a book, the upper part of her 
 body inclines a very little to the right, and her head droops towards 
 her shoulder so that her gentle face is slightly turned towards the 
 spectator. Her child, who lies under the sarcophagus, between two 
 mourning genii, is a perfect image of repose. Death has set his seal 
 but lightly upon the sweet baby face, and upon the little hand 
 which rests upon the bosom, and upon the straightly-laid limbs that 
 have ceased their once restless motion.^ Any one conversant with 
 
 ' ' Quando i Re di Napoli volcvano dalla citta cosa alcuna ottenere, era loi'o di 
 mestiero guadagnar pi'imo i Camponeschi.' — Camillo Porzio ; Leosini, oj). cif. p. 21. 
 
 ^ This artist made a monument in the church of San Domenico to the Knight 
 Niccolo Galioffi (ibid. p. 123). 
 
 3 Historia Aquilana, canto ix. stanza xviii. Poema Storico, ap. Muratori, Ant. 
 Ital. vol. vi. 
 
 Upon the monument is this inscription — 
 
 ' Beatrici Camponosca3, infanti dulci, qua) vixit mens. xiv. 
 Maria Pereyra, Noroniaquc mater, 
 
APULIA AND THE ABRUZZI. 
 
 47 
 
 the Tuscan school of the fifteenth century would recognise its in- 
 fluence upon the sculptor of this monument, who can have been 
 no other than the Andrea dall' Aquila, mentioned as the pupil of 
 Donatello by Niccol6 Severino the Sienese envoy, in a letter of Andrea 
 recommendation to Cristoforo Felice, one of the officers of the city Aquiia. 
 council, and director of the works at the Cathedral of Siena.' After June s, 
 
 1458 
 
 speaking of him as a very remarkable sculptor and painter, the 
 writer says that Andrea's sculptures about the triumphal arch 
 of Alfonso of Aragon at Castelnuovo had excited the jealousy of his 
 fellow-artists by their superiority, and concludes by advising the 
 director to apply to Donatello himself for further information. In 
 assigning the Pereira monument to Andrea, we depart from the 
 common opinion that it was made by Maestro Salvestro dall' SaUestro 
 Aquila/ Its great superiority m design and execution to the Aquiia 
 shrine of San Bernardino^ in the same church, which was certamly vatoro 
 sculptured by Salvestro and his pupil Salvatore Aquilano leads us ^'i"'^'^""- 
 to this belief. 
 
 The shrine was erected, at an expense of 20,000 o;olden florins, tiio shrino 
 by Giacomo di Notar Nanni, a rich merchant who stood high in nurdino. 
 favour with King Charles II. and King Frederic of Naples, and 
 who was a great benefactor to the churches and religious houses of 
 Aquiia. It is an immense square pile, adorned with statuettes, 
 ornamental work, and reliefs, the most important of which (see Plate 
 III. No. 3) represents the Madonna enthroned upon clouds borne 
 
 Tam paterno quam materno genere orta, 
 
 Petri Lalli Camponesci Montorii Comitis conjux, 
 
 FiliiB suEe unicis benemerenti et sibi vivens posuit.' 
 
 ' This letter is printed in the Boctmncnti per la Storia delV Arte Sanese by Carlci 
 Milanesi, and quoted by Schultz, iii. 190. Another Andrea dall' Aquiia, in the 
 succeeding century, studied under Alessandro Vittoria, at Venice. Cicogna, 
 Isc. Venete, ii. 124, Mem. originali, June 15, 1578 : ' Ricudo io Alessandi-o chome 
 Messer Sigismundo dal Aquiia mio cugino mi mando Andrea suo nipote pre- 
 gandome che io gli inssegna a operare nella scoltura p. che loro vestiria et io lo 
 acetai volontieri e lo tengo in casa mia a spese et il veste del mio, usando ogni 
 sorte di diligenti p farlo imparare 1' arte e costumi.' 
 
 2 Leosini, oj). cit. p. 197; Caprucci, ' Breve descrizione dell' Aquiia,' MS. and Pico 
 MS., quoted by Leosini, at p. 187, both mention two Salvestros. Leosini, p. 188, 
 thinks there was but one. Cicog-nara, 67. della Scultum, mentions one, and one 
 only is spoken of in Vasari, Comm. alia Vita di O. Majano, iv. 11. Salvestro, who 
 was the son of Giacomo da Solmona, was called also I'Aquilano and d'Arisclii, from 
 a castle in the territory of Aquiia. 
 
 ^ San Bernardino da Siena died at Aquiia in 1444. 
 
48 
 
 ITALIAN SCULPTORS. 
 
 up by cherubs, with the infant Christ standing upon her knee 
 blessing the kneehng Donator, who is presented to him by San 
 Bernardino. The figures of the patron saint and the donator are 
 simply draped and well grouped ; the Divine Child is dignified in 
 attitude and bearing, but the Madonna sits awkwardly and has a 
 self-conscious air; and San Giovanni Capistrano, who kneels on her 
 right hand with a banner in his hand, is mannered and theatrical. 
 The festoons, birds, fruits, and grotesques want that sharpness and 
 delicacy which characterises such ornamental work upon the best 
 Quattrocento tombs, and the statuettes of SS. Peter, Paul, Francis, 
 Anthony, Sebastian, Catherine, John the Baptist, and John the 
 Evangelist, as well as the bas-relief of the Resurrection of our 
 Altar-piece Lord at the back, hardly rise above mediocrity. The altar-piece 
 donna del givcu by Giacomo Nanni to a chapel in the church of the Madonna 
 
 Soccorso 
 
 del Soccorso is also ascribed to Salvestro, but Avithout proof we can 
 hardly accept it as his work on account of its superior style. The 
 whole of its central space is filled with angels with gilded wings 
 and draperies, relieved against a blue background, and grouped in a 
 manner which recalls Luca della Robbia, whose masterpiece in the 
 Vetusti Chapel at San Bernardino undoubtedly influenced the 
 unknown artist. 
 
NAPLES. 
 
 40 
 
 CHAPTER II. 
 
 NAPLES AND ITS NEIGHBOUPxIIOOD. 
 
 THE earliest art record at Naples relates to a portrait of Tlieo- i^^ag® 
 ^ . '■ Thoodoric. 
 
 doric, King of the Ostrogoths, which was so closely connected 
 
 with the royal fortunes that the head crumbled away wlien he 
 
 died ; the torso, piece by piece, on the death of his nephew a.d. 526. 
 
 Atalaric and of his daughter Amalasunta ; and the lower part of a.d. 534. 
 
 the body when the Goths under Totila laid siege to Rome. Some a.d. 552. 
 
 writers have supposed that it was a statue, but Pi'ocopius plainly 
 
 indicates that it was a mosaic when he tells us that it was made of 
 
 coloured stones very nicely fitted together, and that it fell away 
 
 from the wall.^ We know then of no Neapolitan sculptures 
 
 earlier than those Byzantine-looking bas-reliefs in the chapel of San 
 
 Giovanni a Fonte adjoining the cathedral, which belonged to a 
 
 pulpit made for the old church of Sta. Reparata. The minute Pulpit at 
 
 figures in these compositions (which represent scenes from the pariita! 
 
 history of Samson and incidents in the lives of SS. Joseph, George, 
 
 and Januarius) are in the style and almost in the proportions of 
 
 those carved upon ivory caskets, diptychs, and altar-fronts. No 
 
 other marble works exist before the middle of the thirteenth 
 
 century. The liberal patronage which the Emperor Frederic II. FredericII. 
 
 extended to art was chiefly bestowed upon architects, such as ofartf'"'' 
 
 Niccola Pisano and Bartoloraco da Foggia, and only two of the 
 
 buildings which they erected in all parts of his kingdom were 
 
 adorned with sculpture. One of these was Castel del Monte, and 
 
 ' TaiTJj r£ aTrao-ct sk tov Toiypv i^iTrfKoQ /; eltitov yiyover. ' Qu£B CUm ita se 
 habuissent Gottliis Romam obsedentibus reliqnse partes imaginis a femoribus ad 
 imos pedes corruerunt itaque ex pariete effigies provsus aluleviV — Procopius, de 
 Bella Gotico, Greek text, witli Latin translation by Claudius Maltretus, Pai-isiis, 
 MDCLXii., lib. i. ch. xxiv. p. 371. 
 
 II 
 
50 
 
 ITALIAN SCULrTORS. 
 
 the other the Castello dellc due Torri, whicli Frederic caused to be 
 built at one end of the bridge over the Vulturnus when he fortified 
 A.T). 1234. Capua. The three statues above its portal represented the Emperor 
 seated and raising his hand with a menacing gesture, and his two 
 devoted followers, Pier delle Vigne and Taddeo di Sessa.^ 
 
 It is not at Naples, but in the cathedrals of some of the beauti- 
 ful and ancient towns in its neighbourhood, that we must look for 
 early sculptures. In the duomo at Salerno, whose bronze gates 
 u2i^^^~ were cast at Constantinople and given to the church b}^ the noble 
 Salernitan Landulph Botromile, and his wife Guinsala, we shall find 
 Saiemo.^'^ two bcautiful marble pulpits, which were made in the twelfth 
 iis/^^^" century for the Archbishop Romualdus II. That on the north 
 side of the aisle, which is the finest of the two, rests upon granite 
 columns, whose capitals are decorated with delicately-carved leaf- 
 work, figures and animals.^ In front of the pillars above the capi- 
 tals at the back stand little nude figures holding up the leaf orna- 
 ment of the frieze with both hands; and at its corners and sides are 
 placed the symbols of the Evangelists, SS. John and Matthew, with 
 statuettes of the Prophets Isaiah and Jeremiah. Its panels are 
 covered with the richest mosaic -work, composed of porphyry, 
 serpentine and gilded glass, into which flowers and birds are intro- 
 duced with the most charming effect.^ 
 Pulpit at Beautiful as this pulpit is, it is surpassed by that which Nicolo 
 A.D. 1272. di Bartolomeo^ made for the duomo at Ravello by order of Nicolo 
 
 ' Charles V. demolished this castle in 1537. The mntilated statue of Frederic 
 was set up in a niche to the left of Porta Romana. It is engraved in Agincourt's 
 well-known work. Vide M. de Brcholles, op. cit. ; and Kington, op. cit. i. 455. 
 
 It is inscribed with these words : ' Romoald. Secund. Salernitan. Archi- 
 episcopus, prapcepit fieri hoc op.' 
 
 ^ L' anonimo Salernitano, Mon., Germ. 8crij)t. vol. iii. ch. xcvii. p. 467, mentions 
 a ' Icctorium mivsi magnitudinis ex gipso ' which Bishop Ajo erected in the duomo 
 at Salerno about the middle of the ninth century. It was destroyed in 1076, when 
 Robert Guiscard, having besieged the city, took possession of it and founded the 
 present edifice. 
 
 Bartolomeo da Foggia, the father of Nicolo, built a palace for the Emperor 
 Frederic II. at Foggia, a.d. 1233. See Apulian chapter. The artist's name is thus 
 inscribed on the pulpit : ' Ego Magister Nicolaus de Bartholomeo da Fogia niar- 
 niorarius hoc opus feci.' Cavalcaselle, Hist, of Painting in Itahj, i. 130, speaks of 
 the ivorhs of this artist as so like those of Niccola Pisano that they may be mistaken. 
 But the sculpture about this pulpit is the only existing work by Nicolo di Bartho- 
 lomeo ; and if the bust be a work of the fifteenth century, as we believe, the two 
 proKlc heads are all that remain to us for comparison. These certainly are not 
 
NAPLES. 
 
 51 
 
 Rufolo, a member of one of the richest and most influential famihes 
 in the south of Italy, and a descendant of the great admiral of the 
 same name who founded the church in the eleventh century.^ It is 
 raised high upon six inlaid spiral columns resting upon the backs of 
 lions, and is covered -with marble and mosaic work. The arched 
 doorway at the back, by which it is entered, is surmounted by the 
 colossal bust of a crowned woman, and decorated with two marble 
 profile heads relieved against a rich mosaic background. The bust, 
 said to be a portrait of Sigelgaita, wife of Nicolo Rufolo, has that 
 immobility of feature and fixedness of gaze which invests Egyptian 
 heads with a peculiar sublimity. The hair growing low upon the 
 forehead is rolled back from the face ; two long tassels embroidered 
 with pearls fall like earrings on either side of the long neck ; the 
 nose is long and straight ; the eyes which are somewhat near 
 together, gaze steadfastly upwards ; and the large mouth is drawn 
 down with a marked expression of scorn. As a work of art it is so 
 superior to the clumsy and feeble profile heads, supposed to be 
 portraits of the donators, that we are inclined to accept the sug- 
 gestion of a Neapolitan writer that it is a portrait of the famous 
 Queen Joanna II. of Naples, and consequently more than a centur}' 
 later in date than the pulpit, of which it does not like them form 
 an integral part.^ The ambos for the reading of the epistle and 
 gospel are works of the early part of the twelfth century, and like 
 the episcopal throne and the candelabra near the high altar are 
 decorated with mosaics. 
 
 We have already described the bronze gates of this church in 
 our account of Barisanus of Trani ^ Of all those which he cast 
 they are perhaps the finest ; and can be easily compared with 
 Byzantine bronze-work at Amalfi and Atrani. 
 
 at all Pisau in style, besides being in every respect inferior to the poorest of Niccola 
 Pisano's sculptures. 
 
 • Vide Scbultz, op. cU. ii. 276, for a notice of the Ruffolo fimily, with 
 genealogy. 
 
 2 Panza, Istoria delV Antica EeptiUlica d' Amalfi, Napoli, 1724, in 4to. ii. 83. 
 Schultz, ii. 271, objects that it cannot be Queen Joanna, because there are no 
 Angevine lilies in her crown. He however alloAvs that the profile heads are very 
 inferior to it. 
 
 3 The principal sources of information are, the Vtte dci PUfun, Scnlfuri cd 
 Architetti Napoletani, di Bernardo de' Dominici, 3 vols. Napoli, 1844; (he Sforia 
 dei Monumenti di Napoli, by Camillo Nap. Sasso, 1 vol. ; and a MS., which treats 
 of Neapolitan artists, by Cav. Mas.simo Stanzioni, in the library of the Royal 
 Museum, no. 23.''> ; it was wittcn in 1G50. 
 
 H 2 
 
52 
 
 ITALIAN SCULPTORS. 
 
 Let US now turn to sculptiu*e at Naples in the thirteenth cen- 
 tury, during which flourished that somewhat mythical architect and 
 K^T"3^o'°^' ^'^ulptor, Masuccio L, and his friend Pietro di Stefano. According 
 M. 1305. Iq the very unsatisfactory and often contradictory accounts of 
 Masuccio I. given by his countrymen, his first master was the 
 unknown painter of that miraculous crucifix at San Domenico 
 which is reputed to have spoken to St. Thomas Aquinas.-^ After 
 this master's death, Masuccio went to Rome in company with a 
 foreign architect, and there studied ' quanto di bello e di antico vi 
 era;' but hearing that Giovanni Pisano had been appointed archi- 
 tect to King Charles of Anjou, he returned to Naples, and even- 
 mT* tually succeeded that eminent artist as royal architect. In this 
 capacity he is said to have laid the foundation of the duomo, and 
 to have designed S. Domenico Maggiore, though the honour of 
 having erected these and other churches is also claimed for the 
 Tuscan architects, Niccola and Giovanni Pisano, as well as for 
 Maglione and Arnolfo del Cambio, both scholars of Niccola, who 
 1 esided at Naples for several years. ^ 
 
 The sculptures pointed out by Neapolitan writers as the works of 
 Masuccio I.^ have either disappeared or are now known to be the 
 works of other hands, such as the bust of Cardinal Raimondo Barile; 
 A.T). 1234. a bas-relief of Christ between two saints ; the tomb of Jacopo di Cos- 
 tanzo ; a crucifix in the Capella de' Caracciuoli ; and the monument 
 ^.°p"™ j"*^. of Pope Innocent IV. The latter consisted of several successive 
 nocent IV. g^Qpjgg adoiTicd with mosaics and terminated by a half arch, whose 
 
 • De' Dominici mentions, as early Neapolitan painters, Pippo Tesauro, Tommaso 
 degli Angeli, Simone Napolitano, F. di Simone, &c. ; of wliom Cavalcaselle, Hist, 
 of Painting in Italy, i. 318, says, not only no positive records exist, but of whom 
 no paintings are known. 
 
 ^ Niccola Pisano was at Naples from 1221 to 1231, during wliicli period he 
 built and completed the castles Capuano and dell' Uovo. Giovanni Pisano worked 
 at Naples from 1268 to 1274, and perhaps again in 1279, to build Casteluuovo. 
 Maglione, who built a portion of the church of San Lorenzo, was at Naples about 
 1266. Masuccio II.'s share in the erection of this building was so much greater 
 than Maglione's, that he should be rather regarded as its architect. It was com- 
 pleted in 1324. See Vasari, i. 266, note 5. A document of the year 1284, 
 Januaiy 25, speaks of it as then nearly finished. See Schultz, iii. 39 ; Doc. Beg. 
 Karol. I. b. 76, A.D. 1284. Ai-noUb del Cambio Avas in the employ of Charles of 
 Anjou in the year 1277, as we know by the king's letter to the magistrates of 
 Perugia (ibid. no. 128, vol. iv. p. 50. Sec also Vcrniiglioli, Lc Sculturc dcUa. Fontana 
 di Perugia; and Vasari, i. 269, note 2). 
 
 •* Sasso, op. cit. p. 64. This work is little more than an echo of what Schultz 
 calls ' der fabelnde de' Dominici.' 
 
NAPLES. 
 
 53 
 
 lunette contained a bas-relief of the Pope and the Archbishop Hum- 
 berto di Montorio who erected it, kneeling before the Madonna ;^ 
 but nothing now exists save the sarcophagus in the left transept 
 of the duomo, upon which lies the effigy of the pontiff dressed Died 1254. 
 in a long robe and wearing the triple crown upon his head. It 
 is a simple and expressive figure, and especially interesting as a 
 portrait of the pope who excommunicated Frederic II. at the 
 Council of Lyons.^ This monument cannot be by Masuccio I., who 
 died about thirteen years before its erection, nor by Pietro di a.d. isis. 
 Stefano, who survived him only about five years ; but it may be Masue- 
 the work of his son, Masuccio 11. , the godson and pupil of bora^'' 
 Masuccio I. 
 
 According to De' Dominici and his copyists, nearly all the 
 churches and tombs of this epoch are to be attributed to this artist ; 
 but so many of their assertions have been proved incorrect, that we 
 have but little faith in those which are not confirmed by docu- 
 mentary evidence. They tell us that when he was a very young 
 man he attracted attention by a design for the church of the 
 SS. Annunziata, and that on the death of his master Masuccio I. 
 he spent several years in study at Rome, and then returned to 
 Naples, where he was graciously received by King Robert and 
 commissioned to build the church of Sta. Chiara^ which had been 
 commenced by an incompetent foreign architect. There seems no 
 reason to doubt the truth of this story, but it is not easy to belie\'e 
 that he sculptured the Angevine monuments within its walls, as 
 their character bespeaks a Tuscan influence, under which, as far as 
 we know, Masuccio never came. Several Tuscan artists resided at 
 Naples in the course of the fourteenth century, and it is natural to 
 suppose that they with their scholars sculptured all such. There 
 was, for instance, Maestro Tino or Lino da Camaino, a noted Tinoda 
 Sienese architect and sculptor, who came to Naples before the year 
 ]321, and probably died there about sixteen years later.^ He was 
 employed by Duke Charles of Calabria, with Francesco da Vico A.D.1325. 
 
 ' Gregorovius, Les Tuvileau.v des Pcqict-, 113. 
 
 2 Innocent IV. belonged to the Genoese Fiesclii Counts of Lavagna. Ho died 
 at Naples, after a reign of eleven years. 
 
 3 Dedicated in 1340, according to the inscription on the campanile. Schultz, 
 ojj. cit. iii. 62. 
 
 ■« T-mcan Sculpfors, i. 99 ; Schnltz, iii. .57. 
 
54 
 
 ITALIAN SCULPTORS. 
 
 and Matteo di Bolocco, to build the Carthusian church and cloister 
 of San Martino ; and was appointed by the last will and testament 
 Died 1323. of Quccn Maria (widow of Charles II. of Anjou), together 
 with a Maestro Gallardus or Gerardus da Sermona, to make her 
 Tomb of monument in the church of Sta. Maria Domna Regina, which she 
 Maria had rebuilt and endowed.^ This tomb, which is erroneously attri- 
 
 fit Stjx l\Xa- • 
 
 riaDomna butcd to Masuccio II. by Neapolitan writers, consists of a sar- 
 Eegina. cophagus standing under a tent-like canopy. Winged statues of 
 Fortitude with a dead lion and a club. Justice with globe and 
 sword. Prudence with double face, holding three books in her 
 hand, and with a snake about her arm, and IModeration with a 
 bird pecking at a fruit in her hand, support the sarcophagus. Its 
 front is divided into niches by colonnettes spanned by pointed 
 arches, whose spandrils are adorned with mosaics. The niches 
 are filled with seated figures of King Robert and his first wife 
 lobnthe of Aragon, his father King Charles II., his son the 
 Duke of Calabria, and his brother St. Louis of Toulouse, relieved 
 acrainst a background of black marble. Angels hold back the 
 curtains from above the Queen's effigy, which lies under a Gothic 
 canopy supported upon marble pillars incrusted with mosaic. A 
 medallion of Christ giving the Benediction is placed in the centre 
 of the gable, on one side of which the kneeling queen is presented 
 to the Madonna by an angel, while on the other she stands holding 
 a model of the church. Two angels are placed on the sides of the 
 sloping roof, on the apex of which is a small figure holding a 
 shield, upon which keys and crosses are sculptured. 
 
 This monument must have served as a type for those at Santa 
 Chiara. Their architectural features are identical ; each consists of 
 a Gothic canopy supported upon columns, beneath which stands a 
 sarcophagus with a sepulchral effigy, exposed to view by curtain- 
 drawing angels. The figures in some of the bas-reliefs are relieved 
 against a dark blue background thickly studded with gilded lilies, 
 and have their hair, robe-borders, and accessories picked out with 
 gold. In others the white figures are set upon a background of 
 
 ' Doc. 368, Scliultz, iii. 146, mentions an order given by King Robert to his 
 agents at Rome to obtain and forward the marbles needed by the sculptor Gallardus 
 for this monument. Documents of the time of King Charles II. record the 
 appointment of Tino da Camino and Gallardus, and mention the sums paid to 
 them during its progress and when it was completed, a.d. 1326. 
 
NAPLES. 
 
 55 
 
 black marble. This system of decoration' was either first used at 
 Naples upon the tomb of Queen Maria, which we have just described, 
 or upon the pulpit at Sta. Chiara, whose bas-reliefs represent early 
 Christian martyrs, broken on the wheel, decapitated, or immersed 
 in boiling oil. The figures are treated very simply, being in fact 
 mere silhouettes, which stand out against the black marble back- 
 ground as if cut in white paper. (See Plate IX. No. 2.) The 
 sharp contrast is disagreeable when brought too near the eye, but 
 at a great distance, as in the eleven bas-reliefs from the life of 
 Saint Catherine upon the front of the organ loft, it has the advan- 
 tage of giving great distinctness to outlme. The Angevine monu- Angevinc 
 ments at Santa Chiara are of rare historical interest, inasmuch as sta.chiara. 
 they commemorate that eventful epoch in Neapohtan annals which 
 commenced with the reign of King Robert and ended with that 
 of his granddaughter, the too famous Queen Joanna 1. The most 
 important among them is that of King Robert himself : ' signor 
 savio ed espertissimo in pace ed in guerra, e riputato un altro 
 Salomone dell' eta sua.'^ Passionately fond of books, Avhich 'were 
 always by his side by night and by day, sitting or walking, in war 
 and in peace, in prosperity as in adversity,'^ this rare monarch won 
 the gratitude of the men of letters of his time by the esteem in 
 which he held them, and their admiration by his personal attain- 
 ments. Before Petrarch was crowned with laurel at Rome, he February 
 went to Naples and voluntarily submitted to be examined by King 
 Robert, who gave him a diploma setting forth his titles to the 
 honour about to be conferred upon him by the Roman senate, 
 bestowed upon him his royal mantle to wear at the ceremony ^ and 
 
 • This system of decoration was used by tlie Greeks. Bas-reliefs in Parian 
 marble were attached to the frieze made of the black marble of Eleusis which 
 runs round the four sides, and the northern prostasis of the Ercchtheion at Athens. 
 M. Beule (Acrojxde (Vxitlienes, ii. 287) says, ' Cependant I'aspect de figures 
 blanches qui se detachaient sur un fond noir cut ete dur et triste, s'il n'eut ete 
 adouci par les teintes qui distinguaient selon I'habitude les ornements, les chevelures 
 et les draperies.' 
 
 2 Giannone, op. cit. ui. 120; Cantii, St. degli ItaUani, vol. ii. ch. vi. p. 741, and 
 ch. xiv. 23. 868. 
 
 3 ' Nec minis, nee insultibus nec blanditiis fortuna?, nec inertia tcmporum a 
 studiis abstrahi quivit ; unquam, sen pacis sen belli negotium tractaret, seu curam 
 corporis ageret, per diem et per noctem, ambulans sedensque libros prope se 
 voluit.'— Dc Eer. Mem. i. 405. 
 
 Gregorovias, Geschichie dvr Htadt lioiii, vi. 210. 
 
56 
 
 ITALIAN SCULPTORS. 
 
 being unable on account of his great age to assist at it in person, 
 sent in his stead two officers of his household. 
 
 An ardent partisan of the Popes to whom he owed his crown, 
 much of King Robert's reign was passed in lighting for them against 
 the German emperors Henry VII. and Louis of Bavaria, who would 
 have destroyed his kingdom had not the first died suddenly at 
 Buonconvento, and the second been forced to retreat from Rome. 
 Occupied in repeated and fruitless attempts to get possession of 
 Sicily, and constantly obliged to reduce his turbulent barons to 
 subjection by force, his public life was full of disquietude, while 
 the death of his only son Duke Charles of Calabria, upon whose 
 tried capacities for government he had counted in the future, 
 clouded his private life with bitter disappointment and grief. The 
 succession had by Duke Charles's death devolved upon his daughter 
 Joanna, who had been married by King Robert to his nephew An- 
 drea.^ Their unhappy union, and the character of the future queen, 
 filled the old monarch with apprehension, and helped to bring down 
 his grey hairs in sorrow to the grave. A few months after his 
 Jan. 16, death Queen Joanna announced by letter to her faithful subject 
 
 1 343 
 
 Jacobus de Pactis, that she had commissioned the Florentine 
 brothers Pancius (Sancius) and Johannes to erect a monument to 
 Tomi, of her grandfather at Santa Chiara.^ These artists, who are otherwise 
 
 King ^ 
 
 Eobert. unkuowu, crcctcd the imposing Gothic structure which surmounts 
 the doorway to the nuns' choir, towering above the high altar. Its 
 Gothic canopy rests upon double columns, decorated with well- 
 draped statuettes of the Virtues, some of which are very pleasing 
 in sentiment. The gable is adorned with a roundel supported by 
 angels, contaming a bas-relief of the resurrection of our Lord. 
 Under this canopy is a recess shrouded by curtains ornamented 
 with golden lilies. Their heavy folds are held back by angels who 
 look down upon the dead king. (See Plate IX. No. 3.) Dressed 
 as a Franciscan monk, with a crown upon his head and a cross upon 
 
 ' Andrea was the son of Carobert, king of Hungary, whose claims to the throne 
 of Naples as grandson of Charles II. of Anjou and son of Charles Martel had been 
 set aside by Pope Clement V. in favour of King Robert 
 
 2 Reg. JoliannjB I. sine litera, fol. 8, no. 1, doc. cdxix., dated September 1, 1343. 
 Tlie contract ' Inter curiam nostram ex parte una et magistros Sancium et 
 Johannem de Florentia marmorarios fratres,' is dated February 24, 1343. (Vide 
 Schultz, op. cit. iv. 170.) This contract clearly proves that the general attribution 
 of the monument to Masuccio II. is erroneous. 
 
NAPLES. 
 
 57 
 
 his breast, he lies on the top of a sarcophagus, whose front is 
 decorated with a row of flat niches, containing small figures in low 
 relief of the king with his two wives, lolanthe and Sancia, and of 
 his son Duke Charles with his wife Maria of Austria, and their 
 daughter Queen Joanna, relieved against a deep blue background 
 studded with golden lilies. Above this curtained recess is a lofty 
 tabernacle similarly decorated, containing a life-size statue of the 
 king seated and holding a globe and a sceptre in his hands. (See 
 Plate IX. Fig. 4.) The Hues of his face are hard and stitF, his 
 eyes without expression and his figure clumsy and ill-proportioned. 
 Above the tabernacle is a group of St. Francis and Santa Chiara in 
 the act of })resenting King Robert and Queen Sancia to the Madonna, 
 who sits with tlie infant Jesus standing upon her knee. 
 
 The Tuscan features of this monument are repeated in all the 
 tombs about the choir. Giannone tells us that Duke Charles was T.mib of 
 the first member of the royal family buried at Sta. Chiara, but as he Duke of 
 died long before the church was completed, his body must have been di«i No-' 
 deposited elsewhere in the interim, and his monument may not have Y^^^'^ ^' 
 been made until after that of King Robert.' The recumbent effigy 
 is draped in a royal mantle painted blue and decorated with golden 
 lilies, and the front of the sarcophagus is adorned with small figures 
 in relief representing the duke, with a sceptre and a sword, sitting in 
 the midst of his counsellors and vassals, the first in their robes of 
 office, and the last in short doublets and cloaks. The wolf aiid 
 the lamb drinking out of the same cup, sculptured at his feet, 
 symbolise the wise and just conduct of affiiirs by which, while 
 governing the kingdom during his father's absence, he induced the 
 turbulent nobles to live at peace with their inferiors. The winged 
 figures of Justice, Temperance, Prudence, Force, Clemency, and 
 Hope, grouped about the columns Avhich support the sarcophagus, 
 are the well-merited emblems of his virtues. Though the ofeneral 
 
 CD O 
 
 efifect of this tomb is rich, the figures sculptured about it are cold 
 and lifeless, and of little value apart from their office as decorative 
 
 ' Sforia (It NapoJi, iii. 128. When King Robert (says Giannone) asked Duke 
 diaries liovv he liked Santa Chiara, he replied that, being without transepts and 
 surrounded by many little low-roofed chapels wliich opened out of it like stalls, it 
 looked to him like a stable. Piqued by this answer, or moved by a projihetic 
 spii'it, the king said, ' God grant, my son, that you may not be the fii'st one of us 
 to cat in this stable.' 
 
 I 
 
63 
 
 ITALIAN SCULPTORS. 
 
 accessories. They are greatly inferior to those sculptured at the 
 same period by Balduccio Pisano for the tomb of St. Peter Martyr 
 at Milan, and yet their unknown sculptor came like Balduccio 
 within the range of Giotto's vivifying influence, when that great 
 painter worked at Naples for King Robert after working for Azzo 
 Visconti at Milan. ^ The only piece of sculpture at Santa Chiara 
 which reminds us of him, is a bas-relief set up in memory of the 
 infant Maria Durazzo Avho, wrapped in swaddling clothes, is borne 
 to heaven by two angels.^ (See Plate IX. No. 1.) Their type of 
 face and cast of drapery are decidedly Giottesque, and the simple 
 trust expressed in the child's face and attitude is such as the 
 great painter would not have disowned. It is uncertain whether 
 Marie de Valois, the second wife of Duke Charles, or his daughter 
 Joanna I., lies buried in the monument next his own.^ The recum- 
 bent effigy draped m a long blue mantle lies on the top of the 
 sarcophagus, which rests upon female Caryatides standing on the 
 backs of lions. The queen and her attendants are represented on 
 - the front of the sarcophagus, one end of which is decorated with 
 well-draped tio-ures of St. Elizabeth and Santa Chiara in flat Gothic 
 niches.^ In another Gothic tomb on the opposite side of the church 
 lies Maria, the sister of Joanna and wife of her second cousin 
 Charles, Duke of Durazzo. The short-proportioned, broad-faced 
 figures in the bas-reliefs upon it are of white marble set against a 
 Character black background. Here, as in all the other reliefs of which we 
 sculptures, have been speaking, the figures are tame and lifeless, with little 
 or no attempt at action, but in the bas-relief of the dead Christ 
 between the Madonna and St. John up»on the tomb of Agnese di 
 Perigord (mother of the duke) the faces are so grotesquely twisted 
 that it is hard to tell whether they smile or weep, and their 
 gestures are violent and extravagant. 
 
 There are then six distinct styles perceptible in the sculptures 
 at Sta. Chiara which we should thus define. The first and best is 
 
 ' Cavalcaselle says that the Tncoronata frescoes generally attributed to Giotto 
 were painted long after his death. He states that King Robert called him to 
 Naples in 1330. 
 
 2 ' Obiit die xiiii. Januarii, xil. mo. ano Dili 1344;.' 
 
 3 Giannone, ojj. clt., says, at vol. iii. p. 194, Sforia di Napoli, that Johanna is 
 buried there ; but the inscription upon the tomb which records her name is con- 
 sidered to be of doubtful authenticity. 
 
NAPLES. 
 
 59 
 
 that of the curtain-drawing angels and the statuettes in niches upon 
 King Robert's monument, all probably the work of the Tuscan 
 artists employed by Queen Joanna. The second and worst is that 
 of the seated statue of King Robert, which reminds one of an ugly 
 idol. The third is that quiet, lifeless, but comparatively correct 
 style, in which the effigies and relief figures upon the monuments 
 of Duke Charles of Calabria, Queen Joanna I., and Maria da 
 Durazzo are executed; the fourth is the Giottesque style of the 
 relief of her infant daughter ; the fifth, that extravagant and man- 
 nered style exemplified by the relief upon the tomb of Agnese di 
 Perigord ; and the sixth, that of the simple arid outlines upon the 
 pulpit and organ-loft. Rejecting the co-operation of Masuccio 11. 
 in any of these works, we accept him as the sculptor of the ver}'' 
 picturesque Gothic tomb of the Duchess Catherine of Austria at Tomb 
 San Lorenzo, which differs from them in every respect. It is a Duchess 
 quadrangular structure, with a pointed roof supported upon spiral o/Austria 
 columns, divided midway by the sarcophagus, under which a doorway Lorenzo, 
 leads into the choir. The sombre hue of the dark stone of which it 
 is constructed is lightened by mosaics let into the spirals of the 
 columns, the pinnacles at each end of the architrave, and the lunette. 
 Statuettes of SS. Peter, Paul, Catherine, and Louis of Toulouse 
 stand at the head and feet of the recumbent effigy, and the front of 
 the sarcophagus is decorated with roundels containing half-figures 
 in relief of the Madonna, SS. John the Evangelist, Anthony of 
 Padua, Francis, and Santa Chiara. No Tuscan influence is here 
 perceptible, but the curtain-drawing angels again appear in the 
 monuments of Carlo da Durazzo, and of Robert d'Artois and his Diedisi:. 
 wife Giovanna da Durazzo in the same church, which are possibly Diediss;. 
 by the artists who made King Robert's monument. Little has 
 been accomplished towards clearing up the obscurity which prevails 
 about Masuccio and his Avorks. His name is not mentioned in any 
 inscriptions or documents of the time, and no better proof of his 
 ever having existed is to be found than vague tradition and bold 
 assertion, which fixes the date of his death in 1387 at the age of 
 ninety-six. 
 
 But few among the marbles of the fourteenth century hy 
 anonymous sculptors, besides those already spoken of, are wortliy 
 of attention. One only, though very poor as a work of art, may be 
 described on account of its subject. It is an ex-voto bas-relief, on us.rfnef. 
 
 I 2 
 
60 
 
 ITALIA.N SCULPTORS. 
 
 the outside of the church of St. Peter Martyr, which was dedicated 
 to the Holy Trinity by a certain Franceschino da Brignole, who 
 1^361""*^^' ^^^^ twice escaped death when all his companions were drowned.^ 
 It represents Death as a crowned skeleton, standing above a heap 
 of dead kings, popes and bishops, in colloquy with a merchant 
 who, while offering a sack of gold as a ransom for his life, says : 
 
 ' Tutti ti volio dare 
 Se mi lasci scampare ;' 
 
 but the inexorable answer of the monarch is : 
 
 ' So me potesti dare 
 Quanto se poteste dimandare 
 Nun te pote scampare la Morte 
 Se ti viene la sorte.' 
 
 A tablet in the centre of the relief is covered with an inscription, 
 in which Death asserts his power over all mankind, and warns 
 those who read to make good use of their remaining term of life. 
 
 As we have found the fourteenth century filled with the name of 
 Masuccio 11. , so shall we find the fifteenth occupied with the names 
 of his scholars, Andrea Ciccione and the Abbate Bamboccio. The 
 first of these artists, who is said to have built the churches of 
 Santa Marta and Monte Oliveto, and to have sculptured a monu- 
 ment to Giosue Caracciolo, formerly in the duomo, was selected by 
 lombof Queen Joanna II. to make that of her brother King Ladislaus 
 
 King La- • o t • 
 
 disiaus. for the church of San Giovanni a Carbonara.^ It is a towering 
 pile, three stories in height, rising above the door which leads 
 
 ' ' Mille laudi faccio a Dio Padre ed alia Santa Trinita — due volte me aveano 
 scampato, tutti gli altri furono annegati — Francescliino fui de Prignale feci fare 
 questa memoria alii 1361 de lo mese di Agosto, 14 Indizione.' 
 
 2 There are no certain data as to the author of this tomb. Ciccione is not 
 mentioned by Summonte (Historia della Ciffd e Berjno di Napoll), Colano or 
 Eugenic Carraciolo (Ncqwli Saciu). All that we know about him rests upon 
 the doubtful testimony of Cresconius and de' Dominici. (Vide Schultz, iii. 86.) 
 Giannone, iii. 230, says that, as Ladislaus died excommunicate, Giovanna had him 
 buried without pomp at San Giovanni a Carbonara. Afterwards she raised a 
 monument to his memory, ' per la qualita di quel tempi assai magnifico e roale, 
 che ancor oggi si vede.' The same writer speaks of King Ladislaus and Queen 
 Joanna II. as ' due portentivi mostri di libidine e di laidezza.' After the death of 
 Carlo III. (detto della Pace) the throne of Naples was disputed between his 
 widow, Queen Margaret, for her son Ladislaus (whose cause was favoured by Pope 
 Urban VI.), and Louis of Anjou (the adopted son of Queen Joaima I.), backed by 
 the anti-Pope Clement VI. Ladislaus was a proud, ambitious, prodigal, and dissi- 
 pated mnn. He died at the early age of thirty- six, a.d. 1414. 
 
 Andrea 
 Ciccione. 
 
NAPLES. 
 
 Gl 
 
 from the choir into the sacristy. Four colossal statues of Tem- 
 perance, Prudence, Justice, and Fortitude flank this doorway, 
 and serve as Caryatides to support an open arched gallery, within 
 which are placed six seated statues of life-size, representing King 
 Ladislaus and his mother. Royalty, Charity, Faith, and Hope. 
 Above this gallery is a curtained recess, which contains a sarco- 
 phagus bearing the recumbent effigy of the King watched over by 
 curtain-drawing angels, and figures in relief of the King and Queen, 
 and two other royal persons. Upon the topmost pinnacle of the 
 structure Ladislaus is again represented, seated upon his war-horse, 
 and holding a sword in his right hand. The eyes of the statues 
 and statuettes are coloured, their hair and robe-borders are gilded, 
 and they are relieved against backgrounds painted blue and adorned 
 with gilt fleurs-de-lys.^ The general effect of the monument, with 
 its statues, statuettes, arches, and pinnacles, its gilding and colour, 
 is imposing, but close examination reveals coarsely-executed details 
 and clumsily-proportioned forms, which show Ciccione to have been 
 a mediocre sculptor, who working in the style of his predecessors 
 reproduced their defects upon a magnified scale. 
 
 After thus employing Ciccione to perpetuate her brother's 
 memory, Queen Joanna called upon him to render a like service to 
 that of her lover, the Grand Seneschal Gian Caracciolo Avho after 
 long ruling Naples with the power and state of a king, was murdered August 19, 
 by a band of conspirators. In the days of his prosperity he had 
 built a chapel at San Giovanni a Carbonara, and in it his bloody 
 corpse was buried by four monks on the night after his assassination.^ 
 The monument which Ciccione raised upon the spot where they laid Tomb nf 
 him consists of a sarcophagus supported upon the shoulders of three Caracdoio. 
 armed knights, who bear in their hands emblems typical of Justice, 
 Strength, and Prudence. A stifi' realistic statue coloured to resemble 
 life stands upon the top of the sarcophagus, between two seated 
 lions with helmets upon their heads. Gaudy with colour and gild- 
 ing, ugly in design, and coarsely executed in all its details, this 
 monument has but one original feature of doubtful taste, namely, 
 the representation of the Virtues in a military garb. 
 
 ' Lionardo di Bisuccio, a Milanese artist, gilded this monument as well as that 
 of Ladislaus ; and Scilla, a sculjator from Milan, worked with Ciccione upon 
 both. 
 
 2 Giannoue, iii. 256 ; Cantii, o^i. cit. vol. ii. ch. xiv. p. 880. 
 
62 
 
 ITALIAN SCULPTORS. 
 
 Bamboc- We have found little to say in praise of Ciccione, and we cannot 
 i35i!°dred saj much more in that of his contemporary, the Abbot Antonio di 
 1422 (?). Domenico Bamboccio, from Piperno. He built the overloaded and 
 extremely florid Gothic fa9ade of San Giovanni a Pappacoda, and the 
 A.D. 1407. portal of the duomo- The Cardinal Enrico Minutolo, by whom it was 
 ordered, was so delighted with it, that he made him abbot of a con- 
 vent near Naples from which he derived a revenue of four hundred 
 Portal of ducats a year. The Cardinal is represented in the lunette of this 
 
 the duomo. inri i» 
 
 portal kneelmg before the Madonna, to whom he is presented by his 
 patron saint; and in the pointed gable are groups of angels and a 
 roundel, within which is sculptured the coronation of the Madonna. 
 The side posts and pinnacles are enriched with niches containing 
 statuettes of saints, and the tall finial is surmounted by the statuette 
 of an angel. The architecture is overloaded with ornament, and 
 the figures are short, heavy, and lifeless. We need not describe 
 Monu- the monument of Cardinal Enrico Minutolo, nor that of Cardinal 
 Bamboc- Carbone.^ The curtained recess, the watching angels, the recum- 
 bent effigy and the Gothic canopy, are elements common to both, 
 but while the first is profusely and gaudily coloured after the fashion 
 of the old Neapolitan school, the second is like the Angevine tombs 
 at Sta. Chiara, not only in general form, but in the use of a black 
 background in the relief upon the front of the sarcophagus.''^ The 
 best features of the Carbone tomb are the statues of the Virtues 
 under the sarcophagus, which, though thickset and inexpressive, are 
 carefully draped and well posed. There are no essential points of 
 Margaret difference between it and the monument by Bamboccio to Margaret 
 di5T4i2°' Durazzo in the duomo at Salerno. Four statues of Prudence, 
 Force, Temperance and Justice support the sarcophagus, whose 
 front is adorned with a bas-relief representing the Qneen seated 
 uj)on a throne, surrounded by nuns and ladies of her court. Thus 
 
 ' Cardinal Carbone, a Neapolitan patrician, and the reputed nephew of Pope 
 Boniface IX., was a Cistercian monk, renowned from liis youtli for learning and 
 devotion to the Romish Church. He filled many offices of trust under Popes 
 Urban VI. and Boniface IX., and died at Rome A.D. 1405. (Cardella, Memorie dci 
 Cardinali, ii. 297.) 
 
 This tomb stands in the Minutolo chapel above the altar. The baldacchino 
 is ascribed by de' Dominici to Masuccio II., but we believe it to be by Bamboccio, 
 as its sculptures are in the same style as the altar-tomb. The simple sarcophagi 
 on either side of the altar, with recumbent effigies, reliefs of saints in roundels 
 and mosaics, are probably by Masuccio II. Cardinal Oi'so Muiutolo (in 1327) and 
 Filippo Minutolo (in 1303) lie buried in them. 
 
NAPLES. 
 
 63 
 
 far our artist's style is cold and uninteresting, but the bas-relief 
 upon the tomb of Lodovico Aldamoresco, in the cloister of San 
 Lorenzo, shows us that as he grew old it became extravagant and 
 confused. The tomb formerly stood in the family chapel within the 
 church, where an inscription exists which tells us that it was made 
 in the seventieth year of his age by Bamboccio, painter and sculptor 
 in all sorts of stone and metal, for the faithful and beloved coun- 
 sellor of Kino; Ladislaus, the admiral of his fleet. This distin- Lodovico 
 
 . . . . ^I'la- 
 
 guished personage lies clad in armour, with a dog at his feet, moreseo, 
 
 died 1414, 
 
 on the top of the sarcophagus which is supported by four knights, 
 Aloisius, Antonius, Perottus, and Galeottus degli Aldamoreschi, 
 with turbans upon their heads, and with swords and lances in their 
 hands. The relief on the front of the sarcophagus represents a 
 crowd of persons confusedly put together, all pressing towards the 
 Madonna, who sits at one end of the composition clad in robes 
 cut up into numberless sharp-cornered superposed folds. Behind 
 her stands St. Catherine with other saints, and before her kneels 
 a knight, upon whose shoulder one of the three kings rests one 
 hand, while with the other he offers her a globe surmounted by 
 a cross. Another member of the family approaches her led by an 
 angel, and a crowd of women, pages, soldiers with banners, and 
 horses choke up the remaining space. 
 
 Bamboccio died about a year after completing this tasteless, 
 overcrowded, and rudely sculptured work. The simplicity and 
 absence of pretension, which but slightly redeemed the monotonous 
 and formal style of the school to which he belonged, were the fruit 
 of Tuscan influence, but while the Tuscan masters who settled in 
 the southern capital during the fourteenth century thus favourably 
 aff'ected art, their successors, though men of an infinitely superior 
 grade, left it much as they found it. At the time of Bamboccio's Tuscan 
 death Ghiberti and Donatello were in the plenitude of their powers, working 
 and only seven years later Donatello and Michelozzo erected the ^^^{^27 
 noble tomb of Cardinal Brancacci in the church of San Angelo a 
 Nilo. Later in the century Antonio Rosellini and Benedetto da 
 Majano enriched Monte Oliveto with bas-reliefs of great beauty; 
 Giuliano da Majano built and sculptured the portal of Santa Barbara; 
 and several excellent sculptors from other parts of Italy aided in de- 
 corating the superb triumphal arch over the entrance to Castelnuovo, 
 which commemorated King Alfonso's triumphal entry into Naples. a.d. 1442. 
 
64 
 
 ITALIAN SCULPTORS. 
 
 Alfonso of Although Joanna II. had adopted Alfonso of Aragon as her 
 Aragon. j^^.^ long before her death, she left her kingdom by testament to 
 Rene d'Anjou, who for some time succeeded in maintaining posses- 
 sion of it against Alfonso, and against the Pope, who declared it to 
 be a fief of the Church. The fortunes of Alfonso were for a time 
 adverse. He was beaten in a naval battle by the Genoese, and 
 given up as a prisoner to Filippo-Maria Visconti, then Lord of 
 Genoa as well as of Milan, whom he so thoroughly persuaded of the 
 danger to his own possessions if an Angevine prince were seated 
 upon the throne of Naples, that he not only liberated him, but 
 also furnished him with means to regain his kmgdom. This had 
 in the meantime been facilitated by the death of the famous Captain 
 Giacomo Caldara, who had espoused the cause of King Rene; and 
 Alfonso, having discovered a subterranean passage under the walls 
 A.D. 1442, of Naples, entered the city, and put an end to the long-established 
 A.D. 1443. rule of the house of Anjou.^ In the following year the municipal 
 Triumphal authorities decreed that a triumphal arch should be erected in his 
 Alfonso's honour. The date of the decree is generally given as that of the 
 Casrei^ erection of the arch, but as we know that the great round towers 
 between which it stands were not built until eight years later it 
 is impossible that it could have been commenced so early as is 
 usually supposed.^ There is a story that the arch was first raised 
 upon the piazza of the duomo, and that Alfonso at the solicitation 
 of one of his knights who complained that it interfered with the 
 view from his windows, ordered it to be taken down. If this be so 
 the current date doubtless refers to the time when this first arch 
 was set up, nor is it unlikely that it was a temporary structure, 
 intended to try an effect which was found to be unsatisfactory in 
 so confined a space. ^ 
 
 A mortuary inscription at Sta, Maria Nuova tells us that the 
 principal architect of the existing arch was Pietro di Martino, from 
 Milan,^ an artist much in favour with the king, who bountifully 
 
 ' Cantu, np. cit. vol. ii. cli. cxiv. p. 882 ; Giannoue, vol. iii. cli. vii. lib. xxv. 
 ^ The contract for the tower was made on the 19th of April, a.d. 1451, with 
 certain masons from La Cava, named Honofrio de Jordano, Pertellus de Mariano, 
 Coluza de Stescio, and Carolo de Mariano. (Vide Schultz, vol. iii. p. 18G, doc. cdxlix.) 
 3 Schiiltz, iii. 116. 
 
 * ' Petrus de Martino Mediolanensis, oh triumphalem ards novcn arcum solcrtcr 
 structum rcge in cqucstrcm ad sacra (?) ordinem et ab ecclesia hoc scpulchro pro 
 sc ac posteris suis donari meruit, mcoclxx.' 
 
 nuovo. 
 
 A.D. 1451. 
 
NAPLES. 
 
 rewarded his services, and raised him to the rank of cavaliere.^ The pietro di 
 sculptors of its bas-reliefs were Isaia da Pisa, Silvestro and Andrea diecf'u-'o. 
 dair Aquila, and some unknown artists. - 
 
 It is divided into four stories, three of which are pierced with 
 arches, while the fourth is decorated with niches containing sta- 
 tuettes of the Virtues. Each of the arches is flanked by Corinthian 
 columns, and the spaces betAveen the stories are adorned Avith rich 
 friezes, composed of araorini with festoons, masks, putti, lions' 
 heads, children riding on sea-horses, &c. &c. Every inch of space 
 is covered with leaf and other ornament, worked with the utmost 
 care. The figures are sculptured in bold alto-relief within recesses 
 (divided by canellated columns and pilasters), whose ceilings 
 and walls are elaborately ornamented with medallions and panels. 
 King Alfonso is represented, in two of the reliefs, surrounded by 
 his knights clad in armour; in one with his head bare, standing 
 with a dog lying at his feet, in the other wearing his helmet, and 
 leaning on his shield The knights are armed with spears, daggers, 
 lances, and shields, and though a little stiff in outline, are living 
 and varied in attitude and expression. In a large bas-relief upon 
 the second story the king appears in a triumphal car surrounded 
 by a crowd of people. The two genii which support the royal arms 
 are perhaps by Andrea dall' Aquila, the scholar of Donatello. The 
 cold uninteresting late Renaissance style of the river gods, masks, 
 and statuettes, sculptured by Merliano da Nola in and about the 
 lunette which crowns the whole structure, contrasts most disad- 
 vantageously with that of the earlier sculptures, which belong to a 
 period when the antique was imitated without slavishness. Giovanni Giovanni 
 Merliano da Nola is, nevertheless, the most lauded as he is the da'^Noi". 
 best-known of Neapolitan sculptors. He was the son of a leather 
 merchant named Giuseppe, who being obliged to leave Nola and 
 take up his residence at Naples on account of a lawsuit Avith his 
 former partner, fell ill and died there from anxiety of mind. 
 
 . . 1478 (?). 
 
 Having shown a decided taste for draAving and modelling, the young- 
 Giovanni was alloAved to enter the studio of Agnolo Aniello di 
 Fiore,^ a noted sculptor in the latter part of the fifteenth centur}^, di I'io™^^ 
 
 ' Celano, Notizie di Najwh', iii. 38 ; Sesta Giornata. 
 
 ^ Vide Appendix to Tuscan Sculptors, vol. ii. p. 210, letter C. ; and the Com- 
 mentary appended to the life of Giuliano da Majano, Vasari, vol. iv. 
 
 ^ De' Dominici incorrectly states that he was a son or nephew of the -well- 
 
(5(5 
 
 ITATJAN SCirLPTORS. 
 
 whose best work is the tomb of Francesco Caraffa in the Cappella 
 del Crocifisso at San Domenico.^ Here he must have made astonish- 
 ing progress, if it be true that he sculptured the Avooden bas-reliefs 
 of the history of our Lord for the sacristy of the church of the 
 Annunziata before he was tAventy. Their pictorial character lends 
 a colour of truth to the statement that he made them under 
 Aniello's influence, but the attitudes of many of the figures, bits 
 of the draperies, and especially the statuettes of prophets, are so 
 plainly inspired by Michel-Angelo, whose works Merliano is said to 
 have studied very closely at Rome, that we are disposed to assign 
 to them a later date. The influence of Michel-Angelo is not shown 
 by an exaggeration of muscular development or violence of action, 
 nor by anatomical display or treatment of surface, but rather by 
 such minor matters as the posture of hands, and the character of 
 architectural accessories. The monuments of three brothers in the 
 church of San Severino illustrate this remark, and may be taken 
 Tragical as pcrhaps the best examples of Merliano's style. Few stories are 
 the three more tragical than that of lacopo, Ascanio, and Sigismund, the 
 San Se-^ ' virtuous, valorous, and handsome ' sons of Ugo San Severino, 
 merino. Qonte dclla Saponara, and his ' prudent and pious wife,' Ippolita 
 de' Monti. Scandalised by the shameless intrigues of Donna Lincia, 
 
 known Neapolitan painter, Colantonio del Fiore, wLich cannot be, as that artist 
 (lied in 1444. He also errs in saying that Agnolo studied under Andrea Ciccione, 
 who died in 1455. Neither could he have been related to a second Colantonio da 
 Napoli who flourished in 1524. (Vide Schultz, vol. iii. p. 170, note 1 ; ibid.) 
 The annotators of Vasari, vol. ix. p. 19, note 6, say that Merliano first studied 
 under Aniello, and subsequently under Michel-Angelo. Vasari, ix. 21, says he 
 died in 1558 ; de' Dominici, that he was born in 1478 and died in 1560. 
 
 ' The statuettes of Prudence, Fortitude, and two saints in the pilaster niches 
 of this monument are weak, but the bas-T-elief in the lunette, which recalls Mino da 
 Fiesole, is much superior to any Neapolitan work of the time. It represents St. 
 Domenic presenting a kneeling devotee to the Madonna, who sits under an arch 
 with a vase of flowers by her side. This monument and that of another member 
 of the Cai'afliX family directly opposite to it, evidently by the same hand, is far 
 supei'ior to the tomb of Alagni da Bucchianico by Aniello, died 1477, in the same 
 chapel. The knight's effigy lies on the top of a sarcophagus, in the front of which 
 his wife is sculptured in flat-relief. The hair, robe-borders, and wings of the 
 figures, angels and cherubs, which decorate it ai'e gilded. The bas-relief of St. 
 Jerome, dated 1515, doing penance at the foot of the ci'oss, a stiff awkwardly-posed 
 figure in the left transept of this church, is ascribed to the same master by de' 
 Dominici, who also points out a bas-relief in wood of St. Hubert, at Santa Maiia la 
 Nuova, as his work, in which the saint, a simple devotional figure, kneels at the 
 foot of a hillock on which stands a stag with a cross between his antlers. In the 
 backgroi;nd are attendants holding a horse. 
 
NAPLES. 
 
 67 
 
 the Avife of her husband's brother Geroniino, Donna Ippolita en- 
 deavoured, but without success, to open his eyes. The evil feeling 
 thus engendered between them was fanned into a flame by Donna 
 Lincia, who, furious at the death of one of her lovers, a servant of 
 the three brothers, persuaded Don Geronimo to compass the death 
 of his nephews by means of two Sicilian servants. The fatal Nuv. 5, 
 
 , , . . 1516. 
 
 deed was accomplished after a hunting party, Avhen the unsuspicious 
 victims, having stopped to refresh themselves, drank poison in their 
 wine, and unable to obtain relief, expired soon after reaching home. 
 Their unhappy parents sought to allay their grief by the celebra- 
 tion of sumptuous funei-al rites, in which all the nobles of the city 
 took part. Count Ugo it is said, soon after died mad, but Donna 
 Ippolita survived him for many years. A touching inscription upon m. i548. 
 her grave-slab, behind the high altar of the Cappella San Severino, 
 bears witness to her grief. ^ The one strikint; feature of the monu- 
 ments of her sons are the life-size statues seated upon the sarco- 
 phagus. In each the head is thrown back, and the limbs contracted Thoir mo- 
 
 • -111 1 ^ • 1 c luments 
 
 as if by pain, not violently, but enough to hint at the cause of iiy aier- 
 their approaching death. The architecture is late Renaissance, and 
 the bas-reliefs represent the Madonna adored by angels; God the 
 Father in a glory of cherubim, worshipped by Enoch and Elias; 
 Christ with seraphs and angels ; and several saints. Though very 
 mediocre they are among the best of Merliano's bas-reliefs, which 
 are generally in an ultra-picturesque style. Take, for example. Tomb of 
 those upon the sides of the tomb of the viceroy Don Pedro ^da Toledo roy Dou 
 at San Giacomo degli Spagnuoli, filled with troops of soldiers on Tofed'of^ 
 foot and on horseback led by Don Pedro, a clumsy figure on an brulry^ia 
 awkward steed. Hills and towns, harbours crowded with shipping, 
 and skies filled with clouds, form the backgrounds to these over- 
 crowded, ill-composed pictures in stone, which are really beneath 
 
 ' ' Hospes misei'riina, 
 
 Miserrimam deflens ovbitatcm, 
 En ilia Hippolyta Montia 
 Post natus fccminas infcliciss. 
 
 Qufe Ugo Sauseverino conjugi 
 
 Treis masc. expectationis filiis peperi, 
 
 Qui venenatio poculis 
 
 Vicit in familia pro sceliis,' &c. 
 
 The incidents of this story are taken from a manuscript, entitled La Veritd svelafa,. 
 written by Sihdo and Ascanio Corona. This MS. was copied for me by its obliging 
 possessor, the Cav. Tito d' Albono, of Naples. Geronimo and his wife, who were 
 imprisoned at Castelnnovo and condemned to death by Don Kaimondo da Cordovay 
 viceroy of Naples, were eventually liberated by Don Cesare de" Ruggieri, who, 
 yieldhig to the entreaties of their diiugliter Maria, intcrreded iu Ihoir favour with 
 Isabella of Aiijou. 
 
 K 2 
 
08 
 
 ITALIAN SCULPTORS. 
 
 criticism. The monument is of an oblong shape, and has a flat top 
 with feebly characterised allegorical figures at its four corners (see 
 Plate X.), and life-size statues of the viceroy and his wife at one 
 end kneeling before a prie dieu. 
 other One of the best among the many works by Merliano in the 
 
 ■works by . . OA-n 
 
 Merliano. churchcs at Naples is an elaborate altarpiece at S. Aniello, repre- 
 senting the Madonna sitting on a crescent moon and holding the 
 graceful, child-like, but not divine Infant upon her lap. She 
 looks graciously do"^vn upon two kneeling figures, who are pre- 
 sented to her by SS. Doinenic and Augustine. Below them are 
 souls in purgatory lifting up their arms for aid. In another 
 Madonna della Misericordia, at San Pietro ad Aram, the nude figures 
 of the rising dead are Michel- Angelesque in style, and carefully 
 modelled. There is also a marble group of the Madonna and Child, 
 Avell draped and gracefully composed, in the sacristy of Santa Maria 
 delle Grazie, with small figures below it rising from rocky tombs. 
 At San Domenico there is a relief of the Virgin and Child over 
 an altar, Avith statuettes of SS. John and Matthew, at whose side 
 stands a little angel holding an inkhorn into which the evangelist 
 dips his pen, a bit of vulgar realism which shows a very low 
 standard of art. The best of Merhano's groups is that of the 
 Madonna with the infant Christ and St. John, above the Ligorio 
 altar in the church of Monte Oliveto. The youthful Saviour, who 
 standing upon his mother's knee leans forward towards the little 
 St. John, is extremely childlike and natural in action. Some little 
 proof of the influence which Antonio Rossellino and Benedetto da 
 Majano had upon him is visible in his bas-relief of the baptism of 
 our Lord, at San Giovanni Maggiore, which is delicate in work and 
 flat in surface. The high altar at San Lorenzo is ascribed to him, as 
 is also the statue of San Sebastian at San Pietro a Majella, and the 
 heavy figure of St Michael at San Pietro ad Aram. Compared with 
 other Neapolitan artists, Merliano stands high, but he holds no place 
 by the side of the really great Itahan sculptors, for his rounded forms, 
 though sometimes graceful, are never beautiful, and his style is 
 wanting in vigour and individuality. 
 
 In technical qualities he was surpassed by his compatriot and rival 
 Ghoiamo Girolamo Santa Croce, the pupil of a mediocre sculptor named 
 Croce, Matteo, who completed his studies in sculpture and architecture at 
 
 n. 1502, TT- 1 -1 
 
 jii.io.37(?). Komc. Mis best group is that which he made in competition with 
 
PLAN CHE X 
 
NAPLES. 
 
 69 
 
 Merliano for the Pezzo altar at Monte Oliveto. The gable of the 
 niche in which it stands rests upon double Corinthian columns, be- 
 tween which are somewhat mannered statues of Saints John and 
 Peter. The Virgin with the Child standing upon her knee is well 
 draped and carefully worked. The influence of Michel- Angelo 
 is unmistakeably evident in the pose of the body and hands, and 
 in the cast of drapery of the St. Peter, but it is not exaggerated 
 or mannered like other works of that great man's scholars. As 
 in Merliano's case, the works of Michel-Angelo which this artist 
 knew, belonged to his earlier style, in which there was much less 
 show of anatomical knowledge, and much less of that sublime 
 exaffo-eration in form and attitude, which led those who came 
 under his influence at a later period into fatal error. 
 
 The Arcadian bas-relief upon the tomb of the Neapolitan poet Tomb of 
 Giacomo Sannazaro is unquestionably Santa Croce's best work. 
 He was commissioned with Montorsoli, Michel- Angelo's scholar, to 
 make this monument for the church of Santa Maria del Parto, but 
 as he died while it was in progress it is uncertain how much of it 
 is his.^ The bust, the amorini, and the architectural details are 
 not sufficiently characteristic to guide us in attributing them to one 
 or other artist, but the two seated statues are evidently by Montor- 
 soli, and the bas-relief is as clearly by Santa Croce. Apollo sits in 
 the midst of the composition dressed in long flowing robes and 
 playing upon the lyre; behind him writhes the unhappy Marsyas, 
 and opposite to him sits Pan playing upon the syrinx ; between 
 them is Neptune with his trident, and in the background a nymph. 
 The attitude and relative position of the figures, their character and , 
 draperies, show a study of the antique which is to be met with in 
 no other work of the Neapolitan school ; the Apollo is dressed, like 
 the lyre-playing Apollo at the Vatican, in long flowing robes," the 
 
 ' Vide Tvscan Sadptors, ii. 29, life of Montorsoli. 
 
 ^ ' Scopas fut I'auteur de I'Apollon citliarede, I'Apollon qui joue de la lyre 
 ((ctQapw^oe), I'Apollon inspire. . . . Nous savons que I'Apollon citliarede de Scopas 
 etait dans le temple d'Apollon Palatin eleve par Auguste. Les medailles, Properce 
 et Tibulle nous apprennent que le dieu s'y voyait revctu d'une longue robe — 
 
 Ima ^'idebatur talis illudere palla; {Tib. iii. iv. 35). 
 Pythius in longa carmina veste sonat ' {Prop. II. xxx. 16). 
 
 (Ampere, Hist. Bomaino a Borne, iii. 292, 293.) 
 
70 
 
 ITALIAN SCULPTOI^S. 
 
 Divers 
 works by 
 Santa 
 Croce. 
 
 Mino del 
 Beame, 
 
 A.D. 1462. 
 
 Pan is a satyr of the true antique type, and the body of Marsyas is 
 bent backwards like that of a msenad in a Bacchanalian revel. Here 
 again we find signs of Michel- Angelo's influence, in the marking of 
 the muscles and the position of the hands. The surface of the marble 
 is highly polished and the details are elaborated with great care. 
 
 It is hard to understand how the author of this work could 
 have sculptured such a feeble, ill-proportioned, badly-drawn relief 
 as the Taking-down from the Cross in the church of San Pietro ad 
 Aram,^ or that of the Incredulity of St. Thomas in Santa Maria 
 delle Grazie ; crowded compositions, made up of figures whose 
 draperies are cut up in sharp, wiry folds. The same want of 
 individuality and the same defective draperies are to be found in a 
 second bas-relief of the Taking-doAvn from the Cross in the Annun- 
 ziata, but here the figures are as much too short as they are there 
 too long. 
 
 No other Neapolitan artists rose above mediocrity. Vasari 
 records the name of Mino del Reame, and characterises him as pre- 
 sumptuous, arrogant, and boastful.^ Like other weak sculptors, 
 Mino had a fancy for making colossal statues, thus calling attention to 
 faults which in smaller figures might have passed unnoticed. They 
 are strikingly manifest in his colossal statues of SS. Peter and 
 Paul, which stand like two huge clumsy dolls in the vestibule of 
 the sacristy at St. Peter's. The St. Paul is said to be a portrait of 
 Demetrius, the despot of the Morea, who brought the head of St. 
 Andrew as a present to Pope Pius II., but the resemblance cannot 
 be striking, as Ave are told that he was ' procerus et pulcher aspectu.'^ 
 Yasari tells us that Mino made a monument at Monte Cassino and 
 several unspecified Avorks at Naples, but his testimony about this 
 artist is quite contradictory as in one passage he makes him the 
 sculptor of some of the figures upon the base of the monument 
 of Pope Paul II., noAV in the crypt of St. Peter's,* and in another 
 
 ' Vide de' Dominici, ii. 155 ; Vasari, vol. xii. p. 28, note 1. 
 
 2 Vol. iv. pp. 131, 132. 
 
 3 ' Despotus Moreos Demetrius qui caput S. Andreae Romam detulit, sub 
 Pio II. Papa. Romae obiit a.d. 1471 ad cujus exemplar Papa Paulus II. statuam 
 ingentem marmoream S. Pauli quae extat ad scalas S. Petri effingi fecit.'— 
 Ciacconius, ii. 958. These statues stood until 1847 at tlie foot of the great flight 
 of steps which lead up to St. Peter's. 
 
 * This statement, made at vol. iv. p. 132 iu the life of Paolo Romano and 
 Mo. Mino, Vasari himself contradicts in the life of Mino da Fiesolc, iv. 233. 
 
NAPLES. 
 
 71 
 
 attributes it entirely to him, thus confounding him with ^lino da 
 Fiesole, its real author, who was immeasurably his superior. 
 
 The tomb of Niccolo di Sangro, in the Capella del Crocifisso at 
 San Domenico, by Domenico d' Auria, is bad in design and execution ; Domenico 
 nor is that of Bernardino Rota in the same church, or the bas-relief died^u^75. 
 of the Conversion of St. Paul at Santa Maria delle Grazie any 
 better. Caccavello's beheading of St. John at San Giovanni Maggiore Annibaie 
 is coarse and unmeaning, and his tomb of Fabricio Brancaccio at wnTsi!",' 
 Santa Maria delle Grazie is in all respects a poor Avork. Both ^^^'^ 
 artists were scholars of Naccarini, whose tombs of Ferdinando Naccarini. 
 Majorca and Porzia Camilla at San Severino are worked in a 
 smooth, cold, and unmeaning style. Their broken pediments, and 
 the statue of Ferdinand reclining in uneasy slumber upon his elbow, 
 indicate a period of decadence beyond which we are not called upon 
 to venture ; let us look therefore elsewhere for better masters and 
 better sculpture. 
 
72 
 
 ITALIAN SCULPTORS. 
 
 CHAPTER III. 
 
 ROME. 
 
 ' Peuple guerrier et politique, la domination fut son but constant, son 
 but exclusif. . . . Detourne par ses graves pensees, par cette vie toute 
 pratique des speculations de la philosopliie et de la culture des arts, il ne 
 vit gueres dans I'une qu'un amusement de I'esprit, et dans les autres 
 qu'une sorte d'ornement propre a relever I'eclat du pouvoir, et des jouis- 
 sances pour la richesse.' — Lamennais, Usquisse d'une Philosophie, ch. iii. 
 
 indiffer- T ^jjg historv of sculpture at Rome before the Christian era, 
 
 ence of the i 
 
 Romans to JL prefixed to the first part of this work, we endeavoured to show 
 how exclusively the Romans were indebted to the Etruscans and 
 Greeks for their bronzes and marbles, and that being completely 
 taken up with war and politics, and filled with the one idea of 
 domination, they looked upon the cultivation of art with indifference, 
 and valued its masterpieces chiefly as signs and ornaments of power 
 and wealth. The pressing necessities which weighed upon them in 
 the earlier stages of their existence were indeed so imperious as to 
 preclude the manifestation of any love for the arts, but as none such 
 was made when Rome sat upon the seven hills as mistress of the 
 known world, we are justified in concluding that Virgil was wise 
 when he advised his adopted countrymen to leave to others the task 
 of breathing life into bronze and marble, and confine themselves to 
 those arts of government for which nature had so wonderfully fitted 
 them.^ True of the past the words of the great Mantuan were 
 equally prophetic of the future, for when national schools began to 
 develop in other parts of Italy Rome remained comparatively 
 
 * Excudent alii spirantia mollius sera, 
 
 Credo equidem ; vivos ducent ex marmore vultus ; . . . 
 Tu regere imperio populos, Romane, memento ; 
 Hse tibi erunt artes : pacisque imponere morem, 
 Parcere subjectis et debellare superbos.' — JEneid vi. 848. 
 
ROME. 73 
 
 sterile, and filled with foreign studios was content as of old to 
 owe the best monuments and statues in her churches and palaces 
 
 to strangers. 
 
 We have no exact account of the statues accumulated in Imperial statues at 
 Rome, but their number must have been immense, for at the end 
 of the fifth century, although Constantine had despoiled it to adorn a.d. 325. 
 Constantinople, and the Goths and Vandals under Alaric and a.d -iio, 
 Genseric had destroyed a great number of masterpieces, the streets, 
 public squares and buildings seemed still filled with these mute 
 witnesses to her past grandeur. Many of the statues which had 
 been saved by Theodoric were thrown down and broken to pieces a.d. 49.3. 
 a half century later by Totila, and so many others perished as time a.d. o4g. 
 went on, that in the early part of the fifteenth century there 
 remained but ' five of marble and one of bronze,' ' nor,' writes an 
 eye-witness, ' could one pass anywhere without seeing antique 
 fragments built into walls like worthless stones, or lying defaced 
 and neglected upon the ground.'^ The miserable condition of 
 Rome under Pope Gregory the Great is graphically depicted in one a.d. .'ino- 
 
 G04. 
 
 of the twenty-four homilies preached by this pope when Rome was 
 threatened by the Lombard king Agilulph : ' See,' he says, ' to 
 what a state the whilom mistress of the world is reduced; worn 
 down by immense calamities, by the desolation of her citizens, by 
 the assaults of her enemies, by the abundance of her ruins, Ave are 
 about to see fulfilled in her what the Prophet Ezekiel prophesied 
 against the city of Samaria.^ Rome ! thy baldness lias spread 
 like that of the eagle, for the baldness of man affects his head only, 
 but that of the eagle his -whole body so that when he grows very old, 
 his down and feathers fall from all his limbs.' In the same strain, 
 an anonymous poet^ of the seventh or eighth century writes — 
 
 ' Heu undo Roma ruis ! 
 Servorum servi nunc tibi sunt doniini. 
 ConstantinopoHs florens nova Roma vocahiv, 
 Ma?nibns ct mnris, Roma vetusta, cadi.s.' 
 
 ' Poggio BraccioHni Traversari, Besch. Eoms, i. 256. 
 
 2 Homilia vi. col. 1374, lib. ii. vol. i. and Horn. ix. lib. i. col. 1253, Sancti 
 Gregorii in Ezecbielam, Op. omnia, Pari.siis, 1705. 
 
 3 Muratori says this epigram is of the seventh or eighth century, Ant. St. If. 
 diss. 21, ii. 148 ; also quoted in Bcsclirrihiivg Tfnms, i. 242, and said to have been 
 written at the end of the eighth century. 
 
 L 
 
74 
 
 ITALIA X SOULPTOTiS. 
 
 Ar.diavai Rome from the beginning of the ninth to the early part of the 
 Eonic. flfteenth century suffered by internal feuds, by the attacks of the 
 A.D. 1082. Emperor Henry IV. and Robert Guiscard, Avho did her even more 
 A.n. 1084. harm than the Goths or Vandals had done, and finally by the 
 A.D. i30o- removal of the popes to Avignon. Her great nobles the Frangi- 
 AD 1309- P^'iii ^^iG Colonna, and the Orsini, turned her ruins into fortresses; 
 \-m;7. robbers ravaged the Campagna and plundered the pilgrims journey- 
 ing to the shrines of the Apostles ; grass grew in her streets, and 
 vines overran her fallen temples ; her inhabitants were decimated 
 A.D. 1318. by the pestilence, and her towers and basilicas were shattered by 
 the earthquake. All this Petrarch eloquently sets forth in his 
 .lime 28, appeal to Pope Urban V.' 'How can you,' he writes, 'sleep 
 peacefully upon the banks of the Rhone, beneath ceilings fretted 
 Avith gold, while the Lateran, mother of all churches, lies roofless 
 upon the ground, exposed to Avind and rain; while the houses of 
 the Holy Peter and Paul tremble, and while the temple of the 
 Apostles is a ruin, a shapeless heap of stones fitted to extort 
 Get. iG, sighs from breasts of stone.' ^ The return of Pope Urban brought 
 no immediate remedy, and it was not until the election of Pope 
 A.D. 1420. Martin V. by the Council of Constance put an end to the schism 
 which had long divided the Church, that a new era of prosperity 
 opened for Rome. During all these long centuries of decline the 
 arts were neglected, and only from time to time was a spasmodic 
 activity brought about by exceptional causes. Thus in the days 
 Kfvivai of of Charlemao;ne fdlcn edifices Avere raised, churches were adorned 
 
 nrt under ^ ° ' 
 
 charie- with uiosaics, and new buildings Avere erected by the Popes 
 
 niagne. tt • ... 
 
 A.D. 771- Hadrian I. and Leo III. ]\Iany Avorks Avhich still exist, or are 
 1^^. 795- knoAvn to have existed, show that the use of the chisel was never 
 completely abandoned. Among these are several sarcophagi in 
 A.D. 3,j9. the Lateran museum, and that of the Prefect Junius Bassus in the 
 crypt of St. Peter's, Avorks of the fourth century ; the bronze statue 
 of the titular saint Avhich was cast in the fifth century by order of 
 Pope Leo I.^ in commemoration of the miraculous delivery of Rome 
 
 ' ' Wie er als Jiiiigling- an Benedict XII, als Mann an Clemens VI geschriebcn 
 hatte, so sclirieb er jezt als Greis an Urban V.' — Gregorovius, GescMchte der Sfadt 
 Mum, vi. 418. 
 
 ^ Fr. Petrarcha3 Op. omnia, vol. ii. lib. vii. col. 815, Epist. rer. Senilium. 
 3 Torrigio, Sac. Grot. Vat. pp. 126-27, and Plainer, Bescli. Fom.^, ii. 177. Some 
 ci-itics believe this figure to be an antique witli restoi-ed head and hands. 
 
r.OME. 
 
 75 
 
 from Attila by the intercession of SS. Peter and Paul; and the 
 statue of St. Hippolytus in the Lateran museum, known to be a 
 work of the sixth century by the form of the letters in his Paschal 
 calendar upon the side of the ' cathedra.' ^ In the seventh century 
 the atrium of St. Peter's contained so many Papal tombs that it rapai 
 was called the portico of the Popes. ^ Many of them were destroyed st!"pete/8. 
 Avhen the venerable basilica was pulled down by Julius II. and 
 his successors, but greatly as we deplore their loss we must not 
 exaggerate its artistical importance, for they were either simple 
 slabs bearing inscriptions, or such sarcophagi as we see in the 
 Lateran museum, without sepulchral effigies,^ adorned with bas- 
 reliefs representing scenes from Holy Writ. A fcAV inscriptions and 
 sarcophagi in the crypt of St. Peter's are all that remain of these 
 monumental splendours. The earliest Papal inscription among 
 them is that of Pope Boniface IV.; and the earliest Pa|)al tomb an a.').608- 
 
 615. 
 
 old Christian sarcophagus with Scriptural bas-reliefs, which contain 
 
 the bones of Pope Gregory V."* The next is an immense Roman a.d. oofi- 
 
 ... . . 999. 
 
 sarcophagus of oriental granite, with masks carved upon its lid, and 
 festooned ox skulls upon its sides, in which lies Adrian IX., jj^g^"'''" 
 Nicholas Breakspear, the one English pope, who hung and burnt 
 the Italian martyr Arnaldo da Brescia, and crowned Frederic Bar- 
 barossa.^ Of equal historical and far greater artistical interest than 
 these borrowed tombs is that of Pope Boniface YIIL, evidently Boni- 
 
 ... face VIII 
 
 the work of one of tlie Cosmati,^ a Roman family of artists of died i303.' 
 
 • BescJi. Eonis, ii. 320. The upper portion of tliis statue is a modem restoration. 
 Before tlie year 408 the popes were buried in the catacombs ; then in the 
 
 portico of St. Peter. (Ibid, voh i.) 
 
 2 ' Le principe de la representation individuelle de la personno n'etait pas 
 encore sohdement etabli.' — Lcs TumhnuLC des Papes runiainK, })ar F. Grcgorovius, 
 Trad, fran^aise de J. J. Ampere, p. 55. 
 
 * See Tav. xlvi. Sac. Vat. lias. Crijpf. Dionysius, vol. i., and a description of the 
 sarcophagus at vol. i. p. 115, in which the author says the pope was first buried 
 elsewhere: also, Torrigio, Sac. Urot. Vat. p. 349. 
 
 ^ Dionysius, op. cif. p. 49. 
 
 ^ As anyone may see by comparing it with the tombs of Giovanni Cosmati at 
 Santa Maria Maggiore and at Santa Maria sopra Minerva. Vasari, vol. i. p. 244, 
 note 3, says that Arnolfo del Cambio built the chapel and sculptured the tomb 
 which he signed with his name. But neither Cicognara nor other searchers have 
 ever been able to find this signature, and that author, as does C. Boito, Arch. 
 Cosmatesca, p. 31, believes it to be by one of the Cosmati. Torrigio, Sac. Gr. Vaf. 
 p. 371, says it is the work of the mosaicist, Era Giacomo Torriti, as does De Angelis 
 in his life of Fra Giacomo, p. 24. There were two artists of this name, the first a 
 
 L 2 
 
76 
 
 ITALIAN SCULPTORS. 
 
 whose works we shall soon have occasion to speak. It consists of a 
 sarcophagus, over whose front falls a heavily-fringed and richly-em- 
 broidered altar-cloth, disposed in symmetrical folds. Upon it rests 
 the recumbent effigy of the deceased, wearing a pointed tiara with 
 a double crown upon his head,^ eml^roidered gloves upon his hands, 
 and embroidered slippers upon his feet. When it was removed 
 A.D. 1G05. from the chapel of St. Boniface in the basilica, which the pope had 
 designated as his place of sepulture,^ the sarcophagus was opened, 
 and as we know by the accounts of several eye-witnesses, the body 
 was found m a Avonderful state of preservation. The face wore a 
 severe expression, and the long and beautiful hands were so perfect 
 as to excite the greatest admiration.^ A small woollen mitre covered 
 the head, and the body was draped in pontifical robes richly 
 adorned with subjects taken from the New Testament.* A half- 
 figure in marble of the same pope, of a ruder type than the monu- 
 mental effigy and probably sculptured in his lifetime, is pre- 
 served in another part of the crypt, in the chapel of Santa Maria 
 Pregnantium.^ 
 
 In the seventh century the bodies of those popes who were 
 especially venerated were transferred from the vestibule to the 
 A.n. 432- interior of the basilica.^ The first popes so honoured were Leo the 
 
 410. . 
 
 Great, to whom a magnificent monimient was erected m the vestibule 
 A.n. 688. of the sacristy ; Gregory the Great ; and Adrian L, the friend of 
 
 Franciscan monk wlio made the mosaics of the tribune attached to the baptistry 
 at Plorence, about 1225; the second 'Jacobus Torriti pictor' who made the 
 mosaics at Santa Maria Maggiore, at Rome, in 1295. See Cavalcaselle, Hist, of 
 Fainting, i. 90—95. 
 
 ' The predecessors of Boniface wore a mitre with one crown. Pope Boniface 
 introduced the pointed tiara with two crowns, to which Urban V., 1362—1370, 
 added a third. (Greg. op. cit. p. 127.) 
 
 2 Dionysius, op. cit. vol. i. p. 127, and plate 49. Torrigio, op. cit. p. 371, says 
 that Charles II. of Anjou and many nobles accompanied the body of the pope to 
 the tomb. 
 
 ^ Dionysius, op. cit. pp. 128-131 : ' Nos etiam, inquit, non solum vidimus 
 dictum corjjus Pontificis Bonifacii Octavi intactum et ornatum vestibus pontificiis 
 sed tetigimus nostris propriis manibus.' Grimaldi says that the face ' severitatem 
 magis quam hilaritatem ostendebat,' and that the hands were so perfect ' ut viden- 
 tibus summam injiceret admirationem.' 
 
 ^ Those preserved at Agnani which belonged to Boniface VIII. are said to have 
 been designed by Giotto. They were photographed by Sig. Simelli, of Rome, in 
 the summer of 1864. 
 
 5 Engraved in the work of Dionysius, vol. i. pi. xv. and described at p. 31. 
 
 " Gregorovius, op. cit. p. 64. 
 
ROME. 
 
 77 
 
 Charlemagne.^ Kings and emperors, consuls, prefects, and other ad. 690- 
 eminent persons lay side by side in the portico of St. Peter's. 
 Among them were Honorius and his nieces Maria and Thermantia, m. 423. 
 daughters of Stilicon ; Otho II., surnamed the Great, the magnificent m. 983. 
 porphyry lid of whose sarcophagus now serves as the baptismal font 
 in the church;^ Hel^jis, the first Avife of the ill-fated philosopher m. 524. 
 l)oetius; and Cadwalla, king of the West Saxons, who became a 
 Christian and, when hardly thirty years old, abdicated his throne and 
 journeyed by sea and by land to Rome to be baptised by Pope Sergius 
 on the vigil of Easter, and died, ' candidus inter oves Christi,' before a.d. ess. 
 he had laid aside his white catechumenal robes. ^ Among the monu- 
 ments which Avere broken up when the old basilica was destroyed 
 was that of Pope Honorius IV.; his sepulchral efiigy was then a.d. 1280- 
 removed to the chapel of his family, the Savelli, at Ara CoeU, and g!^^.gm 
 placed upon the white marble sarcophagus in which his mother, ^^^^l^i* 
 Vana Aldobrandesca, was buried.^ Unlike the greater part of such 
 statues the head, raised upon embroidered cushions, is turned 
 towards the spectator. The face wears the expression of deep 
 sleep, and is remarkably well modelled for the period. The sup- 
 posed statue of Pope Nicholas IV.^ (see Plate XL Xo. 3) behind the jjgg^^^^" 
 high altar at the Lateran, which is altogether rude in execution and Monu- 
 
 mont-il 
 
 stiiF in attitude, represents him kneeling with clasped hands, and relics at 
 gazing upwards with round staring eyes. Upon his head is a tall toran.*^ 
 pointed tiara and his feet are encased in shoes with soles of extreme 
 thickness. This is one of the few relics of the many early monu- 
 ments which existed at the Lateran prior to the two disastrous fires 
 by which it was almost consumed in the fourteenth century.^ The ^.d. isos- 
 
 1366. 
 
 ' The names of Charlemagne and Hadrian were thus coupled together in the 
 commemorative epitaph upon the pope's tomb : — 
 
 ' Nomina jungo simul titulis, clarissime, nostra ; 
 
 Hadrianus, Karolus, Rex ego, tuque Pater.' — Dionjsius, ii. 133. 
 
 ^ The sarcophagus is now in the court of the Quirinal palace. The emperor's 
 bones were walled up in the crypt by Pope Paul V., A.D. 1609. 
 
 3 Lingard, Hist, of England, i. 91 ; Les Moines d' Occident, par le Comte de 
 Montalembert, v. 131-32. 
 
 * Gregorovius, Geschichte der Stadt Rom, vol. v. p. 627, note 61. 
 
 ' Beschreihmig Rams, vol. iii. pt. i. p. 535. 
 
 ^ The two rudely-sculjatured figures of Saints Peter and Paul, behind the high 
 altar, some architectural fragments in the beautiful cloister, parts of the tomb of a 
 Milanese count, m. 1287, with portions of those of Antonio de Claribus, m. 1274, 
 and of Gcrardus Blancus, m. 1302, in the side aisles, belonged to these monuments. 
 
78 
 
 ITALIAN SCULrXOKS. 
 
 A.D. 1825. 
 
 Monu- 
 mental 
 relics at 
 St. Paul's. 
 A.D. 1389- 
 1404. 
 
 Magister 
 Chris- 
 tianus, 
 flourished 
 about 964. 
 
 Roman 
 marble- 
 workers. 
 
 same destructive element brought ruin upon the greater part of the 
 marbles at St. Paul's ' extra muros' in the early part of this century; 
 the Gothic ciborium designed by Arnolfo del Cambio/ the paschal 
 candlestick, and a much-mutilated statue of Pope Boniface IX. of 
 clumsy workmanship which now lies neglected in the adjacent 
 cloister alone escaped.''^ 
 
 No Roman sculptors' names are mentioned in any inscriptions 
 between the fifth and ninth century.^ One of the tenth at Santa 
 Prassede* o-ives us that of a Mao-ister Christianus, the author of a 
 monument to a certain Cardinal Peter, who assisted at the council 
 held at the Lateran by Pope Leo YIII. in the year 964.^ Many 
 names of marble-workers Avho lived after this date are to be found 
 in the inscriptions not only in churches at Rome, but in those of 
 towns within a range of forty or fifty miles around it. These in- 
 scriptions are engraved upon arches, friezes, and monuments, as 
 well as u])on the pulpits, bishop's thrones and ciborii, which are 
 disposed, as we still see them in the venerable church of San 
 Clemente at Rome, within a space around the high altar separated 
 from the rest of the building by a marble parapet called the Can- 
 cellum, which was appropriated to the deacons and triple choir. 
 One of the two ambos or pulpits placed on the right and left was 
 marked for the reading of the gospel, by the close neighbourhood 
 of the jiaschal candlestick, the other was for the reading of the 
 
 ' Tuscan Sculftors, i. 52-3. 
 
 ^ ' D. O. Bonifacius IX. P. Max. stirpe Thoma. Uccellus genere Cibo.' The 
 pope's family, the Tomacelli, were Neapolitan. 
 ^ Boito, Arcli. Cosviaiesca, p. 5. 
 
 * The inscription is given by Galetti, Insc. Bom. Inf. ^vi, i. '606-7, and by 
 Proniis, Not. Eji. derjli Artisti Marmomril Boniani — 
 
 CR 
 IS 
 TI 
 A 
 N 
 U 
 
 s 
 
 MA 
 G 
 I 
 S 
 T 
 E 
 R 
 FE 
 CI 
 T. 
 
 ' Quid qnajiis considera diem judicii venturum et Geenna 
 Ignis et noli aliena petere/ scriptum est radix omnium malorum 
 Cupiditas/ omnipotens seternfe Ds qui cuncta creasti eeternam 
 Concedere dignovis onibiis vitam / et michi famulo tuo cum 
 Tuis habere recpiiem scam [sanctam] post funera regna gaudens, intra 
 Re beata. ' Peccatis nimis plenus ego immerito PBK Petrus 
 Peccata mea recognosco/ cujus fuit famulus putans 
 Remissurus de ignem XP pet . . . propter facinora multa 
 Despexit mundu et stecid./ Paruu Evangelicas [si'c] secutus sum 
 Dili prjBcepta/ ut invenire requiem st'am supplico vos. Orate. 
 Hunc Sepulchru fecit Petrus Cardinalis PER. TT. SCORX. Job et Pauli 
 Fecit sibi et Petro SPRLI. Filio suo.' 
 
 * Besch. Bovis, ii. SO'J-IO; Gourncric, Bevue t'hreiicnne, i. 253. 
 
HOME. 
 
 79 
 
 epistle. Under the altar or ' sacrifatorium ' which stood behind a 
 second parapet, Avas the ' martyrium,' and over it the 'ciborium'^ 
 supported upon four columns, whose intermediate spaces were some- 
 times curtained with veils of precious material, and from the centre 
 of whose roof hung a dove-shaped vessel, the ' ostensorium,' con- 
 taining the host. Lastly, in the centre of the apse upon a raised 
 platform stood the ' cathedra,' or bishop's throne. 
 
 The first names which we meet with after tliat of Magister 
 Christianus, are those of Giovanni and Guido, inscribed upon the 
 architrave of the ciborium of the church of Santa Maria di Castello, a.t>. ior,o. 
 at Corneto;- those of a second Giovanni, with his father Paulus,'"' and 
 his brothers Peter, Angelo, and Sasso, upon the architrave of the 
 ciborium at San Lorenzo 'extra muros' at liome; and that of a.d. ins. 
 Nicholas, grandson of Paul and son of Angelo, upon the paschal Paschal 
 candlestick at St. Paid's, which is one of the most curious remains stick, i.y 
 of Meclio3val work at Rome (see Tailpiece). It consists of a round An'.^ei'o. at 
 column of marble about eighteen feet in height, sculptured with 
 subjects in relief from our Lord's life, resting upon a quadrangular 
 base, with animals like sphinxes at the corners. The figures are 
 short, clumsy and rudely sculptured, with staring and inexpressive 
 
 ' The ciborium was a remembrance and an imitation of tlie little temples wliich 
 it was customary to erect above the tombs of the martyrs in early Chi-istian times. 
 The ciborium of San Clemente was constructed by Pope Paschal II., 1009-1118; 
 that at San Giorgio in Velabro is of the twelfth century. (Boito, op. rif. p. 18.) 
 The enclosure or parapet at San Clemente is of the ninth century as is proved by 
 the monogTara of Pope Giovanni VIII., 872-882, sculptured upon it in five difierent 
 places; see Vignotti, Eaccolfa delle monete Ponfeficic, quoted by Boito, p. 17, who 
 however, from the style believes it to be of the last years of the tenth or beginning 
 of the eleventh century. (Ibid. p. 24.) 
 
 2 This church was founded A.d. 1121 when Calixtus II. was pope and Henry II. 
 emperor, and dedicated in 1208 by Innocent III. The ciborium, which is dated 
 lOGO, i.e. sixty years before the church was founded, must, says Pi-omis, op. cH., 
 have been bi'ought from some other building and set up there. Its inscription is : 
 ' Virginis . ara . pie . sic . e . decorata. Marie . que genuit XRM. Tanto sub TPR 
 scriptfi, anno milleno vi. et ageno;' to which Gave, Kjiii.^fhlntf, "N"o. 61, a.d. 18.19. 
 article on Promis, adds : 
 
 ' Octo super rursus fuit et prior optimus siirsus. 
 Jobs, et Guitto magistri hoc opus fecerunt.' 
 ' Joh^s. Petrus. Angl's et Sasso. filii Pauli marmor. Hui. opis magistri fuer. 
 ann. mcxlviii. ego Hugo humilis Abs. Hoc opus fieri fecit.' The two last names 
 of the brothers have been read as Anglus English, and Sassone Saxon, an inter- 
 pretation which is regarded as doubtful by Didron. (See Le Moyen Age, Ann. Arch.) 
 Gaye in his article on Promis says tliat the fixther Paulus is the same whose name 
 was found by De Witt upon agrave-slal) in San Giovanni di Terentino. 
 
80 
 
 ITALIAN SCULPTORS. 
 
 eyes marked by round holes drilled into the marble.^ The name of 
 A.B. 1180. its author occurs again in an inscription belonging to the church of 
 
 San Bartolomeo, on the ' insula Tiberina,'^ and with that of his father 
 A.D. 1170. in another in the duomo at Sutri,^ Another supposed grandson of 
 
 Paolo is that Petrus Amabilis whose name has already been raen- 
 A.D. 1197. tioned as the sculptor of a pulpit at San Vittorino near Aquila, but 
 
 this is a conjecture founded on the approximate date. The attempt 
 
 to follow these marble-workers from place to place and identify them 
 Peter and IS difficult, and often leads to conflicting results.* The multiplicity 
 odericus. Roman Peters is especially puzzling, for besides the two already 
 A.D. 1252- spoken of a third is mentioned in two inscriptions at Eieti, a fourth 
 A n 1225 church at Alba Fucense, and a fifth as having gone to England 
 
 A.D. 1207. in company with Abbot Ware° to make the shrine of Edward the 
 
 Confessor at Westminster Abbey. This Peter le Orfever, as he is 
 
 called in English records of the time, and an artist named Odericus,^ 
 
 ' Tlie inscription in full is given by Mons. M. Nicola'i in liis history of S. Paolo, 
 Roma, 1815. The artist's name with that of his otherwise unknown companion 
 is thus inscribed upon it : ' Ego Niconaus [s/c] de Angilo [si'c] cum Petro Fassa de 
 Tito hoc opus coplevi.' 
 
 2 ' Mcholaus de Angelo fecit hoc opus.' 
 
 ^ Mem. 1st. delle chiese e dei conventi del Frati Minori, del Padre Casimiro, p. 303, 
 and Besch. Horns, ii. 455. 
 
 For example : Gaye, op. cif., identifies the Petrus of San Vittorino, 1197, with 
 him of Ricti, 1252-83; while Promis considers the Peter of San Vittorino, 1197, 
 to be identical with him of Alba Fucense, 1225. It seems more natural to believe 
 the Peter of San Lorenzo, 1140, to be one and same as the Peter of San Vittorino 
 1197, and to make a second Peter out of the three mentioned at Alba, 1225, Rieti, 
 1252-83, and England, 1267. For a mention of the latter see Scott's Westminster 
 Abbey, 2nd ed. pp. 129, 133. 
 
 ^ Abbot Ware went to Rome to be consecrated by Pope Urban IV., in 1258, 
 and remained there for two years. That Abbot Ware brought workmen and 
 porphyry stones with him on his return to England is mentioned by Weaver and 
 confirmed by his epitaph : ' Abbas Riccardus de Ware qui requiescit. Plic portat 
 lapides quos hie portavit ab Urbe.' (Ibid. p. 134.) Rome was always called 
 ' Urbs ' in the thirteenth century, ' the city ' par excellence. 
 
 ^ Odericus is not to be confounded with a Petrus Oderigius or Oderigi of the 
 preceding century, whose name is inscribed upon a s.arcophagus in which Roger 
 Count of Calabria and Sicily, m. 1101, was buried in the abbey of Santa Trinita at 
 Mileto in South Calabi-ia. This sarcophagus was removed to the piazza of the 
 town after the earthquake of 1795, and thence to the museum at Naples. It is 
 adorned with rudely-scialptured figures of a man and a woman and two crosses at 
 each end and spiral columns. The following inscription upon it records the name 
 of the deceased count and the artist who made the sarcophagus — 
 
 ' Hoc sepulchrum fecit Petnis Oderisius, magister Romaniis, in mcmoriam 
 Rop-orii comitis Calabrife et Siciliie. 
 
ROME. 
 
 81 
 
 who accompanied liim, made a memorial- stone decorated with glass 
 mosaic, and the pavement before the altar. We see that they 
 adapted their work in some slight degree ' to suit the Northern 
 taste, as the back of each of the niches for the infirm worshippers, in 
 which the sick were often left during the night in hope of a cure 
 through the Saint's intercession, is divided by thin tracery, forming 
 the space into two lancets and a circle above.' ^ The shrine, which is 
 built of Purbeck marble and decorated with glass mosaics, formerly 
 had upon it an inscription in letters of blue glass recording the 
 names of the artists and the date of its erection.^ 
 
 The Cosmati, to whose school Peter and Odericus belonged, Tho Cos- 
 originated the system of decorative architecture which bears their 
 name about the middle of the twelfth century. It flourished for 
 more than a hundred and fifty years, during which successive 
 generations of this family of artists worked at Eome and in its 
 neighbourhood, enriching many churches with charming examples 
 of their skill and taste. The appellation of ' arte marmoris periti,' 
 which was applied generally to Roman Mediaeval sculptors, is 
 peculiarly appropriate to them, since it was with mosaics and discs 
 made of porphyry, serpentine, giallo and rosso antico, and many- 
 coloured marbles found at Rome that they decorated their taber. 
 nacles, pulpits, &c. &c. To obtain these precious materials, they 
 despoiled old buildings of their costly covering, cut up beautiful 
 columns and destroyed rich pavements. That 'perfect harmony 
 between the end and the means,' which has been given as a defini- 
 tion of style,^ is to be found in the early works of the Cosmati, 
 which are remarkable for an organic lightness of structure, an 
 absence of caprice or extravagance in ornament, and a scrupulous 
 subordination of decoration to the architectural wliole.'' These 
 
 Linquens tciTcnas poiietravit dux ad amoenas 
 Rogerius sedes nam cceli detinet aedes. 
 
 Hoc quicumque leges, die ei requies.' — Scliulfcz, oj). n'f. ii. 352. 
 
 ' Scott'.s Westmin-tfer Ahhry, 2nd ed. p. 129. 
 
 2 ' Anno milleno Domini cum septuageno 
 
 Et bis centeno, cum complcto quasi deno, 
 Hoc opus est factum quod Petrus ducit in actum 
 Romanus civis ; homo causam noscere si vis ; 
 Rex fuit Henricus Sancti prnsseutis amicus.' 
 
 * Did. roAsonne de V Architecture, VioUet-le-Duc, viii. 474!-97, ai'ticle ' Style.' 
 •* Arcliifettura Cosmatesca, di Camillo Boito, p. 16. 
 
 M 
 
82 
 
 ITALIAN SCULPTORS, 
 
 qualities are conspicuous in the fine fagade of the duomo at Civita 
 Castellana; in the exquisite cloisters of St. Paul's and the Lateran 
 at Rome ; in the portico and pulpit of San Lorenzo ; and in the 
 cloisters of Santa Scolastica at Subiaco. In the second period, when 
 the Cosmati adopted the Gothic style, their school lost its originality, 
 fell into slavish imitation, and died out about the time of the 
 removal of the Papal see to Avignon. It is to this second period 
 
 Giovanni that Giovauui Cosmati, the sculptor of the family, belongs.^ Seduced 
 by the novelty and charm of the design given by Arnolfo del Cambio 
 for the ciborium of St. Paul's, he abandoned the classical predilec- 
 tions of his family, retaining only their system of decoration. The 
 short period of seven years, within which he made the three monu- 
 ments at Rome inscribed with his name, probably mark the culmi- 
 nating period of his career, but we know nothing as to its duration. 
 
 M. 1298. That of the Spanish prelate Rodrigo Gonsalvi,^ at Santa Maria 
 Maggiore, consists of a Gothic canopy, the back of which is filled by 
 a mosaic representing the cardinal's presentation to the Madonna 
 by SS. Jerome and Matthew.^ Beneath lies the efiigy of the 
 deceased upon a sarcophagus, the base of which is adorned with 
 shields, emblems, and geometrical patterns in mosaic, and the 
 front with an embroidered altar-cloth disposed in sharply-cut, 
 angular folds, worked out with the utmost precision. A little 
 curtain, suspended by rings upon a rod, runs round the three sides 
 of the recess above the sarcophagus, and is held up at each end by 
 angels of a passionless type, whose straight-lined draperies and quiet 
 action harmonises admirably with the somewhat dry though pure 
 style of the architecture. The monument of Guglielmus Durante, 
 bishop of Capo Stillari, at Santa Maria sopra Minerva (see Plate XI. 
 Nos. 1 and 2), is an almost exact repetition, and is alike distinguished 
 for sobriety of line and simplicity of treatment,^ as is the much less 
 
 ' See Appendix for the genealogical tree of tlie Cosmati. 
 
 2 He was canon, bishop of Burgos, archbishop of Toledo, bishop of Albano and 
 cardinal under Pope Boniface VIII. (Ciacconius, ii. 327.) 
 
 3 This mosaic is perhaps by Gaddo Gaddi who was at Rome in 1299 occupied 
 in finishing the Lateran Tabernacle. Titi says it is by Fra Jacopo Turita who was 
 however dead at the time. It may be by Adeodatus Cosmati who, says Lanzi, 
 Sf. Pitt. i. 6, worked at Sta. Maria Maggiore in 1299. This monument is inscribed : 
 ' Hoc opus fecit Johes (filius) Mag'ri Cosme civis Romanus.' 
 
 * ' Hoc est sepulcrum D. M. Guilielmi Duranti. Eps. Miniatensis. Ord. Praid. 
 etc. . . . Joh's Filius Magri Ccsmati fc. hoc opus.' 
 
ROME. 
 
 83 
 
 important tomb of Don Stephanus Surcli, a Papal chamberlain, in the 
 church of Santa Balbina on the Aventine.^ The sarcophagus stands 
 in a perfectly plain recess and is decorated with mosaics, and covered 
 by a symmetrically-disposed altar-cloth. These features are repeated 
 in the tombs of Cardinal Anchera, in the sacristy of Santa Prassede ; i28g. 
 of Boniface VIIl. in the crypt of St. Peter's; and of Cardinal 
 Matteo d' Acqua Sparta at Ara Coeli, which if not by Giovanni 
 Cosmati, are works of his relation and contemporary Adeodatus 
 Cosmati, or of Pasquale, the author of a pulpit and paschal candle- <iuaie. 
 stick at Santa Maria in Cosmedin.'-^ A similarly decorated column 
 of marble inside the altar railing of the duomo at Anagni, crowned 
 by a human figure and supported on a vase-shaped pedestal inlaid 
 with mosaic, is inscribed with the name of Vassaletto, an artist of 
 this period, who made the now well-nigh shapeless stone lion which 
 stands in front of the church of the Ss. Apostoli at Rome.^ The Works 
 pavement in the duomo at Anagni, one of the first examples of cosmati 
 Cosmatesque work, was made by Cosma and his two sons Luca and ^^J^j^^H ' 
 Giovanni, one of whom probably made the Gaetani monument in 
 the chapel of that family. Its tAvo superposed sarcophagi, which 
 stand under a Gothic baldacchino, are inlaid with ornaments and 
 with the arms of the Gaetani, in the style of the Savelli tomb at 
 Ara Coeli. ^ The same arms in mosaic are introduced below the 
 statue of the Gaetani pope, Boniface VIIL, which is placed high up 
 on the outside of the building, whence it looks down upon the 
 streets of the ancient town that witnessed his sufferings, his im- 
 
 ' Job's filiua Mag'ri Cosmati fecit hoc opus MCCCiii. 
 
 ^ Inscribed : ' Vir pbus et doct. Pasqualis rita vocat (us) sumo cum studio 
 codidit buc cereum.' Bcsch. Bonis, voL iii. pt. i. p. 387, says tbe pulpit was taken 
 to Florence in the time of Gregory XIII., 1572-1585, aud that the paschal candle- 
 stick was set up by it in 1717. 
 
 ^ ' Vassalctus me fecit.' 
 
 ■* Ujjon the tomb these lines are inscribed — 
 
 ' In isto tumulo requiescunt ossa D. Petri Episcopi 
 Qui nutrivit D. Bonifacium Pap. VIII. Idem subtus 
 Ossa D. Goffredi Cajetani comitis Casertani 
 Idem Ossa D. Jacobi Cajetani hie recondita 
 Kal. Augusti anno 1294.' 
 
 The duomo was founded in 1074, Bishop Alberto and the Canonico Blando Conti, 
 afterwards Pope Alexander IV. (a native of Anagni who reigned fi'om 1227 to 
 1241, and is buried at Viterbo), had the pavement made at their expense. {Sturia 
 dulla Cittd e della Cattedmle di Anagni, scritta da Alessandro do' Magistri.) 
 
 M 2 
 
84 
 
 ITALIAN SCULPTORS. 
 
 prisonment, and his liberation from the emissaries of Philippe le Bel. 
 Works by More of this Cosmatesque work is to be seen in the church of San 
 mati at Pictro d' Alba at Alba Fucense, near the site of the old Marsian 
 cense. " citj of Alba, and not far from the beautiful lake of Fucino in the 
 Abruzzi. The Andrea, Gualterius Morronto and Petrus, whose 
 names are inscribed upon its choir parapet ( ' septum marmoreum ' ), 
 and the Giovanni who is mentioned with Andrea in the inscrip- 
 tion upon its pulpit/ were all probably Roman marble-workers 
 of the early part of the thirteenth century,^ as was the Kicolaus 
 who made the pulpit in the duomo at Fondi,^ which is adorned 
 with mosaics in the style of the Cosmati. The names of Nicolaus, 
 son of Rainuccius,^ and Rainerius, son of Giovanni from Perugia,^ 
 sta. Maria are inscribcd upon the faQade of Santa Maria di Castello at Corneto. 
 
 Giovanni di Guido, who is probably identical with him of Alba, 
 made the pulpit in this church,^ which is entered by a double stair- 
 case flanked by two crouching lions of a very rudimentary type. 
 The front of the projecting reading-desk is formed of three slabs, 
 separated from each other by columns whose capitals are adorned 
 with rudely-carved birds and leaf-work. Their bases rest upon 
 consoles, one of which has a rude human figure sculptured upon it. 
 The eagle with outspread wings uj)on the central slab, hovering above 
 
 ' 'Abbas Oderisius fieri fecit. Magister Gualterius cum Moronto et Petrus 
 fecit hoc opus. Andreas magister Romanus fecit hoc opus.' (See Febonius, Hist. 
 Marsorum, lib. 3 ; Promis, op. cit. p. 12 ; Schultz, 0^3. cit. p. 83.) Upon the pulpit 
 is inscribed — 
 
 ' Civis Romanus doctissimus arte Johs 
 Cui coUega Bonus Andreas detuht onus. 
 Hoc opus excelsum struxerunt mente periti 
 Nobilis et prudens Oderisius abfuit Abbas.' 
 
 2 This Petrus is perhaps identical with the artist who made the pulpit of 
 S. Vittorino, near Aquila, and the Giovanni with the marble-worker at Corneto. 
 
 3 ' Tabula marmoreis vitreis dixtincta \_sic'] 
 
 Doctoris studio sic est erecta Johnis 
 Romano genitos cognomine Nicolao.' 
 
 * ' Nicolaus Rainucii magister Romanus fecit ' is inscribed upon the capital of 
 the column wliicli divides the window over the portal. 
 
 5 ' Rainerius. Thos. Perusinus ' is inscribed upon the archivolt. 
 
 ^ Made for the Prior Angelus in 1208. The same name is inscribed on the 
 architrave of the ciborium — 
 
 ' AD ■ MCCVII • MAG ■ T • DNI ■ INNCENT • PP • III • Ego • Angel • per • 
 Hui ■ Eccle ' hoc ■ op • nitid " auro • et ■ marmorc ' divcrso ' fieri • fecit ' 
 per • manus ■ Johis ' Guittonis • civis " R ■ M ■ N.' 
 
EOME. 
 
 85 
 
 a plant which springs from a vase with dolphin-shaped handles, 
 is in a much better style, and therefore in all probability of a 
 later date than the pulpit. An artist of the Cosmati school, named 
 Donnaincasa, adorned the white marble pavement of this church 
 with discs and strips of serpentine, porphyry and giallo antico, in 
 imitation of the Koman Opus Alexandrinum. 
 
 Not many miles distant from Corneto lies Toscanella, where Sculptures 
 are two very interesting churches, San Pietro and Sta. Maria, the ul.ihi'.'^^'^ 
 sculptured facades, pulpits and tabernacles of which are in all 
 probability Roman work. The church of San Pietro was founded 
 as early as the ninth or tenth century, but from the remarkable 
 variety of its parts we are authorised to conjecture that it was not 
 completed till a much later period. The ciborium, which has a 
 sloping roof resting upon four columns, whose intermediate spaces 
 are spanned by pointed arches without tracery, is inscribed with 
 the name of Peter, a priest who lived at the end of the eleventh a.d. 1093. 
 century.^ The fa9ade of this church, unlike that of any other in 
 this part of Italy, is covered with strange and capricious ornament 
 combined with an imitation of antique models in the cornices and 
 upper frieze. No where can anything more extravagant be found 
 than the monster in relief under the left wheel window, with a 
 hideous head like an Indian idol, and long arms entwined with 
 snakes. Huge dragons in pursuit of flying hares are represented 
 between the central and the side windows, and two huge ox-like 
 animals, standing upon consoles supported by griffins, protrude 
 from the wall. It is difficult to fix the date of this work, but we 
 shall probably not err greatly in supposing it to be somewhat later 
 than that of the ciborium, and anterior to that of the sculptures 
 
 ' ' Petrus. P. B. R. Bledan (BieUa). 
 
 Rainerius. P. BR. Urbivetan.' 
 
 (See KnnsthJatt, No. 61, A.D. 1839.) Campanari, Tuscania e i suoi Monument! ., i. 230, 
 ii. 25, gives an altar-inscription in characters of the eleventh century in which both 
 these names are mentioned — 
 
 ' Riccardus prsesul Tuscanus 
 Centumcelhcus atque Bledaniis : 
 Sit Riccardi paradisi sede paratus 
 Amen. 
 
 Ego Petrus presbyter hoc opus fieri jussi 
 Anno ab Incaruatione Domini 
 Millesimo nonagesimo III.' 
 
86 ITALIAN SCULPTORS. 
 
 about the fa9acle of the neighbouring church of Sta. Maria, which 
 appear to belong to the end of the eleventh or the beginning of the 
 twelfth century. They consist of bas-reliefs of the Madonna and 
 Child, Abraham's journey, and the Sacrifice of Isaac in the lunette 
 over the central door; of two rudely-sculptured and stiffly -draped 
 figures in alto-relief of SS. Peter and Paul, once coloured, set against 
 the door-posts; of human figures, horses, and fantastic animals in- 
 troduced into the flat spaces ; and of monsters and lions in the frieze 
 above the capitals, and at the bases of the large columns on either 
 side of the door.^ The pulpit inside this church is square, and rests 
 upon columns; its sides are covered with squares, oblongs, and in- 
 terlaced patterns, and a rudely-carved figure in alto-relief supports 
 its projecting reading-desk. The capitals of the columns, which 
 separate the nave from the side aisles, are covered with carved 
 leaf-work, animals and ornaments, sculptured in the rude style of 
 the ninth or tenth century. 
 Thirteenth Rome coutains no monuments of distinguished persons belonging 
 monu- to the first half of the thirteenth century; of the latter half, we 
 Eome.' find that of Cardinal Guglielmus Fieschi, the nephew of Pope 
 Innocent IV. and Apulian legate, who fled with the Papal army 
 Nov. 2, before the victorious arms of Manfred after his entry into Lucera, 
 M. 125C. and died at Rome two years later. He was buried at San Lorenzo 
 in an antique sarcophagus, with bas-reliefs representing the some- 
 M. 1274. what inappropriate subject of a Roman marriage feast. Cardinal 
 Riccardo Annibaldi, the friend of St. Thomas Aquinas, a partisan of 
 Charles of Anjou, and a renowned leader of the Guelphs, lies buried 
 in the left aisle of the Lateran, but with the exception of the 
 sepulchral effigy, his monument is altogether modern, 
 ^atuo of It was not until the end of the thirteenth century that sculp- 
 cha?ies of turc, which had been hitherto exclusively devoted to the service of 
 the Church, was allowed in one single instance to step out of this 
 narrow circle, when the Roman senate, shortly after the death of 
 A.p. 1268. Conradino, decreed the erection of the life-size statue of King 
 Charles of Anjou which stands in the great hall of the Capitol. 
 (See Plate XIL) ' There, upon the old Capitol,' says a German 
 historian, ' where the Romans of earlier time had raised so many 
 
 ' Campanari, op. cit. i. 125, says the church was founded in the eighth century. 
 He thinks the sculptures not anterior to the tenth. 
 
PLANCHE XIl 
 
EOME. 
 
 87 
 
 statues of heroes and tyrants, now mutilated or destroyed, their 
 late descendants placed the rudely-sculptured statue of a Gallic 
 plunderer, their senator, the Nero of the Middle Ages.'^ Charles 
 Avas forty-six years old when he came to Rome to be invested with 
 the senatorial office. ' He was a man of large and powerful frame, 
 and kingly bearing. His dark-complexioned face was strongly 
 marked and hard; and his glance dark and fear-inspiring. The 
 restless spirit which animated his rough and arid nature made him 
 lament that sleep robbed men of so much time for action ... he 
 was seldom known to laugh. Though a bigoted Catholic his piety 
 did not preserve him from being a most unscrupulous egotist. He 
 possessed in fact every quality, excepting genius, which could fit a 
 soldier to play the plunderer and tyrant, and was therefore a most 
 suitable instrument for the working out of the Pope's designs, being 
 a brave knight, astute, stoically abstemious, sharp in judgment, 
 inflexible in will, cruel, a lover of power, avaricious and ambitious.'^ 
 To make a statue an exponent of these qualities, would have de- 
 manded far higher poAvers of art, and infinitely greater technical 
 attainment, than its sculptor possessed. It is a massive, roughly 
 blocked-out figure, seated upon a throne-chair supported by lions, 
 dressed in a long tunic and royal mantle, with a crown upon the 
 head and a sceptre firmly planted upon the right knee. The ex- 
 pression of the face is stolid, but its lineaments are individual,^ and 
 the shape of the head is so peculiar that we cannot doubt its being 
 a faithful portrait. For this reason it is of high historical value, 
 and as the only Mediajval portrait statue at Rome must be regarded 
 with no common interest. 
 
 With the departure of the popes from Rome all activity in art 
 ceased, and so completely was this the case with sculpture, that 
 we meet with the name of but one Roman sculptor of the fourteenth 
 century, Marcus Romanus, and his only known work is a statue of Marcus 
 Saint Simeon the Prophet behind the high altar of the church flourished 
 dedicated to him at Venice. As far as the dark tomb-like recess 
 in which it lies permits examination, the face seems dignified in 
 
 1 Gregoi'oviiis, Geschichte der Stadt Eom, v. G33. See Villaui. 
 
 2 Ibid. p. 361. 
 
 3 Villani, Movie Fioreniinc, lib. vii. cli. i. p. 225, in describing Charles of ■ 
 Anjou especially mentions his long nose, a marked peculiarity in the face of this 
 statue. 
 
88 ITALIAN SCULPTOIIS. 
 
 expression, and the figure simple and impressive, but it is rudely- 
 sculptured and imperfect in its proportions.^ 
 Pietro Ca- Pictro Cavallini, the well-known scholar of Giotto, and one of the 
 
 vallini, 
 
 died 1364. most remarkable painters of his day, is spoken of by Vasari (ii. 84) 
 as the sculptor of a crucifix at St. Paul's, which is said to have mira- 
 
 A.D. 1370. culously spoken to St. Bridget; but it cannot be his work as it is 
 evidently of a later date and of another school.^ Nor can Cavallini 
 be identified with the Peter who assisted Arnolfo in making the 
 
 A.u. 1285. ciborium at St. Paul's, as the oldest record that we possess of him is 
 
 A.B. 1308. twenty- three years posterior to the date of its erection, when he was 
 working at Naples, for Charles of Anjou. Equally unfounded is the 
 statement made by Horace Walpole,^ that Cavallini and the ' Petrus 
 Civis Romanus ' who made the shrine of Edward the Confessor are 
 identical, and that he designed the crosses which marked the places 
 where Queen Eleanor's body rested, when it was brought from 
 
 A.D. 1267. Stamford to London, which are shown to have been made by Master 
 William Torel and other Enjjlish artists.'^ 
 
 In the fifteenth century we know of but two Roman sculptors ; 
 
 PiioioEo- Paolo Romano in the first half, and Gian Cristoforo in the second. 
 
 mano. 
 
 We are told bv Antonio Filarete in his MS. architectural treatise 
 that Paolo was a goldsmith as well as a sculptor, and that he helped 
 to make the silver statues of the twelve apostles for the altar of St. 
 Peter's, which were destroyed in the sack of 1527. His works at 
 Rome are the statue of St. Paul on the Ponte Sant' Angelo, facing 
 the Piazza, which though somewhat dry in style, is pure in line 
 M. 1417. and simply draped;^ the tomb of Era Bartolomeo Carafixi, maestro 
 
 * This statue is the object of what seems to us rather exaggerated praise in the 
 second volume of Ruskin's Stones of Venice. It bears the inscription — 
 ' Cielavit Marcus hoc opus insigne Romanus •, 
 Laudibus non j^arcus est sua dig-na mantis.' 
 ^ Cavalcaselle, i. 112. 
 
 ^ Walpole, Anec. ed. St. Hill, i. 17, cites Vertue as authority for this statement. 
 
 "* Among the sculptors of the Eleanor ci'osses were William of Ireland and 
 Alexander of Abingdon. The Botfield Roxburgh Club accounts, says Richmann 
 (GotJiic Arch. pt. ii. p. 231), prove that the Eleanor crosses and the tomb of Queen 
 Eleanor, in Westminster Abbey, were chiefly the work of English artists presided 
 over by Torel. Scott (Appendix to 2nd ed. of Wedminsier Ahhetj) says the accoimts 
 of Queen Eleanor's executors, prnited for the Roxburgh Club by B. Botfield, Esq. 
 in 1841, prove that the effigies of the queen and of King Henry III. were made 
 by Master William Torel, who probably designed the whole tomb. The marble 
 work was by Richard de Crundale. 
 
 This statue was made for Pope Pius II. It originally stood before the chapel 
 of Sixtus IV. at St. Peter's. Pope Clement VII. removed it to its present place. 
 
ROME. 
 
 89 
 
 di camera to Pope Innocent VII., in the church of the knights of 
 Malta,^ and the monument of Cardinal Stefaneschi at Santa Maria in 
 Trastevere. In the first the knight, grasping the handle of his sword, 
 lies dressed in armour on the top of a sarcophagus, whose front is 
 divided by twisted columns into panels containing the arms of the 
 deceased and a mortuary inscription in Gothic letters. Seen in its 
 original position high up on the outer wall of the church, the bold 
 coarse character of the sculpture gave an eifect to this figure, which 
 it loses now that it is placed so near to the eye.''^ In the second 
 the cardinal lies upon a sarcophagus, adorned with an inscription 
 and two cardinal's hats in relief, coloured red, under a marble 
 canopy decorated with a frieze of coloured mosaic.^ Near by this 
 monument stands that of the French cardinal Philippe d'Alen9on, 
 which is similar to it in general arrangement, and probably by the 
 same artist. A bas-rehef represents the dying prelate on a couch, 
 surrounded by angels bearing tapers, and priests, one of whom is an 
 apostolic-looking figure holding in his arms a child in swaddling 
 clothes, typical of the dying man's soul. Though somewhat 
 clumsily proportioned, the figures are not wanting in sentiment 
 and expression. 
 
 This cardinal, who was a man of great talent, belonged to the a.d. use. 
 Koyal house of Valois, and was made Bishop of Beauvais and a.u. 1359. 
 Archbishop of Rouen at a very early age. Having refused to ad- 
 vance a priest recommended by the king, because he considered 
 him unworthy, the property of his church was confiscated, and he 
 left France for Rome, where Pope Urban YI. made him cardinal 
 priest of Sta. Maria in Trastevere. He afterwards lost the Pope's a.d. 1391. 
 
 ' The Hospitallers of St. John of Jerusalem whose order was called that of the 
 Knights of Malta in 1310, was founded at Jerusalem in 1048. For an account of 
 this order see Iconografia dei Santi Ordini Beligiosi e Cavallareschi by G. Giucci, 
 i. 25 ; and Vismssione sopra V origine dell' ordine di 8. Giovanni Gerusalemme by 
 Paoli, ch. xii. p. 247. 
 
 2 The name of the sculptor is thus inscribed upon the tomb — 
 
 ' Magister Paulus fecit hoc opus.' 
 
 3 Petrus Stefaneschi de Annibaldis was nominated acolyte of the Papal chapel 
 and apostolic protonotary by Pope Boniface IX. at an early age ; Innocent VII. 
 raised him to the dignity of cardinal-deacon of Sant' Angelo ; and when Pope 
 John XXIII. was obliged to appear before the council at Constance he left him in 
 charge of the Papal dominions, as Temporal Vicar of Rome. His death took place a.d. 1417. 
 shortly before the election of Pope Martin V. Memorie StoricJie dei Cardinali, 
 Cardella, ii. 230, 330. Sec also Ciacconius, ii. 723. 
 
 N 
 
90 
 
 ITALIAN SCULPTORS. 
 
 A.B. 1397. 
 
 Gian 
 Cristo- 
 foro Ro- 
 mano, 
 fl. 1470. 
 
 A.D. 1473. 
 
 A.D. 1525. 
 
 Niccolo 
 della 
 Guardia 
 and Pietro 
 Paolo da 
 Todi. 
 
 favour and his dignities from his violent treatment of the inhabitants 
 of Udine, who had opposed his election as Patriarch of Aquileja, 
 and then espoused the cause of the anti-pope Clement VII. Later 
 he recognised his error, was restored to his honours by Urban's 
 successor Pope Boniface IX., who made him Cardinal-bishop of 
 Ostia, and died at Rome, leaving a great reputation for sanctity.-^ 
 
 Vasari speaks of a highly-praised statue of an armed man on 
 horseback by Paolo Romano, at St. Peter's, and the epitaph placed 
 upon Paolo's tomb mentions his statue of Cupid. Shortly before his 
 death at Rome in the latter part of the fifteenth century he retired 
 from the world, and spent his remaining days in solitude and peace. 
 
 He was assisted in many of his works by his scholar Gian 
 Cristoforo Romano,^ who is mentioned as the sculptor of certain 
 monumental figures and busts at Sta. Maria in Trastevere, and who 
 was one of the artists employed upon the tomb of Gian Galeazzo 
 Visconti, at the Certosa at Pavia, designed by the Milanese sculptor 
 Galeazzo Pellegrini. Lomazzo in one of his sonnets calls him a 
 painter,^ and an epitaph written by Girolamo Casio de' Medici 
 mentions his death at Loreto, and speaks of sculptures from his 
 hand in the duomo, none of which can now be identified."* Niccol6 
 della Guardia and Pietro Paolo da Todi, who were also scholars of 
 
 • Another story is tliat Cardinal d'Alen9on quarrelled with the king's bastard 
 brother Edouard d'Altenville who had been made Governor of Rouen, and that 
 Charles V. wishing to get rid of him induced Pope Gregory XI. to transfer him 
 to the vacant patriarchate of Jerusalem (Cardella, op. cit. ii. 249). 
 
 ^ Vasari, vol. v. p. 133, note 5. 
 
 3 The sonnet, quoted by MorelH, note 505, p. 193, which is in the third 
 book of Lomazzo's Gh-ottesche, p. 198, is entitled ' D' alcuni Pittori e contra i 
 fraudulenti.' 
 
 ' TulUo Lombardo e Agostino Busti 
 Con Giovanni e Christoforo Romano 
 La pittura a tal colmo entro Milano 
 Che poi diede di se mirabil gusto.' 
 
 As TuUio Lombardo and Agostino Busti were both sculptors we are led to suppose 
 that Lomazzo committed an equal blunder in mentioning Gian Cristoforo Romano 
 as a painter. TuUio so far as we know never worked at Milan. L'Anonimo, 
 p. 60, mentions a cup of crystal adorned with intaglios by Cristoforo Romano, 
 preserved in the house of Andrea di Odoni at Venice. 
 
 ' Per il scultore Gianchristoforo Romano. 
 Mori a Loreto, ove alia Ecclesa Dea 
 
 Eccelso Tempio ornava di sua mano.' — Cic. Isc. Veii. in. 640. 
 See p. 46 of the epitaphs. 
 
ROME. 
 
 91 
 
 Paolo Romano, assisted him in making the twelve silver statues of 
 the apostles for the Papal chapel at St. Peter's. They designed a.d. i464. 
 and sculptured the heavy and uninteresting tombs of Popes Pius 11. 
 and Pius III., which are placed high up against the side walls 
 of the nave in S. Andrea della Yalle, One cannot but regret that 
 the great Piccolomini pope, the patron and friend of Bernardo 
 Rossellino and Francesco di Giorgio, should have been laid to rest 
 in a tomb so unworthy of so wise a patron of art. 
 
 Some of the anonymous works in Roman churches which deserve Anony- 
 to be mentioned, are the vine-Avood doors at Sta. Sabina, supposed to works at. 
 have been sculptured about the year 1200, though the Scripture bas- 
 reliefs upon them are like the late Roman or early Christian in style ;^ 
 and a marble ' dossale,' or altar-piece of the fifteenth century, in the 
 Cappella Salviati at San Gregorio, which was sculptured for a Roman a.d. u69. 
 abbot of the monastery, who is represented in the principal relief, 
 kneeling before the Madonna to receive the blessing of the Infant 
 Christ. Two adoring angels stand on either side of the Virgin, and 
 above her appear two flying angels bearing the pyx. The archivolt 
 is adorned with a glory of cherubs; the entablature with three 
 small bas-reliefs, representing priests and people entering a temple; 
 and the lunette with a bas-relief of God the Father surrounded by 
 angels. Four statuettes of saints are placed above the side columns, 
 and between them stand SS. Gregory and John in niches. In the 
 two roundels below the entablature are reliefs of the Madonna and 
 the Angel of the Annunciation; and angels are also introduced in the 
 spandrils of the central arch. Two niches below the altar-piece on 
 either side of the mock marble base contain statuettes of a bishop 
 and a female saint. This interesting work, evidently sculptured 
 under Tuscan influence, has lost much of its eff'ect through a profuse 
 and injudicious regilding of the wings, hair, and robe-borders of the 
 figures, and of the roundels, cornices, &c. &c. Other works of this 
 class are a very excellent stiacciato relief of the Entombment, much 
 in the style of Donatello, over the altar of the Madonna delle Febbre 
 in the sacristy of the Beneficiati at St. Peter's; a bas-relief of the a.d. 1492. 
 Crucifixion in the oratory of S. Venanzio, belonging to the end of 
 the fifteenth century ; the monument of Pietro Riario, raised to his 
 
 ' Were it not for certain decorations of a Gothic character, they would seem 
 to be of an earlier date. Rnmohr, If. ForacJi. i. 273. 
 
 N 2 
 
92 
 
 ITALIAN SCULPTORS. 
 
 memory by Pope Sixtus IV., on the left side of the choir in the 
 
 A.D. 1465. church of the Ss. ApostoK; a bas-rehef of the angel appearing to 
 St. Peter in prison, in the church of San Pietro in VincoH, and that 
 of a kneeling pope at the Late ran (supposed to be Leo the Great), 
 
 i4n^*^*~ probably executed during the reign of Pope Sixtus IV. 
 
 A.D. 1524. The only Roman sculptors of the sixteenth century are Giovanni 
 Battista,^ who accompanied Giulio Romano and Primaticcio to 
 Mantua; and an Andrea Romano, who was employed in the same 
 city by Alfonso I.^ There are several good tombs at Ara Cffili, 
 
 A.D. 1504. that of Pietro di Vincenzo (evidently by an imitator of the Sansavino 
 tombs at Sta. Maria del Popolo), and those of Cardinal Ludovico 
 
 A.D. 1531. Lebretti, and Ludovico Grato, near the great portal inside the 
 church. Upon the tomb of Gregory XI.,^ at Sta. Francesca 
 Romana, is a bas-relief which, though neither commendable for 
 its style or its execution, is interesting for its subject — the entrance 
 
 June 17, of this pope into Rome on his return fi'om Avignon. He is met at 
 ' " ■ the gate by Minerva, who, personifying the long abandoned city, 
 hails the return of the successor of St. Peter. 
 
 Native When we remember that Rome in the early part of this century 
 
 Iieveiopixi was tlic home of some of the greatest foreign artists it seems in- 
 orae. credible that their example and teachings should not have developed 
 native talent. From Niccola Pisano down to Benvenuto Cellini all 
 the great Tuscan sculptors went to Rome, some, like Donatello, 
 Ghiberti, and Brunelleschi, to study antique remains, others, like 
 Simon Donatello, Filarete, Rossellino, Mino, and Michel- Angelo, to 
 reside and work there. All were received, honoured, and employed 
 by the popes ; the city became their chosen place of residence, being 
 then, as she still is, the most sympathetic and the most attaching of 
 all places to those whose lives are devoted to art in any form. 
 Everywhere at Rome we find that the works of merit are by foreign 
 artists. At St. Peter's and S. Pietro in Vincoli they are by Polla- 
 juolo, and Michel- Angelo ; at Sta. Maria del Popolo and Sant' Agostino 
 by Andrea and Jacopo Sansavino; and in the desecrated cloister of 
 the latter church by Mino and Mino's imitators ; at Sta. Maria del 
 Popolo and the Pantheon by Lorenzetto ; at Sta. Maria dell' Anima 
 
 ' Campori, op. cit. p. 13. 
 
 * II Conte d'Arco, op. cit. p. 85. 
 
 3 The monument was erected by the Roman senate in the year 1584. 
 
ROME. 
 
 93 
 
 by Trlbolo and Michel-Angelo Sanese. Indeed with the exception of 
 the pulpits, ciboriums, and tombs of the Cosmati, and the works 
 of Paolo Romano, which hardly rise above respectable mediocrity, 
 there are no Roman sculptures of interest in the many churches 
 of the Eternal City. 
 
94 
 
 ITALIAN SCULPTORS. 
 
 CHAPTER IV. 
 
 LOMBARDY. 
 
 TheGotbs. i LTHOUGH the Goths who overran Italy at the end of the 
 fourth century neither revived nor developed art, it is unjust 
 to stigmatise them as the direct agents of a continued decadence,^ the 
 real causes of which are to be found in the bloody reconquest of 
 Italy under Justinian, and its subsequent invasion by the Lom- 
 Theodoric, bards.'"^ They were fortunately under the control of a leader who, 
 475-526. ^j^Qjjg]^ himself so illiterate that he could not write his own name,^ 
 had imbibed at the court of the Emperor Zeno such a respect for 
 arts and letters, that on becoming master of the better part of the 
 western empire he protected ancient buildings and statues from 
 injury, punished those who defaced or mutilated them, and thus 
 arrested for a time a wanton destruction which was fast sweeping 
 away every vestige of the past.^ Theodoric governed his own 
 followers and the people whom he had conquered by their help, 
 upon diametrically opposite principles, for while he favoured the 
 
 ' ' La conquete et la domination de ce peuple presentent un caractere de 
 moderation et de respect pour le passe qui les distingue de celui de presque tous 
 les autres barbares envahisseurs de I'empire.' — M. de Dartein, A)xh. Lombarde, 
 vol. i. cb. ii. p. 26. 
 
 2 Rumobr, It. Forsch. i. 183. 
 
 3 Amedee Thierry, Becits de VHistoire romaine au v™^ siecle, 192, et seq. 
 
 * The letters addressed by Theodoric to his prefects, &c. prove his care for the 
 restoration of ancient buildings at Rome. E. g. to Agapitus : ' Quod mittantur 
 artifices pro aedificiis reparandis.'— ' Quod saxa in agris jacentia deputentur in 
 edificium civitatis.' — ' Quod marmora diruta et neglecta ad sedificia publica de- 
 putentur.' — ' Quod pecunia convertatur in reparatione sedificiorum.' — 'Ad quemdam 
 sublimem quod inquirat de statua furtive substracta.' — ' De fabricis et architectis.' 
 — ' RomanaB fabricae decus, peritum convenit habere custodem ; ut ilia mirabilis 
 sylva mcenium diligentia subveniente servetur (sub-servetur) et moderna facies 
 operis affabris dispositionibus consiruatiir.' — Vide M. Aurelii Cassiodori Op. omnia, 
 Parisiis, MDC. 
 
LOMBARDY. 
 
 95 
 
 cultivation of arts and letters among the Italians, he kept the Goths 
 out of the reach of such humanising influences, fearing that in 
 becoming civilised they might fall off from that high state of mili- 
 tary discipline by which alone their supremacy could be maintained 
 in the face of overwhelming numbers. The palaces which he Italian 
 
 8. rch 1 tc c ts 
 
 erected at Terracina, Ravenna, Verona, and Pavia,^ were built by employed 
 Italian architects who, ignorant of any other style of architecture doric!^^'^ 
 than that which was based upon the round arch, imitated the old 
 Roman buildings as far as their inferior skill would allow. The 
 debased Roman was thus the only style employed in Italy during the 
 period of Gothic rule, and it was not till seven hundred years after 
 its overthrow, that the pointed style to which the name of Gothic has 
 been most erroneously attached, crossed the Alps and took an 
 always uncertain foothold in the peninsula. 
 
 While Italian architects and mosaic-workers built and decorated Italian 
 the edifices of the Gothic kings, Italian sculptors, or marble-workers workers, 
 as they should more properly be called, adorned sarcophagi with 
 such rude bas-reliefs as we see in the Lateran museum at Rome, 
 and about the streets of Ravenna, but they made no statues,^ and 
 were not to be compared with Byzantine sculptors in the use of the 
 chisel ; Greek workmen were therefore employed by St. Ecclesius 
 Bishop of Ravenna, when on returning from Byzantium, where he a.d. 534. 
 had witnessed the immense enthusiasm of Justinian and his people 
 in the construction of Santa Sophia, he determined to build the 
 church of San Vitale in the Byzantine style.^ The introduction Byzantine 
 of this style into Italy was productive of important results, for Sicrf 
 by being gradually blended with the classical Roman, with which 
 it was thus first brought face to face, that third great style was 
 formed, known as the Romanesque, Romano- Byzantine, Lombard The Ro- 
 or Comacine. The two first names sufficiently denote their origin, 
 but the last two demand some explanation. That of Lombard 
 as applied to any art is an absolute misnomer, if derived from 
 the barbarous tribes who crossed the Alps under Alboinus, king 
 
 ' Cantu, Storia degli Italiani, ii. 25. 
 
 2 Tlie equestrian group which surmounted the pediment of Theodoric's palace 
 at Ravenna was a portrait of the Emperor Zeno cast at Constantinople. It bore a 
 shield upon its left shoulder and a lance in its outstretched right hand. Birds flew 
 in and out of the distended nostrils of the horse and built their nests in his belly 
 (Aquelli, Liber Pontificnlis, pt. ii. ch. ii. p. 123 ; Mur. Sc. Ber. It. vol. ii.). 
 
 ^ Completed by St. Maximin a.d. 546-56. 
 
96 
 
 ITALIAN SCULPTORS, 
 
 Lombard of the Lombards or Longobards/ reduced the greater part of 
 Italy!" Italy to subjection and ruled it like a conquered country for 
 668-756. j^QQ^^iy centuries, since they like the Goths were ignorant 
 and unlettered, 'an army rather than a nation,' as they showed 
 by giving themselves as a body the name of ' exercitus,' and as 
 individuals that of ' exercitalis.'^ It was not then because the 
 new style of architecture, which sprang up in Italy during their 
 dominion, originated with them, but because the greater part of the 
 southern as well as the northern Italian provinces were com- 
 prehended under the name of Lombardy, that that of Lombard was 
 naturally applied to the style of architecture then prevalent.^ 
 Although Lombard rule had long since been overthrown by Charle- 
 magne, and although during their existence as a separate people in 
 Italy the Lombards had never mixed with the Italians, intermar- 
 riage being forbidden by law,^ they fixed their name temporarily 
 upon the greater part of Italy, permanently upon the northern 
 provinces, and partially upon one of the great MediaBval styles of 
 The Co- architecture. The name of Comacine was derived from a body of 
 architects. Italian architccts who built for the Lombards, and who kept alive 
 those art traditions, well-nigh smothered under the overwhelming 
 weight of misfortune which pressed upon the peninsula in every 
 shape after the invasion of those barbarians. For twenty years 
 after Alboinus and his followers overran the plains of Lombardy, 
 the Isoletta Comacina, (an island in the Lake of Como) which held 
 out against their power under Francione, an imperial partisan, 
 contained numbers of fugitives from all parts of Italy,^ amongst 
 
 1 ' People of the Long-beards,' says Paolo Warnefrido, lib. i. ch. ix. (Giannone, 
 op. cit. vol. i. lib. iv. p. 187). 
 
 ^ Cantu, Stm-ia degli Italiani, vol. ii. ch. Ixii. p. 53, ch. Ixvi. p. 97, ch. Ixi. p. 41. 
 So also Forster, Geschichte der deutschen Kunst, i. 17, calls the Lombai-ds ' ein 
 durcliaus kriegerischer Volksstamm.' 
 
 3 M. de Dartein, op. cit. p. 8, note 2, says : ' L'architecture lombarde est celle 
 de cette race melangee, et non pas celle des Longobardes qui ii'en eurent jamais,' 
 See also G. Cordero da San Quintino in his Essatj tqyon Lombard Architecture 
 (Brescia, 1829), p. 313, who says the Lombards had no art of their own; and 
 Ilumohr, op. cit. i. 186. 
 
 Cantu, op. cit. ii. 78. 
 
 ^ ' Lindembrogius et Du Cangius vocem a loco effictam censent, a Comacina 
 forte insula in Romanula ubi Longobardorum «3vo periti architecti fuerint. Minime 
 audiendus Hugo Grotius qui Comacinum interpretatur architectum, eamque vocem 
 ex Gernianico Gernach significante Domum deducit.' — Muratori, Ant. Med. jEvi, 
 vol. ii. dies 1-i, p. 349, litt. C. 
 
LOMBARDY. 
 
 97 
 
 whom were many skilled artisans known as the Maestri Comachii/ 
 a name afterwards changed into that of ' Casari ' or ' Casarii,' — 
 builders of houses. After they had submitted to the invaders their a.d. 5'jo. 
 college or guild was favoured by the Lombard kings; its members 
 were affranchised, made citizens, and allowed certain important 
 privileges, such as that of making contracts, which were not how- 
 ever conceded to their assistants. There is no evidence that the 
 Lombard kings did anything to protect arts, commerce, or industry 
 before the reign of King Rotari, but these important objects are 
 aimed at in his code of laws,'"^ which contains special enactments for 
 the protection of the Maestri Comacini, whose free jurisdiction 
 was recognised by the name of Free-masons. Opportunities for the 
 exercise of their profession during the earlier period of Lombard under "tiio 
 
 Lombards. 
 
 rule must have been few, for the country was suffering from war 
 and pestilence, and the miserable inhabitants, reduced to the condi- 
 tion of slaves, were preyed upon by thirty Lombard dukes and 
 their followers. Some amelioration in this state of things was 
 wrought by Pope Gregory the Great, aided by his faithful friend 
 Queen Theodolinda, a Bavarian pi'iiicess. Catholic by birth, who 
 served as intermediary between him and her husband Agilulph, in 
 obtaining a special truce for Rome and its territory, and by her 
 gentle influence brought about the conversion of the Lombards from 
 Arianism.^ Li memory of the conversion of her husband, the queen 
 employed the Magistri Comacini to build the duomo at Monza, and 
 to sculpture a rude bas-relief of the Baptism of our Lord over its 
 portal, in Avhich the pious donatrix is represented with other mem- 
 bers of her family, surrounded by the precious gifts with which she 
 
 ' ' Inventae sunt in eadem insula divitije multaa quae ibi de singulis fueraut 
 civitatibus commendatEe.' — Paulus Diaconus, lib. iii. ch. xxvi. 
 
 ^ ' Vide la Storia del Medio Evo per Carlo Troya. Cod. Dip. Lingobard. 
 Testo deir Editto di Rotaro, anno 643. Nel collegio de' Comacini si conipren- 
 devano senza dubbio gli artefici di tutti i mestieri necessarii all' architettura.' 
 — Camillo Boito, L' Architettura Gomatesca, Jlilano, 1860, p. 15. 
 
 3 ' Gregoire avait des les premiers jours de son pontificat exhorte tons les 
 Eveques d'ltalie a se preoccuper surtout de la conversion de ces formidables 
 ennemis de I'ortbodoxio ' (Epist. i. 29). ' On croit que la reine fut puissamment 
 aidee dans cette oeuvre par les Dialogues que Gregoire avait composes. II les 
 envoya a la reine des Lombards' (Comte de Montalembert, Les Moines df Occident, 
 ii. 118). A body of tbe Maestri Comacini is supposed to have accompanied tlie 
 missionaries whom Pope Gregory sent to England with St. Augustine, A.D. 590 
 (Ricci, op. cit. i. 183). 
 
 O 
 
98 
 
 ITALIAN 'SCULPTORS. 
 
 endowed the clmrch.^ The works executed a century later at 
 cividaie. Cividale in the Friulian district by other Comacine masters show a 
 persistence in the same methods of building and a like want of skill 
 in the use of the chisel. While the architecture as well as the 
 sculpture continues to be debased Roman both bear marks of strong 
 Byzantine influence, and form a most interesting examj^le of the 
 A.D. 726. period when Greek emigration to Italy, and King Luitprand's con- 
 quest of the Exarchate (which enjoyed a much higher state of 
 civilisation than the rest of Lombardy) helped to form this style. 
 Font at The most important work at Cividale is the octagonal font in the 
 
 Cividale. ^ ^ , , ^ 
 
 About 737. duomo, wliich was erected by St. Calixtus, Bishop of Aquileja, 
 during the reign of King Luitprand. Its roof is supported upon 
 slender columns, with rude Corinthian capitals. Their intermediate 
 spaces are spanned by round arches, whose spandrils are adorned 
 with clumsily represented Christian emblems. The bases of the 
 columns rest upon a marble parapet sculptured with figures sym- 
 bolical of the four Evangelists, each holding a book, inscribed 
 with verses by Sedulius, a Latin poet of the fifth century,- and 
 an ornate Greek cross Avith candelabras and palmettos executed 
 in relief by lowering the surface of the stone around their clumsy 
 outlines, within which the details are indicated by furrows dug 
 out in the stone. Identical with them in style are the contem- 
 Tonib of porary sculptures about the sarcophagus of Pemone, Duke of 
 Duke of Friuli, under the hio;h altar of the church of San Martino. In front 
 
 Friuli 
 
 our Lord is borne upwards by four angels in an aureole formed of 
 leaves, within which are two other angels marked as cherubim by 
 the eyes upon their wings. The hand of the Father is sculptured 
 above the head of the Son, and stars and flowers are scattered about 
 the background. The three kings in the bas-relief of the Adoration 
 of the Magi at one end of this sarcophagus are said to be portraits 
 
 1 Described in the Introduction to Tuscan Sculptors, vol. i. p. xliv. The in- 
 scription at S. Micliele di Monza, which gives the date of the dedication of the 
 church and the year of Theodelinda's death, is to this effect : ' Dedicatio hiijus 
 Ecclesise S. Michaelis celebrata fait decimoquinto Kal. Feb. in ccccccviii. (608) 
 et hoc ipso anno mortua est Theudolinda Regina.' — Carlo Troya, Storia del Medio 
 Eva, Cod. Diss. Long. vol. ii. no. 301. 
 
 ^ Selvatico, op. cit. p. 67, says these verses are by Pasquale Celio. Dartein, 
 0J5. cH. pp. 19, 21, says Sedulius, as does Sig. Lopez, II Balfistero di Parma, p. 264. 
 The font described above originally stood in the baptistery whence it was removed 
 to the duomo in 16-1-5. 
 
LOMBARDY. 
 
 99 
 
 of Rachis Duke of Friuli and his brothers Aistulf and Katcait. In 
 it, as in that of the meeting of Mary and Elizabeth at the other 
 end of the sarcophagus, the Madonna has across cut upon her 
 forehead, instead of having it traced upon a veil as is common 
 in early Greek manuscripts.^ The faces of the figures are without 
 expression, and their proportions are short and clumsy. Their out- 
 lines, features, and folds of drapery were originally rendered more 
 distinct by colour, traces of which are still to be seen. Numerous 
 fragments of ornaments and animals in the same Italo-Byzantine 
 style are set into the wall of the atrium of the church of Santa f^-i'ita 
 Maria della Valle,^ where they may be compared on the spot with (Uiia 
 the genuine Byzantine figures and stucco ornaments inside its 
 portals, which were probably executed by some of these artists who 
 took refuge in Italy during the Iconoclastic war for Peltruda, wife 
 of a duke of Friuli, who founded the 
 adjoining monastery. The six life-size 
 statues of SS. Anastasia, Agapa, Chionia, 
 Irene, Clirysognus and Zoiles, above 
 the doorway (see Woodcut) resemble 
 the saints represented in Bj'zantine 
 mosaics and ivories, in their long pro- 
 portions, rigidity of pose, and peculiar 
 type of face. They wear crowns upon 
 their heads, and are clothed in closely- 
 fitting robes, whose borders are richly 
 ornamented with gems disposed in 
 regular patterns. The archivolt of the 
 portal is completely covered with .a 
 vine, boldly modelled in open work. 
 Originally a heathen temple converted 
 to Christian uses during the first cen- 
 turies of our era, embellished later by a Lombard proselyte with 
 the quaint, solemn-looking images of the saints of her new faith, 
 and with rich ornaments fashioned by the hands of foreign artists, 
 this solitary little chapel makes a forcible impression upon the mind, 
 
 ' M. de Dartein, op. cif. p. 74, PI. II. 
 
 2 See Tavole Cronologwhe della Stona delta Chicsa niii'rrri^aJe, ilbisfmfe da Tq-nazio 
 Mozzani, sec. 8, pp. 96, 97, for a mention of Sta. Maria della Valle, also tlie work of 
 M. de Dartoin on Lomliard arcliitectnro, pt. ii, pp. •?,() ct suiv. 
 
 o -2 
 
 A.D. 726. 
 
100 
 
 ITALIAN SCULPTORS. 
 
 nor do we knoAv of any other so perfect example of that transition 
 period in Italian architecture, when Romaij and Byzantine elements 
 seemed to hesitate before blending together into the Romanesque. 
 
 In examining the early Italian churches it is most important to 
 remember, that many of them have been so completely changed by 
 restoration as to retain but few traces of their original aspect; 
 while the date of the sculptures about them can only, when history 
 fails us, be fixed by their characteristics of style, as they often 
 s'an f-'ai- beloug to a later period than the buildings themselves. The capi- 
 Lxeseli!'^ tals of the columns of the church of San Salvatore at Brescia for 
 instance, some of which are Byzantine and others rude imitations of 
 the Corinthian, certainly belong to the same period as the edifice, 
 A D. 760. which was built by the Lombard king Desiderius and his wife Ansa 
 in the eighth century, while the capitals of the white and red 
 marble colonettes formerly in the confessional and now in the 
 Museum, cannot have been scul[)tured before the tenth century, 
 as one of them is adorned with representations of the martyrdom 
 of Santa Julia, whose worship did not obtain favour at Brescia 
 until after that time.^ The stucco ornaments and reliefs at San 
 Pun Pioiro Pietro di Civate (in the territory of Brianza, on the mountains 
 diCnato. ^Q^Y ^Yie Lake of Como), which was also built by King Desiderius, 
 in fulfilment of a vow made to St. Peter when his son Adelchi was 
 struck bhnd in consequence of an accident while huntmg, are of 
 several diff'erent periods, but none appear to be contemporary with 
 the building itself. The griffins, chimeras,^ fantastic animals and 
 fishes with interlaced ornaments resemble those upon Scandina- 
 vian monuments, and indicate that influence of northern traditions, 
 which we have already had occasion to point out in similar sculp- 
 tures of the eleventh centuiy about Apulian churches, but the 
 subjects in relief from the lile of our Lord show by their simple 
 and unsymbolical treatment, that they belong to a later period, as 
 the Resurrection and the Passion were not so represented in this 
 part of Italy before the twelfth century. So also, while the rudely- 
 shaped animals and monstrous figures about the fa9ade of San 
 
 ' Ricci, op. cif. i. 256, 258. 
 
 2 M. de Darteiii, p. 44, says that according to the Abbe Dozio (article in the 
 Jmrnal Cafholique) the griffin symbolises the two united natures of our Lord. The 
 divine expressed by the eagle and the human by the lion. The chimera, monster 
 with three heads, indicates the triple rule of Christ over heaven, earth, and hell. 
 
LOMBARDY. 
 
 101 
 
 Michele at Pavia, and the clumsy images of San Michele and a ^■^'^ ^li- 
 
 ' chele at 
 
 bishop above its pediment are works of the eleventh or twelfth Pavia. 
 century, the church is a building of the tenth, erected upon the 
 site of an old edifice founded by King Grimoaldus, and burnt down 
 when the Hungarian mercenaries of the Emperor Adalbert set fire a.d. 924. 
 to the city.^ 
 
 Theodoric had made Pavia a royal residence, and built a palace 
 there, Avhich was occupied by the Lombard kings after the expulsion 
 of the Goths.^ Monza also flourished under the barbarians, but 
 they did nothino; towards raising: Milan from the low state to which Milan ne- 
 
 . . r^ glectedby 
 
 Uriah, the nephew of Vitiges, King of the Goths, had reduced her the Lom- 
 
 in the fifth century. Her double walls, her theatres, temples, and 
 
 peristyles adorned with statues, mentioned in the verses of a poet 
 
 of the fourth century,^ were then thrown dovm and destroyed, and 
 
 this city, which had been the first in Italy after Rome, did not regain 
 
 its former position for more than five hundred years. The remains ^^riy 
 
 '- *' sculptures 
 
 of early sculpture at Milan are consequently of little importance, atMiiau. 
 and only worthy of attention as connected with the history of art in 
 the centre of one of the most important North Italian schools. The 
 earliest of these remains are a Christian sarcophagus of the fourth 
 century in the church of S. Celso, which differs in no respect from 
 works of the same class and period at Rome and Ravenna, and a 
 rudely executed bas-relief of the eighth century on the outside 
 of the church of Sta. Maria di Beltrade, which is interesting on 
 account of the connection of its subject with the period in which 
 
 * Ricci, op. cit. i. 441. In the first volume of the Stovc!^ of Venice, Appendix 
 No. 8, p. 362, Mr. Ruskin speaks of the sculptures at San Michele as being of the 
 seventh century at the latest, in which opinion we hesitate to agree for the reasons 
 given in the text. He describes some of them upon the west front : ' One capital 
 is covered with a mass of grinning heads, other heads growing out of two bodies, 
 or out of and under feet ; the creatures are all fighting or devouring or struggling 
 which shall be uppermost, and yet in an ineSectual way as if they would fight for 
 ever, without coming to a decision. Neither sphinxes nor centaurs did I notice, 
 nor a single peacock, but mermaids with two tails, strange, large fishes, apes, stags 
 (bulls ?), dogs, wolves and horses, griffins, eagles, long-tailed birds (cocks ?), hawks 
 and dragons without end, or with a dozen of ends as the case may be ; smaller birds 
 with rabbits, and small nondescripts filling the friezes.' 
 
 ^ The palace of Theodoric was burnt down in 924, rebuilt soon after by King 
 Ugo and finally levelled with the ground by the Pavians in 1024, because they 
 did not choose to have a royal residence within their walls (Ricci, vol. i. p. 489, 
 note 60). 
 
 ^ Ausonius, MS. in the ducal library at Pavia, cited by Tristano Calco. Verri, 
 St. di Milmw, i. 23. 
 
102 
 
 ITALIAN SCULPTORS. 
 
 A.D. 879. 
 
 The Arch- 
 bishops of 
 Milan. 
 
 Ciborium 
 at Sant' 
 Ambrogio 
 erected 
 A.D. 835. 
 
 Wolvinus. 
 
 Tomb of 
 King 
 Bernhard 
 and Arch- 
 bishop 
 Anselmus. 
 
 it was sculptured. It represents a bishop, preceded by monks 
 bearing an image of the Madonna and Child upon their shoulders, 
 and followed by torch-bearers ; the one with a long beard who closes 
 the procession (called ' Delia Idea ') is supposed to be the Primiciero 
 or Maestro de' Vecchioni,^ the head of the ' Scuola di Sant' Am- 
 brogio,' a society of twenty male and female beggars, to whom alms 
 were distributed at certain seasons of the year. Among its bene- 
 factors was Archbishop Anspertus, who built the atrium of Sant' 
 Ambrogio, restored the palace of Stilicon, raised the crumbling 
 walls of the city, founded many useful institutions, and is to be 
 regarded as the regenerator of Milan. 
 
 The Archbishops of Milan, who held the first rank among 
 Italian ecclesiastics, were the real rulers of the city under the weak 
 successors of Charlemagne, but they did little for any of the arts. 
 The only one of the predecessors of Anspertus who forms an 
 exception to this rule is Angibertus. This prelate erected the 
 ciborium at Sant' Ambrogio, whose gables are adorned with long- 
 proportioned, symmetrically-disposed figures in relief, of a thoroughly 
 Byzantine type, and employed an artist named Wolvinus^ to make 
 a series of bas-reliefs in gold to decorate the high altar. We may 
 also mention Archbishop Anselmus on account of the interest 
 attached to the discovery of his burial place. About a century 
 ago a plain sarcophagus was removed from the church of Sant' 
 Ambrogio to the adjacent monastery, and as its occupant was un- 
 known, it was opened before being set up against the wall of a 
 corridor near the great staircase, and found to contain two bodies 
 in a remarkable state of preservation.^ One of them, robed in a 
 mantle of white damask embroidered with silk and gold, wore 
 thick-soled shoes of red leather with metal spurs, and had a gilded 
 wooden sceptre lying near his right hand ; the other had a mitre 
 u])on his head, wore sacerdotal vestments, and held a crozier in his 
 right hand, with a ring of silver gilt upon its withered forefinger. 
 These bodies were recognised as those of Bernhard, King of Italy, 
 and his faithful servant Anselmus, who was degraded and im- 
 prisoned for life in the monastery of Sant' Ambrogio by Louis le 
 
 ' From his dress we might suppose this to be a priest, did we not know that 
 priests were not allowed to wear beards at that time (Giulini, Mem. di Mihoio, 
 i. 305). 
 
 2 Giulini, op. cit. i. 140. ^ jfj io2. 
 
LOMBARDY. 
 
 103 
 
 D^bonnaire, on account of his participation in the rash attempt of 
 Bernhard to throw otF his dependence upon his uncle and Uege lord. a.d. sir. 
 When convinced of the impossibility of success, Bernhard made his 
 way to Chalons-sur-Saone to implore the king's pardon. Louis 
 pitilessly condemned him to death, and then commuted this sentence 
 to loss of sight, but the unfortunate man escaped by a timely death 
 from this horrible fate.^ 
 
 We cannot take leave of the Milanese archbishops before speak- Arch- 
 
 bishop 
 
 ing of Heribert or Aribert, in whose person their wealth and power Hcribert. 
 culminated. This ambitious and warlike prelate, assuming the right 
 to dispose of the crown, of Italy, offered it to the German emperor 
 Conrad at the Council of Constance, placed it on his head in the 1026. 
 cathedral of Milan, and entertained him and his suite with princely 
 magnificence for many weeks after the ceremony.^ But his chief 
 title to remembrance is the invention of the Caroccio, which was The Ca- 
 adojited by the principal cities of Northern Italy as an important 
 stimulus to patriotism, and proved a powerful element of military 
 success.^ It consisted of a huge car with a lofty mast, surmounted 
 by a crucifix standing on a gilded globe, from which floated two 
 long white banners. An altar for the celebration of mass, the 
 military chest, and all kinds of medicines and bandages for wounded 
 soldiers were carried upon it, and as it was always kept in the midst 
 of the army while in the field, it served to show where the com- 
 mander stood, where the disabled could find succour, and where 
 fugitives could rally in safety. Its loss in battle was a disgrace, and 
 its possession by the enemy the surest proof of his victory. So great 
 was the affection felt for it by the Milanese, that when Frederic Bar- 
 barossa ordered their caroccio to be broken up their emotion affected a.d.ii62. 
 even his rough soldiers to tears.'^ Five years after this humiliation 
 they took their revenge upon the emperor at Legnano, and the rude Battle of 
 Byzantine-looking crucifix which towered above the caroccio on STiTf 
 that memorable day may still be seen in the church of San Calimaro,^ 
 
 1 Eginliard Astronome, Hist, de France par M. Henri Martin, ii. 374, 375. 
 ^ Verri, Stasia di Milano, i. 92. 
 
 3 See Verri, Storia di Milano, i. 99 ; M. de Breliolles, p. 82 ; Corio, Storia di 
 Milano; and Le Vicende di Milano, p. 200 (ed. 1778), for descriptions of tlio 
 caroccio. 
 
 * Kington's Life of Frederic II. i. 52. 
 
 5 The figure of our Lord in low relief is both coloured and gilded. Below it 
 Archbishop Hcribert is represented holding the model of the church of St. Dionysius 
 
104 ITALIAN SCULPTORS. 
 
 a memorial of that untiring resistance to foreign rule which has at 
 last found its reward. The victory of Legnano is also commemorated 
 Bas-reliefs at Milan by the bas-reliefs of the Porta Romana,^ which represent the 
 Porta Eo- triumphant citizens returning to their half-destroyed homes, headed 
 mana. ^ monk named Frate Jacopo bearing the city banner in his hand, 
 
 and accompanied by their allies from Cremona, Brescia, and Bergamo. 
 The sculp- One of the inscriptions upon the gate ^ records the name of Ansel- 
 seinuis. nius as the sculptor of these reliefs, and honours him with the title 
 of a second Daedalus ;^ but by applying to him the name which erro- 
 neously stood to them as the type of perfection in sculpture, his 
 contem2:)oraries showed how incompetent they were to estimate 
 him rightly, for the short clumsy thick-set figures, ranged one 
 behind the other in stiff monotony, dangle in the air like a row of 
 Portraits wooden dolls with pendent feet and shapeless hands. Filled with 
 barossa contcmpt and hatred for Barbarossa, the Milanese caused two por- 
 Empress trait bas-rcliefs of himself and his wife, the Empress Beatrice, to be 
 set up upon the Porta Romana, one of which is a hideous caricature, 
 and the other too grossly obscene for description.^ The bareheaded 
 and long haired monster who represents the emperor, sits enveloped 
 in a mantle, holding a sceptre in one hand and resting the other on 
 his thigh. His feet are crossed, and between his knees wliich are 
 widely separated crouches a nondescript creature, with a human 
 head, bats' ears, a dragon's scaly breast and wings, and fishes' fins 
 in lieu of arms.^ 
 
 Beatrice. 
 
 in his hand. The square nimbus around his head proves that the crucifix was 
 made during his lifetime. 
 
 ' These reliefs are let into the wall of a house near the Naviglio, in the street 
 leading to the Porta Romana. 
 
 ^ The architect of the Porta Romana was Gerardus de' Castagnianega. 
 'Hoc opus formavit Anselmus Dtedalus ale.' 'Ale' has been supposed to 
 stand for ' alter,' or to be an abbreviation of Alexandrinus. ' Daedalus ale ' has also 
 been read as ' De Dalus arte ' (see Millin, Voi/age dans le Milanais). 
 
 This bas-relief, which long disgraced the Porta Tosi, is now preserved in the 
 Palazzo Archinti. It is sculptured on the back of a Roman cippus, whose inscrip- 
 tion says that Publius FutiHus had it made for himself and his three sons. The 
 inscription is given by Biondelli in his articles ' Sulle Arti e sui Restauri di 
 Milano' (vide Politccmco, p. 75), and by Torre, II Bitratto di Milano, vidian, 1714, 
 p. 312 et seq. 
 
 ^ Fiamma, the chronicler, says this figure was meant for the Greek emperor ; 
 but this cannot be as he was an ally of the leaguers. Millin calls it ' Christ con- 
 queror of Satan.' Giulini and Biondelli believe it to be the portrait of Barbarossa. 
 When removed from the gate it was set up in the wall of a house overlooking the 
 Naviglio. 
 
LOMBARDY. 105 
 As Milan increased in power and wealth the monuments in her -^i^nu- 
 
 '- _ ments at 
 
 churches multiplied to such an extent that, if we are to believe a Milan in 
 
 ^ the Uth 
 
 chronicler of the fourteenth century, they were then no less than century. 
 2000 in number, many of them remarkable for the richness of their 
 decorations.^ Unfortunately we cannot judge of their merit, as in 
 consequence of a decree of the Council of Trent San Carlo Borromeo 
 caused many of them to be taken down, and others, such as the 
 twelve red marble statues of the apostles given by Pope Urban III., a d. 1220. 
 and a pulpit made by the sculptor Oprando da Busnate,^ sub- 
 sequently shared the same fate through various causes. Of all the 
 monuments of the Sforza and the Visconti formerly in the duomo, 
 that of the archbishop Otho Visconti,^ a red marble sarcophagus Died 
 
 A.D. 1296. 
 
 supported by columns, alone remains. It and some of these early 
 works were probably sculptured by the Campionesi, to whom we 
 may safely attribute all such marbles as show signs of improvement 
 in style at and near Milan before the early part of the fourteenth 
 century.* One of this important body of artists doubtless made Equestrian 
 that equestrian alto-relief on the outer wall of the Broletto, which of oidrado 
 represents the Podesta Oldrado di Tresseno, who first burnt heretics seno!^^^ 
 at Milan. ^ His head is uncovered, his hair cut short in the neck a.d. 1233. 
 after the modern fashion, and his mantle, fastened upon his right 
 shoulder, falls in well-arranged folds upon his knee. The horse 
 moves stiffly, and his neck is disproportionately long. The group 
 is tame and spiritless, but not devoid of a certain homely truth. 
 
 The Campionesi, so called from the district of Campione, which The Cam- 
 lies on the slope of a mountain on the shore of the Lago Ceresio, 
 almost opposite Lugano, obtained notoriety as able architects and 
 
 • ' Inveniuntiir etiam urnae marmoreae aut ex silice aut alio quocunique lapide 
 vivo MM. . . . et est talis, quse constitit ultra xx. marchas argenti.' — Fiamma, Chron, 
 Extrav. MS. cap. xciii. Giulini, iv. 786. 
 
 2 Ambrogio Bossi, Crunaca delta Fior de' Fiuri. 
 
 ^ Otho's nephew Giovanni di Matteo is bnriedwith him (see Franchetti, Duumo 
 di Milano, plate 20, and p. 95). 
 
 Such as a bas-relief in the sacri.sty of San Giorgio near Bernate in the 
 district of Magenta. Eng. in Giulini's work, iv. 35. 
 
 ' ' Catharos ut debuit uxit [.s/c]. Magnum vituperium fait,' says Fiamma, 
 ' that such a man should have been honoured with a statue. Note that this was 
 the first equestrian group erected in Italy since the days of Justinian. Pope 
 Gregory IX. accorded his protection to the Lombard league on condition that the 
 papal and imperial edicts against heretics should be carried into effect.' Verri, 
 St. di Milano, i. 240, says there were tifteon heretical sects at Milan in the early 
 part of the thiiteenth century. 
 
 P 
 
10(5 
 
 ITALIAN SCULPTOKS. 
 
 Tiieir sculptors in the north of Italy long before the Revival. "We find 
 Modeua!^ five of them attached to the duomo at Modena in the thirteenth 
 century, Anselmo, Ottacio, Enrico, Alberto and Jacopo, who are 
 only known to us as ' da Campione.'^ The marbles sculptured by 
 these artists for the chapel of the Holy Sacrament, the most impor- 
 tant of which is Anselmo's bas-relief of the Last Supper, are rude 
 and lifeless. The figures are stiffly and formally arranged, and 
 show but little attempt at expression. Though less barbarous than 
 those about the portal of the church, which were sculptured a cen- 
 tury earlier, they are hardly on a par with the works of Niccola 
 Pisano's predecessors in Tuscany, and are decidedly inferior to the 
 contemporary works of Benedetto Antelami at Parma. Enrico II. 
 da Campione, the grandson of Anselmo's companion of the same 
 A.D. 1322. name, sculptured the statuettes upon the pulpit in a much more 
 A.I). 1317. correct style, and built the upper portion of the Ghirlandaja, a con- 
 spicuous tower at Modena.^ His contemporary, Hugo da Campione, 
 AD. 1:341. made an octagonal font, and the tomb of Cardinal Luigi in the 
 
 1 Anselmo contracted (November 30, 1244) for himself and Lis lieirs to work 
 at Modena ' in perpetuo ' for six imperial lire a day in summei', and five in winter. 
 Tliis was afterwards increased to eight lire from April to October and six from 
 October to April (vide Campori's Artisti Esteri, pp. 116, 117, and Borghi's Duomo 
 di Modena, p. 79 ; also Tiraboschi, Storia della Letterattira Italiana, vol. v. lib. iii. 
 p. 672). 
 
 Gene.\logical Tree of the Campionesi. 
 Anselmo, 1244. 
 I 
 
 Ottacio. 
 
 Enrico I. Alberto. Jacopo. 
 
 Ugo Enrico II. 
 
 ^1 I 
 
 Giovanni, 1341. Matteo, 1395. Bonino, 1397. 
 
 Giovanni II., 1360. 
 
 Niccolino. Antonio. 
 
 Marco 1387, Zeno 1388, Bonino 1393, Jacopo 1389, Simone 1389, Matteo 1389, 
 are all mentioned in Franchetti's Chronological Series of Architects paid or consulted 
 by the Rev. Fabbrica of the duomo at Milan (vide Fi-anchetti's Duomo di Milano, 
 pp. 139, 140). 
 
 ^ Campori, oji. cii. p. 117. Cicognara, Storia della Scultnra, lib. v. ch. v., says 
 that Eurico was the scholar of Agostino and Angclo Sancsi. 
 
LOMBARDY. 
 
 107 
 
 church of Santa Maria Maggiore at Bergamo,^ and with the assist- 
 ance of his son Giovanni built the church of Sant' Agostino, and 
 erected the tomb of Guiscarda de' Lanci Avithin it.^ 
 
 Before speaking of the later and more eminent Campionesi who 
 were scholars of Giovanni Balduccio, we would describe briefly the ^f^jfj'/^Jj" 
 condition of Milan in the early part of the fourteenth century. It Ij^^'^^/jI^^ 
 was ruled alternately by two powerful families,^ the Visconti and the fourteenth 
 
 •/ I- century. 
 
 Torriani, until Henry of Luxembourg confirmed the power of the Matteo 
 Visconti by appointing Matteo, surnamed 11 Grande, to be imperial ^.Tuii. 
 vicar. The rapid extension of his power over ten of the great 
 cities of Lombardy excited the dormant hostility of the popes, who 
 looked upon his rule as an obstacle to the desired dependence 
 of Italy upon Rome through the vassalage, which the German 
 emperors tacitly declared on receiving the crown from their hands 
 at St. Peter's. In pursuance of this policy Pope John XXII. 
 accused Matteo of the worst crimes, branded him as a hei'ctic, MareU h, 
 
 1322. 
 
 excommunicated him and his successors to the fourth generation,^ 
 and when he died caused a bull to be circulated in England, France, June, 
 and Italy, promising plenary indulgence to all who would take up 
 arms against his soms. The army thus raised was placed under tlie 
 command of the famous Raimondo da Cardona, who blockaded 
 
 ' Calvi, op. ctf. pt. i. p. 40, note 1, speaks of a drawing of this tomb upon a 
 portion of whicli the clergy, nobles and people are represented as rendering 
 homage to the deceased. This conceit is repeated in the tomb of Bernardo Maggi 
 at Brescia, which is probably by the same artist. 
 
 ^ Giovanni da Campione was aided, in his turn, by his son of the .same name, 
 as well as by his scholars Antonio and Giovanni Cattaneo, when he built the great 
 portal of Santa Maria Maggiore, and modelled the equestrian statue of Santo 
 Alessandro above it, which is inscribed, ' Filius Ughi di Campilione fecit hoc opus 
 A.D. 1355.' One of the Giovanni's, father or son, made the statues of Sant' Alessandro 
 and twelve seated apostles, which existed in the upper part of the loggia of the 
 facade of Sant' Alessandro, destroyed in 1561. The great portal of Santa Maria 
 Maggiore is dated 1351, and inscribed, 'M. Johannes de Campilione, C. P. [Civis 
 Pergomensis] fecit hoc opus.' The southern door which is Gothic and adorned 
 with a frieze of little niches containing statuettes is inscribed, ' Magister Johannes, 
 filius quondam Dom. Johannius de Campilione, fecit hoc opus in Christi nomine. 
 Amen. a.d. 1360.' (Vide Tassi, Sc. e Piff. BenjoDiaschf, p. 10, vol. i. p. xi. and 
 p. 8 ; and Calvi, np. n'f. p. 41, nota 3.) 
 
 * So were : — 
 
 Pavia by the Beccaria and Langosco. Bergamo by the Colleoni and Suardi. 
 Monzaby the Torricelli andCavalaggi. Lodi by the Viguati and Vistarini. 
 Vercelli by the Avvocati and Tizzoni. Comoby the Rusca and the Vitani. 
 
 * Cronaca di Pietro Azario ; Ughelli, Italia Sacra, vol. iv. col. 206 ; Verri, 
 vol. i. ch. xi. p. 309. 
 
108 
 
 ITALIAN SCULPTOES. 
 
 them for eight months in ]\Ionza, and finally took possession of the 
 Gaieazzoi. city. Galeazzo I., the eldest son and successor of Matteo, although 
 at first forced to fly before the storm, succeeded in making himself 
 lord of Milan within a twelvemonth after his father's death, and 
 held the city for four years. His ruin was then brought about by 
 the intrigues of his younger brother Marco. Yisconti, who induced 
 the new emperor Louis of Bavaria to imprison him, with his son 
 Azzo and his brothers Stefano and Luchino, in the loathsome 
 dungeons of Monza which Galeazzo had constructed, without any 
 idea that he would be forced, like a new Perillus, to taste the horrors 
 of his handiwork.^ After eight months of suffering the half-dead 
 prisoners were liberated through the intervention of Castruccio 
 Castracani, Lord of Lucca, who was bound to Azzo Visconti by 
 gratitude for the opportune assistance which he had rendered him 
 A D. 1322. three years before at the battle of Alto Poscio.''^ After the death of 
 
 A D 1328 
 
 Galeazzo at Pavia, Castruccio induced the emperor to sell the imperial 
 Azzo Vis- vicariat of Milan to Azzo for the sum of 60,000 florins, and Pope 
 John XXIL, dreading lest the Lombard clergy should adhere to the 
 an ti- Pope Nicholas V. who was greatly in favour at Milan, confirmed 
 A.D. 1329. his newly-acquired power by cancelling the interdict which he had 
 His pa- formerly laid upon the Visconti. With Azzo's reign a new era of 
 
 tronage of ^ 
 
 the arts, prosperity and progress commenced for Milan. ^ During the two 
 years which had elapsed since his liberation from prison, he had 
 been living in Tuscany, where he had become familiar with the 
 works of the Pisani, of xirnolfo del Cambio, of Giotto, and of Andrea 
 Pisano, and as soon as he found himself in the position of an 
 indejiendent prince he showed how greatly his mind had been 
 
 ' Marco, who followed neglected and despised in the train of the Emperor 
 Louis, died either in consequence of a fall from the window of the ducal palace, 
 or by suffocation. ' De cujus morte certum ignoratur' says the Azario CJironicle, 
 quoted by Verri, oj}. cif. i. 319. Villani and Corio say that his brother and 
 nephew caused him to be suffocated, and that his body was thrown out of the 
 palace window (Gitilini, 027. cit. v. 194). 
 
 ^ Azzo brought Avith him a troop of 1000 horse to Castruccio's assistance and 
 by this addition to his forces assured him the victory over Raimondo da Cardona 
 whom he took prisoner. Sismondi, v. 113, says that Castruccio followed up his 
 success by plundering the villas about Florence of all the works of art which they 
 contained. 
 
 3 Matteo Visconti did little for art at Milan. He commenced the ducal palace 
 which Azzo afterwards finished, and the Loggia degli Osj on the Piazza dei 
 Mercanti, of which he cannot have built more than the lower story, as the upper 
 stories and all the decorative portions are manifestly posterior to his time. 
 
LOMBARDY. 
 
 opened to the necessities of his people for cultivation in art by 
 inviting Giotto to adorn his palace with frescoes,^ and Balduccio 
 Pisano to make the tomb of St. Peter Martyr for the church of Sant' 
 Eustorgio.^ 
 
 The Lombard sculptors whom Balduccio employed to assist 
 him in this work propagated his style in Lombardy, as we see 
 among other examples in the famous Area di Sant' Agostino at 
 Pavia, which was probably made by IMatteo and Bonino da Campione, Mattoo 
 the two most remarkable artists formed by Balduccio during his ninoda 
 residence at Milan. ^ Twelve years were employed and four thousand 
 ffolclen scudi spent in constructino; it in the sacristy of San Pietro S-"^""^' 
 
 . . ... Agostino. 
 
 in cielo d' oro, whence it was removed to its present position in the ^.d. 1832. 
 duomo, when that building was demolished. It is enriched with 
 bas-reliefs, statuettes, and architectural accessories m the Pointed 
 style, which form an ensemble of the most imposing character. The 
 effigy of the saint, covered with a winding-sheet held up at the 
 corners and sides by six angels, lies upon a moi'tuary couch seen 
 through the open arches which support its second story. The 
 statuettes of the apostles are placed two by two in compartments 
 around the lower or basement story, separated from each other by 
 pilasters faced by statuettes of the Virtues. Above them smaller 
 statuettes of saints and prophets stand against the pilasters of 
 the second story, upon which rest consoles supporting seated figures 
 of saints and martyrs. A row of pointed gables decorated with 
 crockets and finials runs round the uppermost story, upon Avhich 
 is a series of bas-reliefs representing incidents in the life of St. 
 Augustine, separated from each other by twenty statuettes. If 
 compared with the Area di San Doraenico, that of Sant' Agostino 
 instantly asserts its superiority in unity of design, but its bas-reliefs 
 and statuettes are greatly infei-ior to those by Niccola Pisano at 
 Bologna, while its reliefs are superior and its statuettes inferior to 
 
 ' See Tuscan Sculptors, vol. ii. letter D. Appendix, for Fiarama's description 
 of this palace. Besides the frescoes of Giotto which adorned its walls (vide Vasari, 
 i. 335), there were perhaps others by a Pavian painter named Andrino da Edesia. 
 Lomazzo, Tmttato della Pitfiira, p. 3-5 ; Calvi, pt. i. p. 7 ; Verri, i. 323 ; and 
 Giulini, v. 236). 
 
 ^ For description of this tomb see Tuscan Sculptors, vol. i. ch. iii. 
 
 ^ According to Vasari it was made by Agostino and Agnolo Sanesi, but this 
 cannot be as they died before the middle of the century, and the Area is dated 
 A.D. 1362. Cicognara ascribes it to Pietro Paolo and Jacobello delle Massegue, 
 bnt no work of tlieirs is known prior to 1380. 
 
110 
 
 ITALIAN SCULPTORS. 
 
 Lueliino 
 Visconti, 
 A.D. 1339- 
 1349. 
 
 Monu- 
 meuts of 
 Azzo and 
 Stefano 
 Visconti. 
 
 BernaLo 
 and Ga- 
 leazzo 
 Visconti. 
 
 Equestrian 
 statue of 
 Bernabo 
 Visconti. 
 
 those by Balduccio at Milan, of which some are close imitations. 
 The figures, which are very Pisan in style, have their surfaces 
 highly polished, the borders of their robes carefully elaborated, and 
 the pupils of their eyes painted black, according to a common 
 custom of the time. 
 
 After the death of Azzo Visconti, his paternal uncles Luchino 
 and Giovanni nommally ruled the state together, though the latter, 
 being little inclined to politics, left the reins of government in the 
 hands of his brother, who was one of the best princes of his house, 
 but not a patron of art. Mention is made of many palaces which 
 he built and decorated with frescoes, but we have no proof of his 
 having given any commissions to Balduccio or his scholars, though 
 he may have ordered the former to make the monument of Azzo, 
 which is now preserved in the gallery of the Marchese Trivulzi at 
 Milan. ^ The monument to Stefano in the chapel of St. Thomas 
 Aquinas at S. Eustorgio, one of the works attributed to Balduccio,^ 
 was most probably erected by order of his three sons, Matteo II., 
 Bernabo and Galeazzo, whom Luchino had exiled, and whom Giovanni 
 recalled after the death of Luchino, to share the territory of Milan 
 with him.^ This partition was soon simplified by Bernabo and 
 Galeazzo who poisoned Matteo, fearing he would get rid of them. 
 Of these two iniquitous tyrants Galeazzo was perhaps the worst, 
 for he was persistently cruel and unjust, while Bernabo sometimes 
 varied his course of crime by acts of justice and even of kindness. 
 Bernabo patronised art, though purely as a means of self-glorifica- 
 tion, but Galeazzo disregarded its claims and wantonly destroyed 
 the frescoes by Giotto in Azzo's palace."* 
 
 Milan and its dependencies long groaned under the yoke of these 
 monsters, for Galeazzo reigned twenty-four years, and Bernabo 
 thirty-one, at the end of which time he was treacherously seized by 
 his nephew Galeazzo, Conte di Virtu, and confined in the castle of 
 Porta Giovia, where he probably died of poison. It is well to recall 
 what manner of man he was as we look at his equestrian statue 
 in the Mediteval museum at the Brera, for it is but a lifeless work 
 
 ' See Tuscan Sculptor.'^, i. 7-'). 
 2 Calvi, op. cit. pt. i. p. 21. 
 ^ Caffi, Storia di S. Eudorgio. 
 
 * ' Quae domiis citm ornamcntis ot picturis ot fontilnis liodie iion fieret cum 
 trecenti.s millibus florenis.' — Azavio, p. 2^i>, quoted by Vei-ri, i. 33G. 
 
LOMBARD Y. 
 
 Ill 
 
 which needs some historical association to give it interest.^ Clad 
 in armour and holding the baton of command in his left hand, he 
 sits stiffly upon his horse, whose trappings, enriched with his cypher 
 and the emblems of his house, were once gay -with gilding and 
 colour; two diminutive figures of Fortitude and Justice stand like 
 pages at his stirrups. The statue is raised upon a sarcophagus 
 which rests upon nine short columns, and has its four sides adorned 
 with coarsely-modelled bas-reliefs of the Crucifixion, the dead Christ 
 and angels, the Evangelists, and single figures of saints.^ It is not 
 the monument of Bernabo, as one would naturally suppose, but that 
 which he erected to the memory of his wife Regina della Scala, who 
 had great influence over liim, and to whom he was much attached 
 despite his cruelty, his bad temper and libertinism. It originally 
 stood behind the high altar of San Giovanna a Conca,^ in such a 
 position that the worshippers appeared to be praying to Bernabo, 
 which was considered so scandalous that it was removed soon after 
 the tyrant's death to a more fitting place near the door. Matteo 
 da Campione is said to have been its sculptor, but we feel rather 
 inclined to ascribe it to Bonino,^ for the equestrian group resembles 
 that with which he crowned the Gothic tomb of Can Signorio at 
 Verona, and its style is less simple than that of the pulpit by 
 Matteo at Monza. Matteo was the elder of the two Campionesi, Matteo da 
 and succeeded the unknown architect of the duomo at Monza about aiXthr" 
 the middle of the fourteenth century ^ in the post which he refused Jwa.'"'' 
 to resign when he was appointed architect of the duomo at Milan, 
 and which he held until his death. ^ He designed the fa9ade of the a.d. i389. 
 
 1 Engraved iu Litta's Fuiniylie Cdehre, fam. Viscouti. 
 
 ^ The four statuettes at the corners of the sarcophagus, two- of which only 
 remain, were probably designed to hold torches or candelabra. 
 
 3 ' In sepultura alta, quaj est retro altare majus, ubi est imago sua sculpta in 
 marmore et equestris, quas est niirabilis et pulcher.' — Azario, Ann. Med.; GiuHni, 
 V. 66. 
 
 * Torre, op. cit. p. 50, does not give the sculptor's name. Rossi and Cataneo, 
 MS. Hist, of Lombard Artists, in the Biblioteca Malzi, suggest Bonino. Calvi, op. cit. 
 p. 45, says Matteo, the inferiority of whose work iu it as compared with that of 
 Monza he ascribes to his having so bad a subject as Bernabo to illustrate, which is 
 really no good reason. 
 
 s Frisi, Mem. Storia di Monza, i. 12, ed. Milan, 1794. 
 
 ^ Calvi says in 1390 on the death of Marco da Campione. Matteo's name is 
 given in Franchetti's list of the ingegneri paid or consulted by the Ven. Fab. del 
 duomo di Milano, Ojj. cit. p. 140. 
 
112 
 
 ITALIAN SCULPTORS. 
 
 duomo at Monza in a mixed Gothic style, and decorated it with 
 slabs of coloured marble, in the manner originally introduced by 
 Arnolfo del Cambio at Florence. He also sculptured a now destroyed 
 The pulpit, font for the baptistry, and the pulpit, which is adorned with sta- 
 tuettes of the Apostles in niches,^ separated by panelled pilasters 
 upon which are small and remarkably well-designed figures in very 
 low relief. The compartments which divide the surface of the pro- 
 jecting reading-desk contain small statuettes of the four Evangelists, 
 and one of our Lord, holding a book and a thunderbolt, a piece of 
 Paganism which would have been less surprising a century later. 
 The accessories are executed in a simple unpretendmg style which 
 leaves little room for criticism. The works of Matteo at Monza are 
 thus enumerated in the mortuary tablet set into the outer wall of the 
 duomo : ' Here lies the great architect, the devout master Mattheus 
 da Campilione, who built the fa9{ide of this holy church as well as 
 its pulpit and baptistry, and who died in the year of our Lord 
 1396.' 
 
 Bonino Boniuo, wlio is supposcd to have belonged to that family of 
 
 pione. Fusina which gave several artists to Milan, is mentioned by Giulini 
 and Mazuchelli as a simple ' scarpellino,' but the tomb of Can Si- 
 gnorio della Scala at Verona proves that he deserved a higher title. 
 Before describing this monument we would remind the reader that 
 the Scaligeri had long been powerful among North Italian princes, 
 Cane della and distinguished patrons of art and letters. Cane della Scala, 
 A.D. i'3i2. surnamed ' II Grande,'^ who was a prince brave and fortunate in the 
 field, and faithful to his promises (a rare virtue at the time), lies 
 buried above the portal of Sta. Maria Antica, in a sarcophagus 
 adorned Avith low and slightly- wrought bas-reliefs representing the 
 chief military events of his life, and with statuettes of the Madonna 
 and the angel of the Annunciation. Upon it is placed his simple 
 and dignified effigy, overshadowed by an arched canopy which is 
 
 ' Their close resemblance to those upon the Area di S. Agostino at Pavia con- 
 firms the belief in Matteo's co-operation in that work. 
 
 2 ' Hoc opus sculpsit et fecit Boninus de Campiglione Mediolanensis (vide 
 Maffei, Verona Illustrata, ed. in 8vo. vol. iv. p. 128). 
 
 * ' Lo prime tuo rifugio e '1 primo ostello 
 
 Sara la cortesia del gran Lombardo, 
 Che 'n su la scala porta il santo ucccUo — Paradiso, xvii. 70. 
 
 Bartolomco della Scala is the great Lombard who sheltered Dante in his exile. 
 The ' santo uccello ' is the eagle. 
 
LOMBARDY. 
 
 113 
 
 itself crowned by a spirited group of the knight on horseback.^ His 
 successor, Mastino II., enjoyed a larger revenue than any other Mastinoii. 
 Christian monarch of the time excepting the King of France,- and 
 lived in a state of regal splendour, surrounded b}' no less than 
 twenty-three dethroned princes who had found refuge at his court.' 
 ' When he rode out,' says an anonymous chronicler, ' the whole city 
 of Verona was struck with fear, and when lie threatened all Lom- 
 bardy trembled.'' Rights were respected and justice was promptly 
 rendered during his reign, and all parts of his kingdom were so safe 
 that any person could walk about with a purse of gold in his hand 
 without danojer of beins robbed.' 
 
 But with all this Mastino II. was a great libertine, who created 
 a host of enemies at home by the unscrupulous gratification of his 
 passions, and abroad by his boundless ambition. Florence, Venice, 
 Padua, Milan, and Mantua formed a league against him, and so 
 greatl}' reduced his power, that at his death his successor Can 
 Signorio inherited a very much diminished territory. Tlie com- 
 mission for his monument was given to a Milanese sculptor named 
 Perino, known only by this work. The sarcophagus upon whicli P«-rino da 
 lies the statue of the deceased prince, is placed under a canopy flourfshed 
 ending in a pyramid, crowned by an equestrian statue. Two bas- 
 reliefs representing Christ enthroned, with Mastino kneeling at his 
 feet, and Christ rising from the tomb, are placed upon the front and 
 back of the sarcophagus, which is adorned with figures of saints, and 
 a well-conceived statuette of Fortitude. The monument which Can Momi- 
 Signorio erected to himself is far more elaborate. The victim of an Can si- 
 incurable malady, he lost no time in setting aside ten thousand 
 florins of gold for the adornment of his tomb, and again turning to 
 Milan for a sculptor, sununoned Bonino da Campiglione to Verona.^ 
 
 ' Ruskin, Stones of Venice, iii. 70, speaks of it as ' tlio consummate form of tlie 
 Gothic tomb.' 
 
 ^ Sismomli, Efp. Jfal. vol. v. ch. xxxiii. p. 23. 
 
 ^ Cortusio, Hid. de Noritafihns Faduo', quoted by Cantu, ii. 701. The halls of 
 his palace were adorned with frescoes representing the vicissitudes of Fortune ; 
 and the subjects of those painted upon the walls of its principal apartments, were 
 especially adapted to the condition of his guests; such as ' triumi»lis for warrions, 
 hope for exiles, the Muses for poets, Mercury for artists, and paradise for the clergy.' 
 
 ■* ' Quum Dominus Martinus obe(][uitabat, tota Veronensis urbs pertimescebat, 
 quum minabatur, tota Lombardia contremiscebat.' — Frag. Hist. Romaine, Ant. It, 
 ap. Muratori, iii. 286. 
 
 * Calvi, op. cit. p. 58, thinks that perhaps Bonino had previously made the 
 
 Q 
 
114 
 
 ITALIAN SCULPTORS. 
 
 The tombs of Can Grande and Mastino II. furnished Bonino with a 
 type which he adopted and developed into a richer but less pure 
 design, which combined classical with Gothic elements.^ The eight 
 columns with Corinthian capitals at the corners of the edifice serve 
 as supports for Gothic niches containing statuettes of military saints, 
 standing like sentinels over the dead. Through the intercolumnar 
 spaces, which are spanned by Gothic arches with spandrils and archi- 
 volts enriched with medallions and open-work, is seen the recumbent 
 statue, watched over by a simple and very beautiful figure of an 
 angel with half-spread wings, lying upon a sarcophagus with a 
 heavy cornice of leaf-work, and twisted columns at the corners. It 
 is decorated with bas-reliefs, one of which represents Can Siguorio, 
 under the protection of his patron saint, kneeling at the feet of the 
 Madonna to receive the benediction of the Infant Saviour. Upon 
 the apex of the monument, the sides of whose pyramidal roof are 
 enriched with small Gothic tabernacles containing statuettes of the 
 A^irtues, sits Can Signorio on horseback. Intricate in its general 
 design, and somewhat overloaded in detail, this magnificent structure 
 is the embodiment of the profusely splendid, wayward, lawless life 
 of these princes. We find in it the same strange admixture of 
 Paganism and Christianity, license and child-like faith, architec- 
 turally expressed by Roman and Gothic elements, extravagances of 
 style and simplicity of line. 
 Tonii s at It has bccu suggested that Bonino sculptured several ducal 
 .attributt'd tombs at Vcnicc in the churches of San Giovanni e Paolo and the 
 to BoniiKi. Pj^.jjj.-^2 there is no proof of this in the tombs themselves, which 
 appear to belong to the school of the Massegne. There are also 
 four statues in niches on the outside of the apex of the duomo at 
 Milan, which from their resemblance to the military saints upon the 
 tomb of Can Signorio have been attributed to him, but without 
 A.i). i;588. evidence; the only further mention we have of him is in the records 
 
 tomb of Giovanni dolla Scala in 1359 in the cemetery of tlie family at Verona, and 
 thus attracted the notice of Cansignorio. 
 
 ' Bonino was one of the first Lombard artists who adopted the transition style 
 from Gothic to Greco-Romano which is known by the name of the Bramantesque. 
 From Niccola Pisano down, Italian architects were eclectic und never frankly 
 accepted the pure Gothic. 
 
 2 Calvi, oj}. cit. p. 59. The tombs are those of Marco Cornaro in 1367 and of 
 Andrea Morosini in 1347 at S. Giovanni and Paolo; and that of Simone Dandolo 
 in 1360 at the Feari. Selvatico, np. cif. p. 146, states his opinion that the first is 
 an cfirly work of the Massesrno. 
 
IvOMBARDY. 
 
 115 
 
 of the duonio, which speak of him as taking part in a discussion 
 concernintr certain errors in its construction, and refer to him as 
 dead, in an order given about a marble figure which he had made a.d. 1397. 
 at the quarries of GandoHa whence it was to be brought to Milan. ^ 
 
 After Duke Gian Galeazzo Visconti had founded the duomo Gian aa- 
 
 leazzo 
 
 at Milan and the Certosa at Pa via, there was hardly an architect or Visconti. 
 sculptor of any celebrity who did not contribute in a greater or less 
 dcCTce to their construction and adornment. The schools of archi- 
 tecture and sculpture connected with these buildings, and the 
 constant demands upon the artistic capabilities of the country, con- 
 tributed powerfully to art development, which was greatly promoted 
 by the duke, who was a connoisseur of no mean order, and so versed 
 in architecture that the original design of the duomo has been 
 attributed to him. We have already mentioned how this craft}^ 
 hypocritical, and ambitious man made himself master of the state 
 by the seizure of his uncle and father-in-law, Bernabo;- he followed 
 up this act of treachery by entering Milan at the head of his troops, a d. 138.5. 
 and assembling a general council, which under such pressure 
 hastened to confer the sovereignty upon him and his heirs direct, 
 by virtue of their acknowledged right to elect their ruler. Con- 
 sidering however, that what the people could give the peo})le might 
 take away, Galeazzo afterwards compounded to pay the Emperor 
 Wenceslaus twenty thousand gold sequins for the title of hereditary 
 Duke of Milan. Seated upon a magnilicent throne in the Piazza of Sept. n. 
 Sant' Ambrogio he received the ducal mantle and crown from the 
 envoy of his liege lord, in the presence of princes, nobles, and people, 
 and closed the gorgeous ceremony by a succession of masses, 
 tournaments, cavalcades, and processions. 
 
 Ten years before this time Galeazzo is said to have made a vow 
 to the Virgin, that if his schemes were brought to a successful issue 
 he would raise a magnificent cathedral in her honour. The very He founds 
 year after their accomplishment he fulfilled this vow by founding ItiW:?!!!" 
 the duomo at Milan, and gave to the ' Fabbrica' the marble quarries 
 
 ' Mem. e Doc. cited by Calvi, p. GO. The marble is mentioned as ' quod dicitur 
 fecisse quondam Boninus de Campiglione.' 
 
 ^ Grian Galeazzo son of Galeazzo II., first married Isabella, daughter of the 
 French king Charles VI., and at her death Caterina Visconti daughter of Bernabo 
 (Cantu, op. cif. ii. 843). He derived his title of Conte di Virtu from a French 
 ' feud ' brought to him in dower by his fir.st wife (Verri, i. 387). 
 
 Q -2 
 
116 
 
 ITALIAN SCULPTORS. 
 
 of Gandolia,^ a mountain near the Lago Maggiore, setting aside a 
 yearly sum to be spent in working them,^ There appears no longer 
 any reasonable doubt that its first architect was Marco Frisone da 
 Marco da Campioue,^ who caused his colleague Simone da Cavagnera to con- 
 struct a model of the building as a guide to his successors. He was 
 one of the five Campionesi attached from the beginning to the 
 ' Veneranda Fabbrica,' a body of architects and sculptors constituted 
 and presided over by the duke. His claims to this honour have 
 been long disputed by a German architect named Heinrich von 
 Gmunden, A\^ho shortly after the death of Marco^ expressed such 
 grave doubts as to the solidity of the edifice, that the matter was 
 
 ' Named also ' Candolia,' perhaps from the whiteness of the marble extracted 
 from it (Giulini, v. 691). 
 
 ^ An inscription upon the duomo states that it was begun in 1386 (Calvi, op. 
 cit. Vita di Marco da Campione, p. 7G). Torre, Bitratto di Milano, says the 7th of 
 May 1387. In 1388 it was decided to cover the walls with marble (vide Calvi, 
 p. 77; Ricci, ii. 382; and Giulini, v. 690, 693-4). 
 
 3 Sig. Calvi, Note sulle Vite (pt. i. pp. 65, Life of Marco da Campione), considers 
 the fact settled by a codex compiled in the office of the Vicario di Provisione which 
 he discovered, and which commences on the 16th of October 1387, and closes in 
 1401. He also shows that though the duke protected the arts by opening an 
 academy of design in his own palace, and knew enough about architecture to be 
 able to speak intelligently upon it with the best professors, there is no foundation 
 for the assertion of Borsieri that he was capable of designing such a building. The 
 claims of the German Heinrich Adler von Gmunden, commonly known as Enrico 
 Gamundio, are set aside, says Sig. Calvi, by the fact of his not having come to Milan 
 until five years after the foundation of the duomo. Nor could it have been Simone 
 da Orsenigo, as the title of ' ingegnere,' which was not given to any but the head 
 architect and his assistant, is not affixed to his name until a later period. The 
 testimony of the above-cited codex is strongly in favour of Marco da Campione, as 
 in the account which is given of a council of architects held under the presidency 
 of the vicar and his twelve associates (20th of March 1388) to debate upon the 
 disputed solidity of the works, the first person who answered the charges was 
 Marco da Campione, in a discourse which showed an intimate knowledge of the 
 most minute details connected with the building. That tlie building was roofed 
 in and ready for divine service in 1395 is proved by a record of payment to an 
 organist for his services during the mass (Mem. doll' Arch. Civ.), July 10, 1395. 
 Ricci, op. cit. ii. 385, does not consider Marco's claim as fnWy substantiated ; but 
 he rejects that of Heinrich von Gmunden and concludes in favour of one of the 
 Italian architects. 
 
 * 8th of July 1300. ' Magister Mai'chus de Frixono Ingignerius Fabrice decessit 
 die superscripto circa horam Avemarie in mane, et corpus ejus sepultum fuit 
 honorifice in ecclesia Sancte Thecle ipse die post prandium (1° reg. delle Ord. 
 Capitolari).' — Giulini, v. 698. Giulini remarks that the great esteem in which 
 Marco was held is shown by the above notice in the Registers — the funeral honours 
 paid to him — and the discussions held on the same day in the Capitolo about sup- 
 plying his place. 
 
LOMBARDY. 
 
 117 
 
 discussed, and being decided against him he shortly left the city. 
 In the documents connected with this discussion we first meet 
 with the name of Bernardo da Yenezia, the ori";inal architect of Bernardo 
 
 . da Ve- 
 
 the Certosa, which the duke founded near Pavia. nezia. 
 As the duke had founded the cathedral at Milan the year after Founda- 
 
 ,. . , ■, *'0° of the 
 
 his seizure of the throne, he marked the legalisation of that act, the Certosa at 
 year after his power had been confirmed by the Emperor Wen- 1396.' 
 ceslaus, by founding the Certosa as a new and splendid offering j^iy 
 to heaven. Bernardo appears in a lately discovered document, 
 occupied as head architect in superintending the digging of its 
 foundations and accumulating materials for its construction^ about 
 a month before the corner stone was laid by the duke with great Aug. 27, 
 pomp, in presence of the Bishops of Pavia, Novara, Feltre, and 
 \'icenza, and many other illustrious persons. In three years the 
 building was so far completed that mass could be celebrated within 
 the walls. ^ 
 
 In artistical interest it far surpasses the Duomo, for the bas- Artistic 
 
 interest 
 
 reliefs, tombs, and ornamental work about its fa9ade, its interior, of the 
 and its cloisters, render it a perfect museum of sculpture by the best 
 artists of the Lombard school, while there is hardly one good work 
 of art among the myriad statues that cover the roof, crown the 
 pinnacles, and fill the niches of its rival at Milan. Few Italian 
 churches indeed can compete with the Certosa, whose stillness is 
 broken only by the hushed tread of some white-robed monk, who 
 passing on, leaves the visitor to an undisturbed enjoyment of the 
 objects around him. After scanning every rich detail of the facade 
 he enters through the sculptured portals into the nave, examines 
 the paintings and marbles in the chapels, the tombs that line the 
 transepts, the exquisitely sculptured doorways of the sacristies, the 
 
 ' Codex discovered in the archivio of San Fedele at Milan by Sig. Girolamo 
 Calvi (vide La Fondazione del Tempio della Certosa, by Sig. Calvi, a pamphlet printed 
 at Milan in 1862) ; see also the life of Bernardo da Venezia (probably so called from 
 a long residence in Venice), in pt. i. p. 103 of Sig. Calvi's Notizie, &c. Milan, 1859. 
 The Certosa was built in a part of the park of Mirobello, the remainder of which 
 was kept as a ducal preserve. The circuit of the high walls which surrounded 
 it was twenty miles. Ricci, oji. cit. ii. 399. 
 
 ^ Gian Galeazzo largely endowed the Certosa in his lifetime, and in his will left 
 a certain sum, the income from which was to be expended on the church and 
 convent until their completion, and after that to be given to the poor. Ricci, 
 ii. 401. 
 
118 
 
 ITALIAN SCULPTORS. 
 
 bas-reliefs and terra-cottas in the vast cloisters, the richly-carved 
 capitals and cornices (see Plate XIIL), and carries away with him 
 a sense of harmony and completeness, only to be derived from a 
 series of works which belong like these to one school and to one 
 time.^ 
 
 They were for the most part executed under the successors of 
 Gian Galeazzo, but in the duomo of Milan we find some works of 
 
 A.D. 1390. his time, such as the richly-sculptured Gothic doors of the sacristies, 
 which were designed by a sculptor from Fribourg named Annex 
 di F ernach. Having been called home when they were partially 
 completed, he left them to be carried on by the Milanese sculptors 
 
 Giovanni Giovauni and Perrino de' Grassi. The first of these artists known 
 
 and Per- 
 rino de' as Giovanni da Milano, who enjoyed a considerable reputation as a 
 
 Grassi. 
 
 A.D. 1395. painter, accompanied Giotto on his return from Milan to Florence, 
 and there entered the studio of his scholar Taddeo Gaddi, under 
 whom he afterwards worked in various parts of Italy.^ The in- 
 fluence of Giotto upon him is plainly visible in the heads which he 
 sculptured upon the flat spaces and architraves of both these doors. 
 The two bas-reliefs upon that to the north represent Christ between 
 the Virgin and St. John, and the Assumption of the Madonna ; those 
 upon that to the south the Madonna della Misericordia, the Virgin 
 seated between two kneeling saints, and the Deposition. The broad 
 archivolt is adorned "svith reliefs of the Annunciation, the Visitation, 
 the Adoration, the Presentation, the Flight into Egypt, and the 
 
 ' The ground j^lan of tlie Certosa, like that of the duomo at Milan, is in the 
 shape of a Latin cross. The central portion of the building, that first erected, is 
 Gothic ; the apse shows signs of the transition period from Gothic to Renaissance, 
 the facade which belongs to the fifteenth century is completely Renaissance or 
 Bramantesque. Bramante Lazzari, or Bramantino ' I'Antico,' is neither to be con- 
 founded with his continuator Bramante d' Urbino, or with Bartolomeo Suardi. He 
 was like Brunelleschi in Tuscany the propagator of the classical revival in Lombardy, 
 which took place much later there on account of the unsettled state of the country 
 after the death of Gian Galeazzo. Vasari in his life of Pietro della Francesca and 
 Girolamo da Carpi, xi. 2G8, confounds the t-wo Bramantes, as Calvi plainly shows 
 in his life of Bramantino Lazzari, Noiizie, &c. pt. ii. 
 
 2 Calvi says Giovanni's family name was Grassi, op. cit. pt. i. p. 96. A docu- 
 ment published in the Archivio Storico Italiano, 1858, ii. 65, mentions him as 
 Johannes Jacobi Mediolano, and Cavalcaselle, Hist, of Italian Paiuting, vol. i. 
 pp. 402-8, note 2, adopts this statement and calls him Giovanni Jacobi. The 
 Conte Nava, ilfe?;?,. del Duomo di Milano, p. 64, speaks of Giovanni de' Grassi as 
 ' sommo disegnatore, non solo di cose d'ornamcnti, ma auche di figure, come lo 
 dimostrano Ic citato porto della sagrcstia.' 
 
LOMBARDY. 
 
 119 
 
 Massacre of the Innocents ; ^ its side parts are covered by elaborately- 
 adorned pinnacles, and its central arch is surmounted by a heavy 
 finial and a crucifix. Another interesting work in the Milanese Tomb of 
 Duomo is the tomb of Marco Carelli, a wealthy Milanese, who gave Careiii. 
 his whole fortune consisting of thirty-five thousand ducats to the 
 Fabbrica, on condition that he should enjoy the interest derived from 
 it during his life-time, and that after his death a monument should 
 be raised to his memory in a chapel built for the purpose in the ^^p*^- 
 Campo-Santo. When he died at Venice, the directors sent a special 
 envoy to bring his body to Milan,^ and employed Filippino degli 
 Organi, son of Andrea da Modena, to build the chapel and design 
 the monument.^ The statuettes in Gothic niches upon its sides were 
 probably sculptured by Niccolo di Piero de' Lamberti from Arezzo, 
 who after being defeated by Ghiberti in the competition for the 
 gates of the baptistry at Florence came to Milan, and executed there 
 several greatly admired works. ^ 
 
 In the midst of his great schemes, when the Duomo and the Cer- 
 tosa were daily growing under his eyes, when master of the greater 
 part of Lombardy, the Romagnn, and Tuscany he only awaited the 
 surrender of Florence to put on the royal mantle and diadem already 
 prepared for the ceremony of his coronation as King of Italy, the Duke 
 Gian Galeazzo died, and so closely did the complete dismemberment 
 
 ' See plate xvi. p. 80 in Franchetti's work on the duomo di Milano. Calvi, 
 p. 96, note 1, says that Giovanni de' Grassi made the sculptures set into the wall 
 over the left portal of the duomo in 1395, and those in Verona marble by one 
 of the Campionesi. 
 
 2 In 1393, the year before Carelli's death, the deputies asked and obtained his 
 consent to raise funds for the continuation of the works at the duomo, by the sale 
 of part of his property on condition that they should pay him a reasonable income 
 derived from other sources. Afterwards with commendable liberality they per- 
 mitted him to dispose of a mill which had formerly belonged to him, in order to 
 raise a dowry for his daughter. In the seventeenth centuiy his monument was 
 removed to the duomo. 
 
 ' Calvi, op. cit. p. 152, states his belief that Filippino did not design the whole 
 work. Franchetti, op. cit. pp. 102-3, says that he found a record in the archives 
 to the effect that Filippino designed the monument, and an unknown sculptor 
 executed it. Cicognara, vol. ii. pi. x. gives two statuettes from the tomb. It is 
 mentioned by the Conte Nava, p. 37, and by Giulini, v. 789. 
 
 * Vasari, vol. iii. p. 39, note 2, says there is no doubt about Lamberti's visit to 
 Milan, and it is probable that he assisted at the council held in 1387 to discuss the 
 stability of the works. But it is doubtful if he was permanently attached to the 
 Fabbrica. There was a Niccolo Selli d' Arezzo in the service of Gian Galeazzo in 
 1397 Avith whom he is perhaps to be identified (see Cicognara, i. 400, et seq.). 
 
120 
 
 ITAIvIAN SCULPTORS. 
 
 Death of of liis well-nigh constituted kingdom follow upon that unlooked-for 
 leazzo, ^ event, that within two years his sons, Giovanni and Filippo-Maria, 
 1402.^' were obliged to shut themselves up in the castles of the cities of 
 Milan and Pavia, which were divided by rival factions. Both 
 being under age at their father's death the State was first adminis- 
 tered by their mother the Duchess Catarina, who was utterly unable 
 to make head against foreign and internal enemies, and at last re- 
 treated to a convent at Monza, where she died. As the many Italian 
 A.D. U04. princes whom Gian Galeazzo had held in subjection regained their 
 Giovanni- independence before the accession of Giovanni-Maria, he succeeded 
 visconti. to a mere remnant of power, which was fortunate, as he was a 
 monster in human shape, whose life was fitly terminated after a reign 
 of ten years by the poniards of his outraged subjects. The arts 
 being in no favour at the court of this mad fool, the greater part of 
 the native artists whom his father had collected around him left 
 Milan to seek employment elsewhere, and their places about the 
 cathedral were supplied by inferior German workmen. Under his 
 Fiiippo- successor Filippo-Maria this state of things was somewhat ame- 
 Maria. lioratcd, tliough his claims to be considered a patron of arts and 
 letters have been greatly exaggerated by some historians, perhaps 
 on account of the contrast between his moderate cultivation and the 
 utter barbarism of his brother. That he was weak, cruel, and un- 
 grateful, and rather tolerated than loved the men of note wlio 
 flourished at Milan during the thirty-five years of his reign,^ seems 
 not to be a matter of doubt, and that he was ignorant is shown by 
 his having allowed his name to be mis-spelt upon the coins struck 
 at the mint, and having tolerated such barbarous Latin as that in 
 the inscription upon the statue of Pope Martin; still he did some- 
 thing for art, since he built the great cloister of the Certosa 
 which bears his name, and commissioned Vittor Pisanello to paint 
 
 > So says liis biographer Pietro Candido Decembrio, a distinguished savant and 
 president of the republic after the deatli of Filippo-Maria. When it was over- 
 thrown by Francesco Sforza, he retired to Rome and Naples where he was pro- 
 tected by Pope Nicholas V. and Alfonso of Aragon. He finally returned to Milan 
 and died there. Pisanello made an admirable medal of him (eng. in Tresors de 
 Nmnismatique, pi. vi. no. 2). Verri, Sfnr!a dl Mllavo, i. 442, concludes that Filippo- 
 Maria was a ' principe da nulla.' Giulini, vi. 228, says that facts and the assertions 
 of Decembrio do not prove him to have been a great protector of letters ; although 
 Sassi and Argellati declare him to have been another Augustus. 
 
LOMBARD Y. 
 
 121 
 
 at Pavia, and to make that admirable portrait medal which has 
 rendered his features so familiar to ns.^ 
 
 Through the valour of his famous captain Carmagnola, whose 
 services he repaid by neglect and dismissal, and through his -wife 
 the ill-starred Beatrice di Tenda, widow of Facino Cane, whom he 
 falsely accused of infidelity, tortured, and put to death, he gradually 
 regained a great part of his father's dominiosis, but his reign was a 
 constant succession of wars, and gave so little satisfaction to the 
 Milanese, that after his death they threw off the yoke of the Visconti ^^s- 13. 
 and adopted a republican form of government, which lasted till the 
 advent of that valorous soldier of fortune, Francesco Sforza. 
 
 The only sculptor of note at Milan during the first quarter of ^^"^^p^"" 
 the fifteenth century was Jacopino da Tradate, who worked for the date. 
 ' Fabbrica del duomo' as early as 1410, but was not regularly 
 attached to it until five years later. Before being so he was, ad. his. 
 according to custom, examined by certain persons delegated for the 
 purpose, who highly commended him as both honest and clever, 
 and admirably skilled in the representation of figures, animals, and 
 ornament, and who advised that he should take three young men 
 into his studio in order to instruct them in his art.^ Shortly after 
 Jacopino's admission to the Fabbrica the Duke Filippo-Maria sent 
 ambassadors to Turin to meet the newly-elected Pope Martin V., 
 
 ^ ' Martin V. 
 
 then on his way from Constance to Rome, and invite him to visit ^sits 
 
 Milan. The pontiff made his entry into the city escorted by the Oct. le, 
 
 duke and a vast crowd of prelates, nobles, and citizens of all ranks, 
 
 and during his stay consecrated the high altar of the duomo in 
 
 the presence of more than a hundred thousand spectators. It 
 
 was proposed to commemorate this event by erecting his colossal His statue 
 
 IT 11' • • • in the 
 
 statue m the duomo, and the important commission was given to duomo. 
 Jacopino, who executed it in a manner which, considering the great 
 difficulties of modelling a figure more than twice the size of life, did 
 him great credit. The pope sits upon a draped throne chair, 
 robed in full pontificals, holding the keys in one hand, and giving 
 the benediction with the other. His action is dignified and 
 natural, and the accessorial ornaments about the marble back- 
 
 ' This medal is engraved in the Tresors de Nmrmmatique, pi. i. no. 3. The 
 duke is represented on the reverse as armed on horseback climbing a rocky path, 
 followed by a mounted page. 
 
 ' Libro d{ Memorie e Documcnfl, Calvi, op. (it. pt. i. p. 139. 
 
 R 
 
122 ITALIAN SCULPTORS. 
 
 ground, and upon the large console which supports the statue, are 
 tasteful, and carefully sculptured.^ Another estimable work by 
 Jacopino is the half figure of God the Father in bronze which fills 
 A.D. 1416. the centre of the roof of the apse of the duorao. He is also the 
 reputed author of the tomb of Pietro Torello^ at Sant' Eustorgio, 
 which consists of a sarcophagus, adorned with niches containing well- 
 proportioned statuettes of draped and armed figures, resting upon 
 double spiral columns supported on the backs of lions. The sepul- 
 chral effigy is sheltered beneath a canopy of later and inferior work- 
 manship. Fifteen years after the last entry of Jacopino's name in the 
 registers of the Fabbrica, during which his occupations are unknown, 
 we find him working at Mantua for the Duke Francesco Gonzaga, 
 in whose service he probably remained till his death. ^ His son 
 Pupils of Samuel,* who set up a mortuary tablet to his memory in the 
 drTfl°° cloisters of S. Agnese,^ was a sculptor, and probably one of his 
 father's pupils, as were Isacco da Imbonate, Antonio da Pandino, 
 and Gasparo da Carona. 
 New school The stylc of the new school which was developed at Milan 
 at MHan'^ during the latter part of the reign of Filippo-Maria, differed in 
 every respect from that introduced by Balduccio and propagated 
 by the Campionesi, for while that had been distinguished by sim- 
 plicity and extreme quietness of action in its round-surfaced, short- 
 proportioned statuettes and bas-reliefs, and had used Gothic forms 
 in the architecture of its monuments, this was characterised in 
 its figure sculpture by violent action, intense facial expression 
 bordering on grimace, clinging draperies, great length of limb, and 
 very flat treatment of surface, and (as it came in with the Renais- 
 
 ' The lavish praise bestowed upon Tradate for this work may be judged by 
 these two lines of the inscription below it — 
 
 ' De Tradate fait Jacobus in arte profundus 
 Nee Prasitele minor sed major fari et auxim.' 
 
 2 Calvi, op. cit. pi. i. p. 140, life of Jacopino. 
 
 3 The statuettes of Saints John, Francis and the Madonna formerly placed over 
 the door of San Celso at Mantua were perhaps sculptured by Jacopino. According 
 to Count Carlo d'Arco, Jacopino went to Mantua about 1440 (see his work Delle 
 Arti e degli Artefici di Mantova, Kotizie, &c. i. 87). 
 
 * Samuele da Tradate accompanied Andrea Mantegna on a journey to the 
 towns about the Lago di Garda to copy inscriptions and measure ancient monu- 
 ments (see the Commentary to Mantegna's life, Vasari, v. 234). 
 
 * Upon the tablet was inscribed: ' Jacobino da Tradate . patri . sviaviss . qui 
 tamquam Praxiteles vivos in marmore hngebat vultus . Samuel . observantiss . V. F .' 
 (see II Politecnico dt MUano, vol. xviii. July I860). 
 
LOMBARD Y. 123 
 
 sance) by classical forms of architecture. The resemblance betAveen 
 the style of its sculptors and that of the contemporary Flemish 
 painters who issued from the school of Van Eyck is so striking, 
 that we cannot but suspect that the latter in some way influenced 
 the former. There is in both intense realism, carelessness as to 
 choice of forms, careful working-out of anatomical details, excessive 
 length of limb, and exaggerated expression of emotion. When we 
 look at the reliefs of the Mantegazza we are reminded of Rogier 
 Van der Weyden and Hugo Van der Goes.^ A clue to the orio^inator ^- 1*^'^- 
 of the use of clinging draperies at Milan, is perhaps to be found 
 in Loraazzo's statement,^ that the Milanese architect and painter 
 Agostino di Bramante, called Bramantino the younger,^ before going Agostino 
 to Rome to paint in the Vatican for Pope Nicholas V., copied his mante. 
 draperies from paper and linen artificially shaped by means of paste i4'^5/^^*'~ 
 or glue into those sharp-cornered angular folds which the Mantegazza 
 and Omodeo, the most distinguished artists of the school, used in 
 their draperies, called cartaceous from their resemblance to the Cartaceous 
 shapes taken by wet paper. As for the improvement in drawing, ^'"^p®"^*' 
 the greater refinement in style, and the tendency to flatness of 
 surface visible in the works of this time we must seek their cause 
 in the influence of the many Tuscan masters who came to Milan 
 during the course of the fifteenth century. Among them were the Tuscan 
 great Renaissance architect Brunelleschi, who during his first visit Milan, 
 modelled a fortress for Filippo-Maria, and during his second ' made 
 many designs fo.- the duke and for the artists employed about the 
 
 ' The works of these painters were not unknown in Italy at the time. Pope 
 Martin V. in 1430 gave an altarpiece by Rogier Van der Weyden to the King of 
 Spain ; and Folco Portinari, envoy of the Medici at Bruges, caused Hugo Van der 
 Goes to paint an altarpiece for the hospital of Sta. Maria Nuova at Florence (see 
 Manuel de VHistoire de la Peinture, by Dr. Waagen, i. 127, 137, Ecoles alle- 
 mandes. Traduction fran^aise). 
 
 * Trattato della Pittura, lib. vi. ch. Ivi. 
 
 ' To distinguish him from his father Bramantino I'antico. Vasari says that 
 Bramantino was the first introducer of good drawing into Milan (see xi. 268), 
 and Sig. Calvi speaks of Bramante I'antico, whom he also calls Bramante da 
 Milano and Bramantino, as the artist who introduced Renaissance architecture, 
 then called Braraantesque, into Lombardy, and who made the book of drawings 
 which Vasari saw in the hands of Valerio Vicentino ; but we are more inclined to 
 adopt the statement ma4e by the annotators of Vasari (vide Commentario alia Vita 
 di Garofalo, xi. 277-83) that these drawings were by Agostino di Bramante, son of 
 Bramantino I'antico, himself the master of Bramante d'Urbino the architect of 
 St. Peter's. 
 
 E 2 
 
124 
 
 ITALIAN SCULPTORS. 
 
 A D. U83. 
 
 Adoration 
 of the 
 Mngi, 
 bas-reliet' 
 at the 
 Certosa. 
 
 duomo;' ^ Michelozzo who, when sent to Milan by his friend and patron 
 Cosmo de' Medici to amplify and adorn the Palazzo Vismara, which 
 had been presented to him by the Duke Francesco Sforza, sculp- 
 tured for it the very beautiful portal now preserved in the Renais- 
 sance museum at the Brera;^ and lastly, towards the close of the 
 century, the master of masters, Leonardo da Vinci, who painted the 
 fresco of our Lord's Supper in the convent of Santa Maria delle 
 Grazie, and modelled the equestrian statue of Francesco Sforza.^ 
 
 A bas-relief of the Adoration of the Magi in the Sala Capitolare 
 dei Padri at the Certosa, by an unknown sculptor of the latter part 
 of the reign of Filippo-Maria, may be taken as an example of the 
 transition period, as it combines elements belonging to each. The 
 Madonna, with the Infant Saviour in her arms, sits before a little 
 Bramantesque temple to receive the gifts of the wise men, behind 
 whom appear Filippo-Maria and his father Gian-Galeazzo amid a 
 crowd of figures, profusely gilded after the fashion of the old school, 
 and equally long in their proportions with those of the new, though 
 rounder in their forms.^ It has been suggested that this bas-relief 
 is an early work b}^ the brothers Mantegazza, not only from certain 
 characteristics of style but also because the only sculptors mentioned 
 in the records of the Certosa before their time were mere carvers 
 
 April 4, 
 1456. 
 
 ' Vasari, iii. 225-6. On his first visit Brunelleschi constructed the model of a 
 fortress for Filippo-Maria, and on the second ' disegno molte cose per il duca e per 
 il duomo di detta citta a maestri di quello.' 
 
 * See Tuscan Sculptors, i. 165. A description of the palace is given in the 
 manuscript treatise upon architecture by Antonio Filarete, Tuscan ai'chitect and 
 sculptor, who served the same duke as military architect and was employed by 
 him to build the great hospital, the corner-stone of which was laid by the duke in 
 the presence of an immense concourse of clergy, magistrates and people. The 
 scene was painted by Vincenzo Foppa under the portico of the edifice (Calvi, op. 
 cit. pt. ii. p. 61). Filarete describes the palace and the door in the 25th book of 
 his Trattato d' Architettura, MS. Magliabecciana Lib. at Florence. He says: 'Ha 
 tre parti, una da una costa e 1' altra dall' altra, ed una nel mezzo, la quale e degnis- 
 sima di marmo intagliato con varii intagli di figure, fogliami et spiritegli e feste ; 
 et r armi divise con la testa deli' lUustrissimo Francesco Sforza e quella dell' 
 Illustrissima Madonna Biancha ed altre varie figure.' It is to be noted that Filarete 
 says not a word about Michelozzo (see Tuscan Sculptors, vol. i. ch. vi. p. 167). 
 
 3 Tuscan Sculptors, vol. i. ch. vi. pp. 185-6. 
 
 * The portrait of Filippo-Maria was probably introduced among the spectators, 
 either because he was the donator of the relief, or in sign of gratitude for the 
 money he had given towards building the great cloister of the Certosa. The 
 arabesques, leaves, busts and little figures in relief about the cornice, base and 
 pilasters which enframe the bas-relief are evidently by the brothers Mantegazza, 
 whose hand is especially recognisable in the very pleasing groups of angels. 
 
LOMBARDY. 
 
 125 
 
 of capitals, cornices, &c., &c., called ' piccatores lapldum vivarum,' 
 such as Giovanni da Garbagnate, Lodovico de' Regis, Giovanni da 
 Como, and Fusina da Campione. 
 
 Cristoforo and Antonio Mantegazza were the sons of a Milanese The Man- 
 goldsmith named Antonio, who educated them in his own pro- ^ ^ 
 fession, which they afterwards abandoned, leaving their brothers 
 Giorgio and Giovanni to supply their places. When we first hear 
 of them they must have been working for some time at the Certosa, a.p. 1473. 
 as the prior Filippo de' Rancate then owed them 800 lire for sculp- 
 tured marbles. To discharge this debt he gave them a house at 
 Milan, which being worth more than the sum due they bound 
 themselves to make up the surplus amount by future work. That 
 they were artists of repute is proved by a commission for an 
 equestrian statue of the Duke Francesco Sforza soon after given 
 to them by the military and civil architect Bartolomeo Gadio, but 
 although they accepted it after some hesitation, calculated the 
 amount of bronze necessary to cast the group,^ its probable cost, 
 and asked to have a horse to serve as a model, they finally abandoned 
 a task for which they were manifestly unfit, and left it to be after- 
 wards carried out by Lionardo da Vinci to a result which proved 
 unfortunately but temporary. Another proof of the high esteem 
 in which they were held was their appointment as head-sculptors 
 of the marble-work for the fa9ade of the Certosa, but this they 
 were forced to share ■with Omodeo, who refused to work under 
 them. In their contract the Mantegazza agreed to submit the 
 marbles which issued from their workshops to appraisers. Amongst 
 the first which they presented were five sacrarii,^ two of which Oct 12, 
 still occupy their original places in the first chapels to the right 
 and left of the nave. One is adorned with a bas-relief of the 
 Madonna and Child with angels ; the capitals of its pilasters are of 
 the Corinthian order, and its flat spaces are covered with delicately- 
 sculptured angels, birds, flowers, and arabesques in low relief. The 
 other has the half-figure of a saint in its lunette, arabesques carved 
 upon its pilasters, and various ornaments upon its architrave. 
 Besides these works, and an image of the Virgin of which we know 
 
 ' 6,000 lbs. of bronze. Lionardo calculated that 100,000 lbs. would be required 
 to cast his equestrian group (see Tuscan Sculp, i. 184). 
 
 ' Sacrario,' a receptacle for utensils used by the priest during the celebration 
 of mass. 
 
126 
 
 ITALIAN SCULPTORS. 
 
 nothing, the Mantegazza offered for acceptance the elaborate altar- 
 piece in the Sala Capitolare dei Fratelli, which represents the Virgin 
 holding the dead body of our Lord upon her knees, attended by the 
 Marys and the mourning disciples. The angels in the gradino are 
 very quaint and charming. (See Woodcut.) In it, as in a similar 
 
 composition originally at the Certosa,^ 
 which bears all the marks of their 
 handiwork (see Plate XIV.), the eye 
 is disagreeably impressed by the ex- 
 tremely exaggerated gestures and facial 
 expression of the figures, the clinging 
 draperies which form a series of square 
 patches, and the very sharply-cut out- 
 lines, but at the same time it recog- 
 nises an earnestness and intensity of 
 feeling which commands attention and 
 respect. The praying angels and reliefs 
 carved upon the side-posts of a door in 
 the great cloister, and a dead Christ 
 with the Virgin and angels over a door 
 leading out of the right transept of 
 the church, are other examples of the merits and defects of the 
 A.D. 1482. Mantegazza. Cristoforo Mantegazza can have had little to do with 
 the sculptures of the fa9ade, as he died only a year after Guniforte 
 Solari, who designed and commenced it.^ Antonio Mantegazza con- 
 tinned his connection with the Certosa eight years after his brother's 
 death, and as payments were subsequently made to him for marbles 
 for the fagade, we may suppose that those among the many bas- 
 reliefs in his style are by him, and his scholar Alberto Maffiolo or 
 A.n. U89. Massioli from Carrara,^ who sculptured a bas-relief over the 
 
 1 This bas-relief, after passing into the hands of Signor Baslini the well- 
 known Milanese antiquary, was sent to Rome and restored by the sculptor Rosetti. 
 The engraving represents it in its original state of mutilation. 
 
 2 Bossi, MS. Bib. Melzi, cartella xv., says that Ambrogio Fossani detto II 
 Borgognone, who painted for the Certosa between 1490 and 1494, designed the 
 actual fa9ade. Calvi denies this and shows that while the first design was either 
 by Bernardo da Venezia (first architect of the Certosa) or by his successor 
 Guniforte Solari, that commenced by Omodeo in 1491 was undoubtedly designed 
 by him (op. cit. pt. ii. p. 163). 
 
 ^ See chapter on Can-ara. 
 
LOMBARDY. 
 
 127 
 
 Lavatojo dei Monaci, marked with all his master's peculiarities. 
 Antonio died six years after his removal to Milan, much lamented Oct. 7, 
 by the duke, who at the recommendation of Beatrice Visconti gave 
 his son Antonio a permanent post at the Certosa. 
 
 Giovanni Antonio Amadeo or Omodeo,^ who was by far the most Antonio 
 
 .... Omodeo, 
 
 remarkable of Lombard sculptors, was the son ot a certam Aloysms, j^^^ 
 who lived upon a farm near the Certosa,^ where the young sculptor 
 probably imbibed his first notions of art.^ He resembled the Man- 
 tegazza in his manner of cutting deeply into the marble, of disposing 
 his draperies in cartaceous folds, and of treating his surfaces very 
 flatly, even when he sculptured figures in high relief, but he 
 differed from them in many important particulars. He has been 
 called the pupil of Cristoforo, but we doubt whether he ever stood 
 in that relation towards him, as they are first mentioned together as 
 competitors for the commission to sculpture marbles for the fa9ade. 
 Eight years before this Antonio Omodeo, then aged nineteen, 
 worked at the Certosa with his brother Protasius, and in the follow- 
 ing year received a considerable sum of money and two bushels of 
 wheat in payment for sculptures, whose subjects are not specified. 
 We have, however, no doubt that they were the bas-relief in the 
 lunette, and the fruits, leaves, and delicate little figures of angels 
 upon the pilasters of the doorway leading from the small cloister 
 into the church. The bas-relief which represents the Madonna 
 enthroned, with the infant Christ upon her knee, St. John the 
 Baptist, a bishop, two kneeling monks, and groups of angels, is so 
 little marked with his style, that were it not for his signature its 
 
 ' In a letter written by the Cancelliere Bartolomeo Calco, and in various old 
 papers, he is called degli Amadei ; his name probably came from the town of 
 Madeo or Malleo, as it is often written de' Madeo or a Madeo (Bossi, MS. Bib. 
 Melzi at Milan, cartella ix.). 
 
 2 Omodeo was probably born on this farm, although he is sometimes called a 
 citizen of Pavia and sometimes of Milan. In a document dated October 10, 1495, 
 he is called citizen of Pavia, resident at Milan ; and in another, dated January 
 29, 1499, he is called citizen of both places, which does not necessarily indicate 
 that he was born in either (Calvi, Life of Omodeo, pt. ii. p. 143). 
 
 ^ Among the artists who preceded Omodeo at the Certosa were the Fratelli 
 Zaratteri and Pietro da Ripa in 1453, Vincenzo Foppa 1465, and Guglielmo da 
 Como in 1452. Angelino da Lecco who sculpt ui'ed a Nativity, Antonio da Lecco 
 and Giovanni da Cairate in 1464, Raimondo da Cremona who made terra-cotta 
 figures for the cloister, Giovanni Solari 1464, and his son Gnniforte who remained 
 there up to his death in 1481. 
 
128 
 
 ITALIAN SCULPTORS. 
 
 authenticity might be doubted. The next work of the two brothers 
 A.D. U69. -was probably the tomb of the Beato Lanfranco in the church 
 dedicated to that saint near Pavia, whose date is approximatively 
 fixed by the loan of twenty pieces of marble to the two brothers by 
 the superintendent of works at the Certosa, on condition that they 
 San Lan- should be replaced within a year.^ The romantic incidents in the 
 
 franco, ^ 
 
 born life of San Lanfranco ofifered an admirable series of subjects for the 
 
 A..D. 1005. . 
 
 bas-reliefs of a monument. He belonged to a senatorial family of 
 Pavia, and after receiving a liberal education, and obtaining renown 
 as a dialectician and jurisconsult entered a convent, but finding 
 the agricultural labour to which the monks devoted their leisure 
 too great a strain upon his body, and the narrow round of religious 
 exercises too irksome to his mind, he soon left it and travelled 
 to France. During the journey he was attacked by robbers who 
 bound him to a tree and left him to die ; in this dire extremity he 
 tried in vain to remember a single prayer, and conscience-stricken 
 vowed, that if his life were spared he would dedicate it to God. 
 Scarcely had the vow been made when some chance wayfarers came 
 to set him free, and at his request directed him to the neighbouring 
 convent of Bee, where he passed three years in total silence.^ We 
 next hear of him as the confidential adviser of William the Con- 
 queror, then Duke of Normandy, whose marriage with Matilda, 
 daughter of Baldwin Count of Flanders, provoked his censure, and 
 caused his banishment to Rome, where suddenly changing sides, he 
 pleaded the cause of his offended master, obtained the necessary 
 dispensation from Pope Nicolas, and furthered the schemes of the 
 duke against England with the utmost zeal. For these services he 
 was rewarded after the Conquest by promotion to the archbishopric 
 
 A.D. 1071- of Canterbury, ' with the special and avowed mission to use religion 
 for the subjugation of the English, by stifling the conquered people 
 beneath the mutual embraces of royalty and the priesthood,' and 
 ruled the English Church for seventeen years with a rod of iron.^ 
 
 His tomb The monument raised by Omodeo to this instrument of Papal 
 
 at Pavia. ^ 
 
 ' 1st. October 10, 14G9. Rogato Gabbi, Archivio del fondo della Beligione, 
 cited by Calvi, op. cit. 
 
 ^ Life of S. Lanfranco by Milano Crispino, cited by Cantii, St. degli Italiani, 
 vol. ii. ch. xc. pp. 461-2. 
 
 ' Histoire de la Conquete des Normandes, par Augustin Thierry, 2nd ed. vol. i. 
 pp. 253-4. 
 
LOMBARDY. 
 
 129 
 
 tyranny and Norman oppression, consists of a sarcophagus, elevated 
 upon six slender columns, adorned with bas-reliefs composed of 
 small figures delicately sculptured in the sharply-incised, picto- 
 rial style which marks all his subsequent works. The sides of the 
 cone, which rises above the sarcophagus and sei'ves as base to a 
 little temple, are covered with bas-reliefs representing scenes in 
 the life of our Lord. 
 
 Omodeo was next called to sculpture a monument which the famous Omodoo 
 
 frot'S to 
 
 condottiere Bartolomeo Coleoni ^ desired to erect to the memory of Bergamo 
 
 to scul 
 
 his beloved daughter Medea, in a chapel built and endowed for the turo tho 
 purpose at Basella, near Bergamo. The refinement of taste dis- ,"!ent of 
 played in its general design, as well as the delicacy of form and the cokoui. 
 'virginal purity'^ of its sepulchral effigy, make this tomb one of 
 the most charming works of its kind in Italy. The simply-disposed 
 recumbent figure of Medea, draped in the folds of a richly-embroi- 
 dered robe, lies upon a sarcophagus Avhose front is adorned with an 
 Ecce Homo and two mourning angels in relief, above which are 
 placed statuettes of the Madonna, the Magdalen, and St. Catherine. • 
 A delicate string of jewels encircles her head, which lies straight 
 upon an ornamented pillow, and a necklace is clasped about her 
 slender neck. Her face is turned upwards, her eyes are serenely 
 closed, and her arms peacefully folded upon her bosom. Hardly had Barto- 
 Omodeo completed this work when Coleoni decided to build a family cok-oni. 
 chapel at Bergamo, and erect within it a splendid monument to him- ^^nl m')-'°^ 
 self. With this intent he requested the authorities of Sta. jMaria 
 Maggicre to allow him to pull down one of its sacristies, and when 
 they refused took advantage of his almost royal power and, despite 
 the judicial proceedings instituted against him, cai'ried out his project. 
 The building, which was designed by Omodeo and nearly completed 
 before Coleoni's death, is quadrangular in form and surmounted 
 by an octagonal cupola. The extremely ornate fa9ade is decorated 
 with marble colonnettes, statuettes, bas-reliefs, busts, medallions, and 
 arabesques, and its flat spaces are covered with diamond-shaped 
 slabs of white, black, and red marble. The portal, which is in tlie 
 
 - ' Ticscan SoiJjifnr!^, i. 178-82. 
 ^ ' Un clief-d'couvre de grace ct do puretc toute virginalc' — Rio, cle VArt 
 cJiretien, iii. 269. 
 
 3 In tlie last century tlie monument of Medea was removed to the Coleoni 
 cliapel at Bergamo. 
 
 S 
 
130 
 
 ITALIAN SCULPTORS. 
 
 richest Renaissance style, is flanked by pilasters covered with exqui- 
 site arabesques and surmounted by a rose window, on either side of 
 which are busts of Caesar and Augustus, in roundels set between 
 Corinthian pilasters. A row of open arches supported upon little 
 columns decorate the upper part of the fa9ade, and at its angles are 
 placed double pilasters filled in with circular and diamond-shaped 
 medallions, vases of flowers, and arabesques. The cornices, pilasters 
 and architraves of the side windows are enriched -svith angels' heads, 
 medallions, and statuettes; and the two panels of the pedestals of 
 the truncated columns placed at the head of the flight of steps lead- 
 ing up to the portal, are adorned with bas-reliefs of children grouped 
 together with great freedom, and executed in a style free from 
 mannerism, and very true to nature. In one of these compositions 
 a little fellow is playing upon a lute, another upon a pipe, while 
 between them a third is supporting the helmet of a knight whose 
 ample plumes form the apex of the pyramidal group. The silent 
 music of these marble musicians harmonises well with the fa9ade, 
 which with its multiple colonnettes and pilasters reminds one of a 
 gigantic organ. 
 
 The first object which strikes the eye on entering the chapel is the 
 A.B. 150^. monument of its founder, crowned by his gilded equestrian statue, 
 which was made long after Omodeo left Bergamo by two unknown 
 German sculptors.^ It stands upon a sarcophagus decorated with 
 statuettes of the sons and daughters of Coleoni, and with bas-reliefs 
 of the Annunciation, the Nativity, and the Adoration. The short 
 columns which support it rest upon a base of the same shape, 
 elevated upon four columns with statuettes of Hercules, Mars, and 
 three seated warriors, said to represent Gasparo, Gherardo, and Marti- 
 nengo, the sons-in-law of the hero. Its sides are profusely ornamented 
 with exquisite arabesques, medallions, and 'putti,' and with bas- 
 reliefs of the Flagellation, the Crucifixion, the Deposition, and the 
 Entombment, separated from each other by statuettes of the Virtues. 
 These bas-reliefs are executed with astonishing facility and skill in 
 Omodeo's picturesque, energetic, and exjiressive style. The statu- 
 ettes, among which that of Charity is especially worthy of attention, 
 are many of them original and efi^ective, while the accessories are 
 
 ' These artists are called Sisto and Leonardo by some writers. Calvi says the 
 statue was made by an unknown sculptor from Nuremberg (op. cit. pt. ii. p. 149). 
 
PLANCHE XVI 
 
LOMBARDY. 
 
 131 
 
 models of elegance, and admirable examples of that refined taste 
 in ornament wliicli gives so great charm to the best works of the 
 ' Quattrocento.' But with all these merits of detail the monument 
 has the great defects of being divided into two disconnected and 
 superposed masses, and supported upon columns apparently too 
 slender for the weight laid upon them.^ 
 
 We do not know the precise date of Omodeo's return to Pavia, Omodeo 
 
 _ rotwrns 
 
 but he must have been at work there some time before October to Pa\-ia. 
 1478, as he then submitted to the approval of the prior and head at the 
 architect four ' sacrarii,' a ' morena,' or parapet for a well, in the 
 ' Lavatoio del Monaci,' and the richly decorated marbles of the portal 
 which leads from the left transept of the church into the old sacristy. 
 The latter consist of a bas-relief of the Resurrection in the 
 lunette, of medallions upon the architrave, and of many charming 
 groups of singing angels upon the doorposts. To this time we 
 should also assign a relief of the Deposition sculptured in a medal- BaK-reii.-f 
 lion which forms the central ornament of the front of the hi2;h alt; U'. position. 
 (See Plate XVI.) The dead body of our Lord is supported by the 
 Virgin and St. John, and two angels, while two mourning angels 
 float in the air above His head. The central group is in parts 
 almost in the round, and thus happily contrasts with the very flat 
 relief of the remainder. The composition is admirable, the drapery 
 skilfully arranged, the figures carefully modelled, and the heads 
 expressive, though wanting in ideality. 
 
 Thus occupied, Omodeo awaited the decision of the directors as 
 to whether the design for the facade of the Certosa offered by 
 Guiniforte Solari should be accepted, or a new one prepared. The 
 question being a delicate one, as Guiniforte was still head architect A.n. itsi. 
 of the buUding, it remained undecided until his death, when Omodeo 
 was put temporarily into his place, and charged with the work in 
 company with Benedetto Briosco, Antonio della Porta, and Stefano 
 da Sesto. It was not, however, till Omodeo received the appoint- a.d. i ioo. 
 ment of head architect that he made a new design, which was 
 accepted, and subsequently carried out by him and his successors. 
 He had in the mean time been working: at Cremona upon the shrine wm-ks 
 
 ° ^ at Cre- 
 
 moiui. 
 
 ' Tlie chapel and the monuments together cost more than 50,000 gold ducats, 
 not including the sum left by Coleoni in his will, to complete them (Calvi, oj^. cit. 
 pt. ii. p. 151). See also Ricci, ii. 645, G48 ; Bottari, Lett. PUt. ed. Rom. v. 277; 
 and Marc. Ant. MicarclH, Agri et Urhis Bergomatis Descriptio, 1511. 
 
 s2 
 
132 
 
 ITALIAN SCULrTOES. 
 
 A.D. 271. of the Egyptian martyrs Mario, Marta, Audifaccio, and Abaccuco, 
 Avho suffered death at Rome under the Emperor Claudius. Of this 
 shrine nothing exists but the sculptured panels of the pulpit of the 
 cathedral at Cremona,^ as it was broken up when the church of San 
 Lorenzo where it stood was pulled down. These reliefs represent 
 the emperor giving orders to his satellites, and the death of the 
 martyrs by divers kinds of torture. The sharp-edged and flat- 
 surfaced limbs, and cartaceous draperies of the numberless little 
 groups of figures form a series of delicate lines, which cross and 
 recross each other like the meshes of a spider's web. Anyone 
 familiar with Omodeo's style must also recognise it in five out of the 
 six bas-reliefs upon the sides of the sarcophagus, in the crypt of the 
 duomo at Cremona, which contains the bodies of SS. Pietro and 
 Marcellino, patron saints of the city. They have been attributed 
 to Giovanni Battista Malojo of Cremona,'-^ and Juan Domenigo da 
 Vercelli,^ two sculptors known to us only by name, who, if this 
 attribution be correct, must have been scholars and close imitators 
 of Omodeo, working under his eye, and carrying out his designs. 
 These reliefs are treated, like those of the pulpit, in the pictorial 
 style of Ghiberti, and in one of them, as in those of the baptistery at 
 Florence, a triple action is carried on by a saint, who is seen expel- 
 ling a demon from the body of a woman; looking through the bars 
 of a grated window; and being put to death. In another we see 
 several martyrs led away to prison, wliile the emperor, seated in the 
 garden of a splendid palace whose windows are filled with a crowd 
 of eager spectators, looks on from his throne; in another we witness 
 their decapitation, and the bearing of their souls to heaven by 
 
 * Zaist, Vdt. Sc. eel Arch. Cremonesi, i. 32, describes this slirine as a sarco- 
 phagus supported upon six colunuis and adorned with bas-reliefs. Vasari, xi. 2(51, 
 nota 2, and Cicognara, iv. 388, erroneously ascribe it to Geremia da Cremona, but 
 their error arose from their having mistaken the date contained in the inscription 
 upon the sarcophagus in the crypt, which reads properly, 'A. Amadeo F.H. O. 
 1482 die vi. Octobris,' and not 1432 (Morelli, p. 159, nota 64, notes to 1' Anonimo, 
 p. 36). Vasari mentions Geremia da Cremona at xi. 261 as author of a great 
 work in marble at San Lorenzo, and at iii. 241 speaks of liim (as does Tilarete in 
 his MS. treatise on architecture) as an excellent bronze- caster. Zaist (i. 31) 
 says that he knows of no other work by him than this shrine. Cicognara says he 
 long lived at Venice and executed many works there. 
 
 ^ Corsi, o£. cit. 
 
 ^ By r Anonimo, p. 34 ; Morelli in a note to this passage, no. 61, p. 158, says 
 tbe artist is unknown. 
 
PLANCHE XV 
 
LOMBAEDY. 
 
 133 
 
 groups of minute angels rising above the trees in the background. 
 To criticise these works would be to recapitulate what we have said 
 about other bas-reliefs by Omodeo. Classical taste rejects such 
 pictorial treatment in marble, but as we accept the license with 
 a protest in Ghiberti's case, we may do so in that of Omodeo, for 
 his also is a master hand. 
 
 Two very important monuments by Omodeo, which have been 
 overlooked by his biographers, may be seen in the family chapel of chapoi of 
 the Borromei on the Isola Bella. One is that of Giovanni Borromeo, romci at 
 the other that of an unknown member of the family. Both were Bdi?i. 
 originally erected in the church of San Pietro in Gessate at Milan, 
 and were probably sculptured between the time of his departure 
 for Cremona and his return to the Certosa. The general effect of 
 that to Giovanni Borromeo is admirable, and its infinite details are 
 marvellously worked out. The knightly statues are dignified and 
 noble, and more broadly conceived than is common with Omodeo, 
 Avhile the bas-reliefs show his usual skill in composition and delicate 
 chiselling. The sarcophagus is supported upon pilasters, masked by 
 six statues of armed shield-bearers, (see Plate XV,) upon pedestals 
 adorned with female figures and amorini in relief. The spandrils 
 of the arches which span the intercolumnar spaces are filled with 
 admirably-conceived figures in recumbent attitudes, and a highly- 
 ornamented frieze is carried round the monument directly under 
 the sarcophagus, whose sides are filled with eight bas-reliefs repre- 
 senting the Adoration, the Presentation, the Nativity, the Flight 
 into Egypt, the Annunciation, Christ among the Doctors, and the 
 Slaughter of the Innocents. Amorini and angels are sculptured 
 above each relief, and medallion heads are introduced above the 
 statuettes which separate them. The effigy of the deceased lies 
 below a small temple with statuettes at its corners, from each of 
 which hang curtains supported by little genii. The second monu- 
 ment though much less elaborate, is evidently by the same hand. 
 The sarcophagus, also crowned by a little temple under which sits 
 the Madonna with kneeling suppliants, is decorated with three bas- 
 reliefs representing battles, and rests upon eight columns of grey 
 marble sculptured with arabesques.^ 
 
 ' There is no record in tlic Borromeo archives of the date of the erection 
 of either of these monuments at Milan. 
 
134 
 
 ITALIAN SCULPTORS. 
 
 Omodeo After an absence of eight or nine years Omodeo returned to the 
 Certosa, Certosa as head architect, with a monthly salary of 12 imperial 
 lire. After constructing a clay modeP of the fa9ade to fix the 
 position of the many bas-reliefs and statuettes already prepared, 
 he began the long-projected work and carried it on without inter- 
 ruption up to the first corridor. As it is impossible to identify 
 every detail of this elaborate fa9ade with some one of the many 
 sculptors who worked for it,^ we shall content ourselves with pointing 
 out those portions whose individuality seems to leave little or no 
 doubt as to authorship. The great round arched portal, designed 
 and erected by Benedetto Briosco,^ rests upon four columns with rich 
 Corinthian capitals, and is flanked by eight pilasters covered with 
 bas-reliefs enframed in vine-work. The larger of these reliefs relating 
 to the history of the building, appear to be by Agostino Busti (who 
 certainly worked at the Certosa), while the smaller are by Omodeo, 
 and in his best manner. The sub-basement of the fa9ade is covered 
 with a series of medallions containing heads of the Roman emperors, 
 ' putti,' coats of arms, &c., &c. ; and the basement, with bas-reliefs of 
 very unequal merit, representing Adam and Eve, the Annunciation, 
 the Nativity, the Resurrection of Lazarus, the mocking of Christ by 
 the Jews, the Crucifixion, and the Resurrection. Many of these 
 marbles have been too much mutilated to allow of identification, 
 but in those which remain in tolerable preservation we recognise 
 the hand of Omodeo, or that of an artist trained in his school. 
 There can be no doubt however, that the master himself sculptured 
 the admirable bas-reliefs of kneeling bishops with attendant monks 
 and flying angels, which decorate the slabs of marble placed vertically 
 against the walls directly next the portal ; and the beautiful square- 
 headed windows on either side of it. which are divided by slender 
 columns in the form of candelabra, and surrounded by broad bands 
 of marble covered with elaborate ornament. For a short period 
 Omodeo was joint architect of the Certosa, and of the cathedrals of 
 
 ' For this model ho was paid 200 lire imperiali (Calvi, op. cit. pt. ii. p. 1G3). 
 
 2 The Mantegazza, Amedeo, Benedetti Brioschi, Ettoro d' Alba, Antonio da 
 Locati, Battista and Stefano da Sesto, Francesco Biondello, Giacomo Nava, ]\[arco 
 d' Agrate, Angelo Marino Siciliano, Agostino Busti, Battista Gattoni, Antonio 
 Tamagnini, Gio. Giac. della Porta, Giov. Or. Romano, and Cristoforo Solari detto 
 il Gobbo, all worked for the fa9ade. 
 
 ^ Briosco was to receive 8,000 lire imperiah = 160,000 francs, for this door. 
 
LOMBARDY. 
 
 135 
 
 Pavia and Milan, but when he undertook the great task of crowning 
 the Milanese duomo with a cupola he resigned his other offices and The cupola 
 removed to Milan. The directors of the Fabbrica had long persisted duomo at 
 in seeking a foreign architect. They first applied to the governor ^^^''"^gj 
 of Strasbourg, but as he professed himself unable to aid them, they 
 finally, against the declared wishes of Ludovico il Moro,^ gave the 
 apj)ointment to a certain Johann von Gratz, who promised to build the 
 cupola according to an already prepared model. Not only incapable 
 but dishonest, he wasted both money and time, and after destroying 
 their model, ran away to escape merited punishment. After this 
 rude lesson, and some further fruitless researches beyond the Alps 
 and in various parts of Italy, the directors concluded to look nearer 
 home, and called upon Omodeo and Giovanni Jacopo Dolcebuono^ to 
 compete for the commission with Simone de Sirtori, Giovanni 
 Bataggi da Lodi, and the celebrated Siennese arcliitect Francesco 
 di Giorgio, who was escorted to Milan by Caradosso, the well-known 
 Milanese goldsmith, who had been sent to Siena for the purpose. 
 When these artists had completed their models, a solemn assem- Juno 27, 
 
 1-190. 
 
 bly was held at the castle of Porta Giovia by the Duke Ludovico, 
 assisted by the chief dignitaries of Church and State, at which the 
 model presented by Omodeo and Dolcebuono was selected, with the 
 understanding that it should be modified under the direction of 
 Ambrogio Ferrari, then superintendent of public buildings.^ On 
 account of Omodeo's occupations at the Certosa the new architects 
 did not begin their labours till seven years later. They then 
 commenced tlie cupola, and had completed it to the summit of the 
 
 ' In a letter written by Ludovico from the camp of Fillino to kis brother 
 Ottaviano at Milan, he recommends Giovanni da Lodi, and begs him to use his 
 influence with the Fabbrica to exclude any German competitor (Calvi, op. cit. pt. ii. 
 p. 156). 
 
 2 A Milanese, who had attained great reputation as an architect by importaiit 
 works at Milan, Pavia and Lodi, and some notice as a sculptor, by a statue of 
 Christ with adoring angels which he had made for a chapel in the church of San 
 Celso. His associates were Lazzaro Rescliioso, Filippo da Castello, Battista 
 Amedeo and Pietro Briosco. Albuzzi (MS.) mentions his name among those of 
 other artists attached to the Certosa. Calvi suggests that he made the terra- 
 cotta ornaments of the great cloister, but gives no good reason for such belief. 
 Guide Mazzoni, Beggarelli and Angelo Bresciano were all eminent as workers in 
 this material at the time. 
 
 ^ Francesco di Giorgio was then honourably dismissed with a present of 
 100 florins, a silken doublet for himself, with one of more ordinary material for his 
 servant, and money for his travelling expenses. 
 
136 
 
 ITALIAN SCULPTORS. 
 
 A.D. 1503. 
 
 Spiral 
 •staircase. 
 
 A.D. 1499. 
 
 Troubles 
 and trials 
 of Omo- 
 deo's old 
 age. 
 
 A.D. 1519. 
 
 Dcatli of 
 Omodeo, 
 about 
 1520. 
 
 octagon, when doubts as to its solidity having been expressed by 
 Christoforo Solari and Andrea Fusina, the directors stopped the 
 works, and ordered the two architects to make a design for the north 
 door of the cathedral.^ Omodeo was also occupied in building the 
 spiral staircase leading to the roof of the edifice through a very 
 elegant Gothic turret, afterwards enriched with his medallion por- 
 trait, 'le dernier sceau qu'il mit a son ceuvre favorite.'^ The 
 annoyances and delays to which he was subjected find a parallel 
 in those which Brunelleschi underwent at Florence, and Michel- 
 Angelo at Rome ; and as the history of the latter has been entitled 
 ' La Tragedia del Sepolcro,' so may that of Omodeo be called ' La 
 Tragedia della Cupola.' The overthrow of Ludovico il Moro 
 deprived him of an efficient protector, and the death of Dolcebuono 
 not only left him without a friend and aid, but gave the directors 
 an opportunity of annoying him, by naming Andrea Fusina as his 
 new associate, after he had generously refused to exercise his right 
 to select a more congenial companion. He was then summoned 
 before the council to defend his work, and though he appears to have 
 answered all their objections triumphantly, he was not allowed to 
 pursue it, on account of the violent opposition manifested by 
 many of the artists connected with the Fabbrica.^ The council 
 endeavoured in vain to bring about a reconciliation between the 
 two parties, as neither would hear of concession. The painter 
 Bernardino Zenale, who had begun the study of architecture 
 very late in life, was chosen to prepare a new model, and this 
 act of hostility was followed by the appointment of Omodeo's chief 
 enemy Cristoforo Solari, to the post of architect. All these vexa- 
 tions weighed heavily upon the old artist,"* who shortly died ' ex 
 
 ' The Porta Aquilonare, afterwards closed by San Cai'lo Borromeo and made 
 into the Cappella dell' Albero. 
 
 ^ M. Rio, de V Art chrcticv, iii. 178. It is not known who made this medallion 
 or when it was set up. 
 
 3 The strictures of Solari and Fusina were evidently unjust since the weight of 
 the spire which they said would prove too great for the cupola was jint upon it in 
 1772 without any deleterious effect. 
 
 This unkind treatment of a tried nnd faithful servant was the more inex- 
 Nov. 15U. cusable as the Fabbrica had several years before accepted Omodeo's gift of a farm 
 at Giovenzano, and a yearly sum of 200 lire destined to furnish dowries for the 
 daughters of its sculptors. Struck to the heart by this and many other signs of 
 hostility Omodeo made a second will by which he devised the remainder of his 
 property to his relative Giovanni-lMaria Amadco, counsellor of the Fabbrica. 
 
LOMBARDY. 
 
 137 
 
 decrepitate,' ^ says the record ; worn out not less by adverse fortune 
 than by a long life of unremitting labour. Unquestionably first Qualities 
 among north Italian sculptors for dexterity in the use of his chisel, fectsofhis 
 facility in composition, and delicacy in treatment of form and * ^ ^' 
 drapery, Omodeo would have fairly ranked with the great Tuscan 
 Quattrocentisti had his style been exempt from mannerism, and had 
 he possessed a higher standard of beauty. He wanted that elevation 
 of taste, that judgment in selection of form as fit for re])resentation, 
 only to be attained by close study of the antique, for which materials 
 abounded in Tuscany, and were almost totally wanting in Lombardy. 
 The universal admiration which Lionardo da Vinci there met Avith 
 was not only rendered to his unrivalled genius, but also to the 
 perfect finish of his education as an artist. Unlike Florence, where 
 Lorenzo de' Medici could afibrd to look upon Lionardo with com- 
 parative coldness, since he possessed Michel- Angelo, Milan offered 
 no rival who could dispute the place of honour with him. Strange 
 to say, however, it was not the influence of da Vinci, but that of 
 Michel- Angelo which bore upon the next phase of the Milanese 
 school of sculpture, as we see in some of the works of Cristoforo Cristoforo 
 Solari,^ ' detto ' il Gobbo or del Gobbo,^ the son of Bartoli or Barto- 
 lomeo Solari, member of an old family which furnished several 
 architects and sculptors to Milan.^ Nothing is recorded of his early 
 education, but he must have already obtained some repute before 
 Omodeo was appointed head architect to the cathedral, as he is said a.d. 1490 
 to have himself aspired to that post, and to have been so piqued at 
 his defeat, that he went to Venice with his brother Andrea, and 
 resided there for several years, during which he sculptured a 
 
 1 ' 1622, die xvii Aug. Anton. Amedeus annorum 7-5 ex decrepitate {Necrologio 
 Milanese).'' Mazzuchelli, Mus. &c. torn. i. pi. xii. no. 4, gives a medal of Lionello 
 d' Este with the legend : ' Ama. Mediolan. Artifex fecit.' This is the only mcntioij v a^/C- 
 of Omodeo as a medallist. Zani, Enc. Met. ii. 274, doubts its authenticity. > / / ' 
 
 ^ Vasari, xi. 272, praises him as one of the best Lombard sculptors of his time. 
 Mentioned also at xii. 171, ibid., and by Gauricus, Be ScuJjjfum, p. 77, ed. Flor. 
 1544. 
 
 3 As his brother Andi-ea the painter is also called del Gobbo, it seems more 
 likely that the father was a hunchback than either of his sons. 
 
 * Giovanni Solari architect of the Certosa 1428, and another Giovanni in 1475. 
 So also Guiniforte Solari, a renowned architect, born in 1429. Agostino Solari was 
 sculptor at the Milanese duomo in 1506. Francesco Solari was also a sculptor 
 (Calvi, op. cit. pt.ii. pp. 75, 219). ' That Cristoforo il Gobbo was the son of Guniforte, 
 as stated by M. Rio, Art clirctien, vol. iii., has,' says Calvi, ' never been verified.' 
 
138 
 
 ITALIAN SCULPTORS. 
 
 St. George for a chapel in the church of La Carita,^ and the statue 
 of Eve to which Lomazzo refers in the lines — 
 
 ' Cristofor Gobbo 
 Vedi, scultore egregio a' tempi nostri 
 Del qual Venezia tien 1' antica madre.' ^ 
 
 A.D. 1495. On the death of Antonio Mantegazza, Solari was appointed ducal 
 i^®'? , sculptor^ and was recommended as such to the prior of the Certosa, 
 
 appointed '■ ^ 
 
 to the post thouoh it is doubtful if he ever worked at Pavia. The death of 
 
 of ducal . 
 
 .sculptor. Beatrice d'Este soon gave him an opportunity of distinguishing 
 lll'^j^' himself, as by virtue of his office he received the commission for 
 the monument which the duke immediately determined to raise to 
 her memory. Having completed his design he presented himself 
 Feb. 1498. ^i^g duke's name before the directors, to ask them to nominate 
 five sculptors from among those attached to the Fabbrica to 
 assist him in carrying it out, which was granted on condition that 
 Tomb of they should not be employed elsewhere.* The monument was 
 d' Este. set up in the apse of Sta. Maria delle Grazie, whence it was 
 removed to one of the side aisles, and finally, little more than a 
 ATI. i,5G4. century after, was broken np and sold to the highest bidder; the 
 sepulcln-al effigies were then purchased for the Certosa by Oldrado 
 da Lampugnano, for the trifling sum of 38 scudi a piece,^ and after 
 being first placed against the wall near the monument of Gian- 
 Galeazzo Avere set upon marble bases in its left transept. They are 
 most interesting as faithful portraits, and careful records of costume. 
 The duchess wears a closely-fitting hood, and her hair is curled in 
 small, elaborate ringlets, which fall upon her neck and about her 
 heavy placid face. The lids of her closed eyes are fringed with thick 
 lashes sharply cut out in the marble, and her figure is completely 
 enveloped in the folds of a rich dress covered with a corded net- 
 work, decorated with jewels and tassels. Her arms are crossed 
 
 ' Vide I'Anonimo, p. 86. 
 
 ^ Ch'otte-fcJii e Poesie. Lomazzo also mentions him in his Tratfafo dcUa Pittura, 
 vol. ii. ch. xlvi. p. 325. 
 
 3 His salary was 280 lire a year. 
 The five sculptors nominated were Ambroglo Ghisolfo, Lentino Ferrario, 
 Biagio Vairone, Giuliano Pasifico, and Benedetto dell' Onago. 
 
 ^ Anonimo Certosimo, MS. Bib. Brera, cited by Calvi, pt. ii. p. 223. Verri and 
 Corio say that the monument cost 15,000 gold scudi. We have no record of its 
 general design. Vasari, xiii. 118, says these statues of the duke and duchess were 
 to have been placed upon a tomb designed by Giov. Giacomo della Porta. 
 
LOMBARDY. 
 
 139 
 
 and partially concealed under her robe, and upon her feet she 
 wears shoes with extremely thick soles. The figure of her husband, 
 who is also dressed in the costume of his time, is worked out in an 
 equally realistic spirit. While looking at these two statues it is 
 interesting to remember, that the duke passed the night before 
 his escape from Milan on the approach of the army of King Louis ^.d. 1499. 
 XII. in watching by the tomb of his wife. She had been a support 
 to him in previous hours of danger,^ and this was a last and 
 touching proof of the attachment which he had always shown 
 to her while living, by associating her name with his in all public 
 acts and inscriptions, and by causing her portrait to be always 
 painted with his own.''^ Had she lived, he might perhaps have 
 been spared the loss of his kingdom, and those eight weary years 
 of captivity in the castle of Loches, which were closed by his 
 death; but when he lost her he was left to follow the dictates of a Death of 
 fluctuating and uncertain will, and daring too much not to have iUioVo" 
 dared more, he connnitted a series of mistakes which at last threw 1508.^^' 
 him into the power of his enemy.^ Although accused of some 
 grave crimes, he was in many respects a model sovereign, and a 
 
 ^ In 1495 when the duke, perceiving the fatal mistake he had made in inviting 
 Charles VIII. of France to cross the Alps, deliberated upon the wisdom of seeking 
 an asylum in Spain, Beatrice d'Este energetically opposed any such cowardly 
 counsels aiid induced him to form a league with the pope and the Venetians to 
 oppose the victorious progress of the French. Through her energy the Duke of 
 Orleans was driven out of Novara, the French abandoned the country and jieace 
 was signed within a year from the commencement of their triumphal march 
 through Italy. 
 
 2 A contemporary poet the Cavaliere Gaspare Visconti in the concluding lines 
 of a sonnet addressed to her in the hope of obtaining a desired favour thi'ougli her 
 intercession, says — 
 
 ' Donna beata e spirito pudico, 
 Deh fa benigna a questa mia richiesta 
 La voglia del tuo sposo Lodovico. 
 lo so ben quel che dico : 
 Tanta e la tua virtu, che cio che vnoi 
 Dello invitto suo cuor disponer puoi.' 
 
 (Verri, St. di Milano, ii. 75 ; Sonnets by Gaspare Visconti copied from his MS. in 
 the library of the Prince Alberico di Belgiojoso d'Este.) 
 
 3 A statue in alabaster of King Louis XII. made for the Cardinal d'Amboise at 
 Milan in 1508 by Ludovico Demugiano, a sculptor otherwise unknown to me, exists 
 in the Renaissance gallery at the Louvre. It is a timidly-posed, helpless-looking 
 figure dressed in a Roman military costume. The city represented in relief upon 
 the tablet which the king holds in his hand is probably Milan. 
 
 T 2 
 
140 
 
 ITALIAN SCULPTORS. 
 
 The arts 
 at Milan 
 under 
 Ludovico 
 Sforza. 
 
 Solari 
 goes to 
 Rome. 
 
 He is re- 
 called to 
 Milan, 
 and at- 
 tached 
 to the 
 duomo as 
 sculptor. 
 
 March 2, 
 1506. 
 
 Statue of 
 Christ. 
 
 Statue of 
 Adam. 
 
 Sept. 17, 
 1519. 
 
 A.D. 1520. 
 
 distinguished patron of arts and letters. Architecture flourished 
 during his reign under the influence of Braraante da Urbino; 
 painting, sculpture, and science under Lionardo da Vinci; and 
 letters under many eminent men whom he favoured by every means 
 in his power. Nor while he received foreigners with honour, did 
 he neglect to foster native talent, as we have shown when speaking 
 of the sculptors and architects whose names have come before us. 
 To all such his fall was a grave misfortune, and like the death of Pope 
 Leo X. at Rome was a signal for the dispersion of the artists who 
 had flourished around him. Among them was Solari, who went to 
 Rome, and there spent his time in study, until the directors of the 
 Fabbrica called him to join the band of sculptors attached to the 
 cathedral. How highly they esteemed him is proved by the words 
 in which they spoke of him ' as one who does the greatest honour 
 and glory to his native city of Milan, in which he stands unequalled 
 as a sculptor.' ' The conditions on which he returned were, that he 
 should not be placed under the control of the architects, but should 
 have full liberty to select marbles, and make statues as his fancy 
 dictated ; that he should work when he liked, and dine when he felt 
 hungry ; that he should be paid by the month and not by the day ; 
 and lastly, that if he fell ill he should receive his full salary duruig 
 a year, and after that time one half.^ The few works Avhich Solari 
 then sculptured do not justify his reputation. The statue of Christ 
 bound to the column, in the sacristy of the duomo, is a coarse, mus- 
 cular figure, utterly wanting in elevation. The Adam which stands 
 on the roof of the cathedral (see Plate XVII.) is more refined in 
 form, and more expressive, but is not marked with any striking 
 individuality.^ It represents him sorrowfully leaning on an instru- 
 ment of labour, with a little child seated at his feet. Several sta- 
 tuettes attributed to him are lost in the crowd of marble figures 
 scattered about the roof and sides of the cathedral.'^ Soon after his 
 appointment as head architect he assisted Bernardino Zenale in 
 making a new model for the cupola, in connection with which his 
 
 • Bossi, MS. cartella ix. p. 251. 
 
 2 Albuzzi MS. qiioted by Calvi, pt. ii. p. 225. 
 
 3 Vasari, xi. 273, attributes the Eve also to Solari, but Albuzzi shows on the 
 faith of unquestioned documentary evidence that it is by Angelo Marini detto II 
 Siciliano. 
 
 ^ Among these are a St. Helena, St. Sebastian, a Judith, a St. Lucia, St. John 
 the Evangelist, St. Peter, a Lazarus, a Longinus and a St. Eustace. 
 
LOMBARDY. 
 
 141 
 
 name appears for the last time on the registers, though he survived a.d. 1523. 
 some years longer, as it is affixed to an act of dower made to his 
 dausrhter-in-law at a later date.^ His scholars were Giovanni The 
 
 o ^ scholars 
 
 Dentone of Padua,^ Giovan Giucomo della Porta, an artist of some ofSokri. 
 repute, Girolamo da Kovara, author of a monument to the arch- 
 deacon Melchior Longhi in the porch of the duomo of his native 
 town, and Andrea da Fusina,^ who figures in the records of the AmU-eada 
 
 ' . . . . Fusina. 
 
 Fabbrica as continually asking for money in advance. This artist 
 made the tomb of Francesco Birago^ for the Chiesa della Passione, 
 which is tasteless and clumsy, though smoothly and skilfully 
 executed. 
 
 We know little more than the names of many of the sculptors Various 
 
 sculptors 
 
 who, clustering like bees about the cathedral at Milan during the last attached 
 half of the fifteenth century, made it the storehouse of their handi- cathedral 
 work.^ Both young and old found solid advantages in their con- ' 
 nection with the Fabbrica. Before being admitted to full privileges, 
 the young worked for a time without pay, in order to learn their 
 
 1 Anotiier paper preserved at the Certosa, mentions that owing to his inability 
 to write his own name he was obhged to liave it signed by proxy. 
 
 2 See chapter on Paduan sculptors. 
 
 ' Fusina is a town in the Valtelline. Franchetti, p. 143, Torre, p. 159, and 
 Bossi, cartella xv., state that Andrea worked at the Certosa. 
 
 * In making the Birago monument Andrea was assisted by the Milanese 
 sculptor Biagio Vairone author of a statue of David placed on the side of the 
 duomo towards the episcopal palace. His name was struck off the list of sculptors 
 attached to the duomo in 1496. Bossi, cart, xiv., mentions a bas-relief of the Last 
 Supper near the high altar of the Certosa as by him. 
 
 * Such are Matteo Castaldi styled in the records of the Fabbrica, ' Magister 
 cxpertus in signis et foliaminibus,' who in 1465 received 10 gold florins for a roundel 
 to be set in the first story of the campanile at Ferrara (Cittadella, op. cit. p. 100) ; 
 Matteo de' Revetti or Revertis, who made the now destroyed monument to the 
 Count of Valtero and Arquato (a.d. 1422) in the church of St. Elena at Venice, 
 which is described by Sansavino (lib. v. p. 210) as adorned with many admirable 
 little figures, rich leaf-work and varied ornament ; Maffeo da Milano, stone-cutter, 
 who after several years absence from the duomo at Milan on account of illness was 
 readmitted vnth full pay (a.d. 1491) ; and Pantaleone de' Marchi (1492), who 
 made twelve wooden statues for the Certosa at Pavia, and the choir stalls, 
 which were sold at Milan after the suppression of the convent by the French. 
 Ambrogio di Porris (1497), Bartolomeo di Bernardino de' Nova, Girolamo de' Nova 
 (1495), and Giuliano de' Parisiis or Parisio, an assistant of Cristoforo Solari, were 
 all enrolled among the cathedi'al sculptors ; as was Galeazzo Pellegrini, who also 
 worked at the Certosa, where he was commissioned to design the monument of 
 Gian Galeazzo, which was sculptured by Gian Cristoforo Romano. Pietro di 
 Martino (fl. 1450) is mentioned in the Neapolitan chapter of this volume as the 
 designer of King Alfonso's triumphal arch. 
 
142 
 
 ITALIAN SCULPTORS. 
 
 art/ while the old and infirm retired on pensions.''^ Expulsion was 
 the penalty incurred by those who went to work elsewhere Avithout 
 special permission, but in certain cases where adequate excuses 
 could be offered the offenders were readmitted.^ Few Milanese 
 sculptors went abroad,^ which proves that they found ample and 
 remunerative employment at home. Among those who did so Ave 
 AmVirogio find a remarkable artist, commonly called Ambrofrio or Ambrojrino 
 
 daMilano, i 
 
 1474. da Muano,^ none of whose sculptures are to be met with at Milan ; 
 
 his skilful hand was employed in carving trophies, military emblems, 
 flowers, birds, and children, about the doors, windows, and chimncv- 
 pieces of the Ducal palace at Urbino.^ The utmost elegance and 
 
 ' Such as Battista da Ripa (1491) who afterwards worked under Omodco, 
 1496. 
 
 2 Like Antonio de' Resgiovis who was attached to the duomo from 1415 
 to 1465. 
 
 3 This was the case with Aloisio Lomazzo, Ambrogio di Arluno (1500), and 
 Ambrogio Ghisolfi. His brother Giovanni Pietro sculptured the arms of Lodovico 
 Sforza over the portal of the castle of Milan which were thrown down by the 
 soldiers of Louis XII. 
 
 ■* Maestro Pietro Briosco was commissioned in 1442 to terminate the work 
 about the doors of St. Petronius at Bolog-na. A Maestro Scilla worked at Naples 
 under Andrea Ciccione upon the tombs of King Ladislaus and Ser Gian Caracciolo. 
 See Neapolitan chapter. Other sculptors of ornament (lapicide) attached to the 
 Duomo in 1490-1496 are Gio. Ambrogio de' Locate or de' Donati, Gio. Ant. de 
 Besozzo, Gio. Ant. Taverna, Gio. Ant. de' Mapolinis, Girolamo da No vara, Luigi 
 da Sesto, elected prior of the Sculptors' Guild in 1494, Cristoforo de' Stucchis 
 and Gio. Fregella 1491-1494-1497 ; Stefano Battista and Paolo da Sesto, dismissed 
 for some unknown reason in 1496. The latter artist worked at the Certosa in 
 1513. 
 
 ^ ' Magister Ambracius, lapicida et sculptor egregius,' was one of the witnesses 
 to Giovanni Santi's vsill ; (Pungileoni, Elogio Storico di O. Santi, p. 136 ; Passavant, 
 Fr. tr. i. 42.) From him descended the Barocci d' Urbino, a family which gave 
 both painters and mathematicians to Italy. Federigo Baroccio the famous paiuter 
 was the grandson of Ambrogio da Milano, and son of Ambrogio the jurisconsult 
 (vide Bossi and Cattaneo, MS. Bib. Melzi, vol. ii.). Passavant, Fr. tr. p. 380, says 
 there were several families of this name at Urbino. 
 
 ^ In the Cronaca Rimata, written by Giovanni Santi, that painter poet tells us 
 that when Federigo Feltri built his palace at Urbino— 
 
 ' Per ornando ben d' ogni diletto. 
 Tiro de' tucta [s/c] Italia i piu famosi 
 Intagliator de' marmi, et come e decto [s/c] 
 Dispense 1' opre.' 
 
 MS. in the library of the Vatican, no. 1305, printed at the end of Passavant's 
 life of Raphael, French translation. Among the armorial bearings upon the painted 
 shields in the gTcat hall belonging to allies of the Montefeltro family is the Lion of 
 St. Mark. This emblem and the letters F. C. prove that this part of the palace 
 was built before 14/4, while Federigo was still Count of Urbino (Passavant, Fr. tr. 
 
LOMBARDY. 
 
 143 
 
 purity of taste is shown in these decorations. The architrave of 
 one of the fireplaces is adorned with a row of dancing Cupids, and 
 the jambs with reliefs of Avinged boys 
 holding vases filled with growing roses 
 and carnations, whose structure and 
 wayward growth show the closest and 
 most loving study of Nature. (See 
 Woodcut.) In the leaves, flowers, and 
 birds colour alone seems wanting to 
 give life. Well may Giovanni Santi 
 eulogise them as — 
 
 ' Mostrando quanto clie natura 
 Possa in tal arte.' 
 
 This ornamental sculpture is (like all 
 the best Renaissance work) no arid 
 imitation of the antique, but a new 
 growth from that parent stem, and Ave 
 do not know any other work of the 
 kind comparable to it, not even ex- 
 cepting that at Venice by Ambrogio's 
 contemporary Pietro Lombardo.^ Our 
 artist shoAvcd himself equally excellent 
 as a monumental sculptor in the tomb of Tjorenzo Roverella, phy- Tomb of 
 
 * . Loronzo 
 
 sician to Pope Julius II. and afterwards l>ishop of Ferrara, in the Koverciia 
 
 Jit I'orriir;! 
 
 church of San Giorgio, outside the Avails of Ferrara.^ Its style is died U75.' 
 
 i. 17). The most important work upon tlie ducal palace at Urbino is tliat by 
 Fr. Arnold entitled Der lierzogllclie Palast von Urbino, Leipzig, 1857. The first 
 architect of the palace was Mo. Luciano da Lausana in Dalmatia, who received his 
 appointment through a letter written by the Duke Federigo from Castel Papia 
 June 10, 1468. It was finished by Baccio Pintelli. Ambrogio da Milano and 
 Gondolo Tedesco are spoken of as employed to ornament it. The beautiful stone 
 ornaments are attributed to the first, and the intarsia work to the second. 
 
 ' Passavant, op. cit. p. 378, attributes the chimney-pieces to Fco. di Giorgio 
 from Siena. Baldinnucci says he designed them and Ambrogio sculptured them. 
 A glance however at the roilitai\y bas-reliefs by the Sienese artist in the palace at 
 Urbino is suflRcient to convince one, that he cannot be the sculptor of the orna- 
 mental work of which we have been speaking. 
 
 2 Bossi, MS. cit., quotes Zani in favour of the identity of the Ambrogio at 
 Urbino and him at Ferrara. The tomb is signed and dated Ambrosii Medio- 
 lanensis, op. 1475. Cittadella, in his Notizie di Ferrara, p. 47, under the date 
 1500, quotes a doctmient of payments made to M° Pietro Martino and Barto. di 
 Cavalli da Verona for work done in the duomo at Ferrara ; adding that for the 
 
144 
 
 ITALIAN SCULPTORS. 
 
 pure Quattrocento, and its general arrangement that adopted by the 
 Tuscan masters. The recumbent effigy lies upon a sarcophagus 
 within an arched recess adorned with cherub heads. Outside the 
 arch are two 'putti;' upon the top is a group of St. George and 
 the Dragon; and within the lunette a roundel containing a group 
 of the Madonna and Child Avith adorina: ano;els. On either side of 
 the recess are five excellent statuettes of saints. The technical 
 handling is admirable throughout, and with the exception of the 
 masterpieces of the Florentine sculptors at Florence and Lucca, we 
 do not know of any monument so beautiful in design or so free from 
 mannerism as this. We have no knowledge of where Ambrogio 
 studied, or how long he lived, and any conjecture as to the length 
 of his career would be hazardous, as his works at Urbino and 
 Ferrara were sculptured at very nearly the same period. 
 Ambrogio One of the most eminent artists of this time was Ambrogio 
 
 Canidosso, 
 
 born 1470. Caradosso detto Foppa and del Mundo, goldsmith and sculptor, who 
 though generally called a Milanese was probably born at Pavia.^ 
 According to Cellini ^ his surname of Caradosso was given to him 
 by a Spaniard for whom he had neglected to finish some pieces of 
 jewelry, and to whom he made his excuses in his strange Milanese 
 dialect with such curious contortions of face, that the Spaniard 
 cried out ' Hai cara d'orso ' — you have the face of a bear. This 
 may be a flight of Cellini's fancy, but certain it is that our gold- 
 smith signed himself Caradosso del Mundo, as the reader may see 
 by referring to the letters printed in the Appendix,^ which he wrote 
 
 latter artist some chronicles substitute M° Ambrogio da Milano, who in 1475 
 worked at the ' Officio delle Biade ' with the Mantuan sculptors Abertino and 
 Luigi Rusconi. The same writer at p. 95 cites a document dated March 20, 
 1473, in which Ambrogio da Milano is said to have been paid 70 ducats of 
 Venetian gold, probably for the construction of the loggia ' degli Strazzaroli ' (cloth 
 and silk merchants) with the help of the Rusconi. Ambrogio had a son named 
 Cristoforo who is recorded as a sculptor in 1511. This artist is probably identical 
 with that Cristoforo da Milano who with other sculptors was employed in 1540 to 
 adorn the Palazzo della Ragione at Ferrara (Ricci, St. dell' ArcJuttetura, iii. 174). 
 
 1 Vasari, vi. 3, and Morelli, p. 205, nota 2, give Pavia as his birthplace. 
 Cellini, Vita, p. 50, calls him a Milanese. He is often confounded with the Milanese 
 painter Vincenzo Foppa. Bossi, MS. cit., says he was born about 1470. Di Milano 
 says he wrote an excellent treatise on Perspective. 
 
 ^ Trattato delV Orificeria, p. 30. 
 
 3 See Appendix to Chapter IV. Copied by Bossi from the originals in the 
 Archivio di San Fedele at Milan. See his MS. in the Biblioteca Melzi from which 
 we transcribed them. 
 
LOMBARDY. 
 
 145 
 
 to Lodovico il Moro, when sent to buy some of the jewels and pre- 
 cious objects of art belonging to Piero de' Medici, offered for sale at 
 Florence and Eome after his expulsion. As the last part of his 
 correspondence with the Duke is unfortunately lost, Ave cannot 
 follow Caradosso to Rome, where he eventually established himself, 
 and gained great reputation as a medallist and goldsmith.' Vasari 
 praises very highly the medal which he made of Bramante, and 
 the coins which he executed for popes Julius and Leo X.;^ and 
 Benvenuto Cellini, who was not wont to laud his rivals, tells us in 
 his Autobiography that he regards Caradosso as the most skilful 
 goldsmith he has ever met, and that his talent inspires him with 
 more envy than that of any other maestro.^ 
 
 The only existing monument of Caradosso's skill is a gold pax, 
 made for the Cardinal de' Medici (afterwards Pope Pius IV.) and 1527. 
 presented by him to the cathedral at Milan. This exquisite work 
 consists of a bas-relief representing the Descent from the Cross, 
 enframed between two little columns of lapis lazuli upon bases 
 adorned with stone cameos. In the lunette are the arms of Popa 
 Pius and a group of angels bearing the instruments of the Passion, 
 and above the arch is a figure of God the Father sustained by 
 cherubim. Two adoring angels stand in the centre, and two at 
 either end of the architrave.'^ Amonjx his other works which have 
 shared the fate of so many treasures of art, \a hose precious material 
 has led to their destruction in times of war or necessity, was a 
 magnificent inkstand of gold, bought by King John of Aragon for 
 1500 gold pieces, and looked upon throughout Italy, says Ambrogio 
 Leone, with the utmost admiration. The four bas-reliefs upon it 
 
 ' We get a glimpse of Caradosso at Rome in one of Balthazar Castiglione's 
 letters to Pederigo, Marquis of Mantua, who had written to inquire about a piece 
 of goldsmith work for which he had advanced a sum of money. The ambassador 
 says that it will be finished at Easter, and that as Caradosso only works upon it 
 when he is in the vein it will certainly be his masterpiece. Bossi, MS. cit., says, 
 ' Si sa che questa impresa era il monte Olimpo.' 
 
 ^ Vita di Bramante, Vasari, vii. 135. 
 
 2 How genuine this admiration was on his part is proved by his refusal to 
 accept any payment for a chiselled cap-button from a gentleman who declared it 
 to be superior to those for which Caradosso received a hundred scudi apiece. 
 ' Such praise,' said Cellini, ' is payment enough for me, since the highest reward 
 that can be given me for my labour is to be assured that I have approached in 
 excellence the works of so great an artist.' — Cellini, Vita, pp. 50, 56. 
 
 See Franchetti's Duomo cli Milann, tav. xxx. and pp. 84, 85 ; also Eiic. 
 Arflxfka, by Dr. G. Buti, pp. 6, 8. 
 
 U 
 
14(i ITALIAN SCULPTORS. 
 
 represented the battle of the Centaurs and Lapitha?, the rape of 
 Ganymede, and two of the labours of Hercules.^ We should not 
 know that Caradosso worked in marble were it not for a passage in a 
 Jan. 2, letter written by a disting-uished amateur, Mons. Lodovico Gonzaga, 
 
 1601. _ Jo •) n 1 
 
 Bishop of Mantua, to Francesco Binasco, whom he employed to 
 collect works of art. ' I do not wish anything by Caradosso,' writes 
 the prelate, ' but the marble figures and heads, and I shall be most 
 obliged to you if you will see them and send me a list of them by 
 the bearer of this letter, and as I know by the head which you drew 
 in your letter that you take pleasure in using your pencil, I wish 
 you would gratify rae by making a sketch of the said figures and 
 heads; not a finished drawing such as would take much trouble 
 and involve loss of time, but sufficiently large to allow me to form 
 a judgment about them, since marble-work unless it is really 
 excellent is not worth having.'^ 
 
 We only know Caradosso as a sculptor by a terra-cotta mortorio 
 in a chapel of San Satiro at Milan,^ consisting of a number of life- 
 size figures grouped around the dead body of our Lord. (See 
 Tailpiece.) Their faces and attitudes are expressive, and their 
 proportions are generally correct, but the effect of the whole is 
 exactly that of a ' tableau vivant ' out of one of those old ' Mysteries' 
 so connnonly acted in the Middle Ages, and still performed by the 
 peasants of the Bavarian mountains. 
 Agostino The most celebrated Milanese sculptor of the first half of the 
 
 dettoBam- sixteenth century was Agostino Busti, surnamed Bambaja.^ His 
 Gaston f^mc rcsts upou ouc great unfinished work, the tomb of Gaston 
 de Foix, Foix,^ the nephew of Louis XIL and governor of Milan, who 
 
 died ' ^ 
 
 April 11, 
 
 ' Morelli, Notizle del Disegno delV Anonimo, p. 205, note 119. 
 Belle Arti e decjli Artefici di Mantova, del Conte Carlo d' Arco, vol. ii. p. 197, 
 no. 225. 
 
 ^ Torre, ojh cit. p. 48, speaks of this mortorio as by Cai'adosso. So does 
 Lomazzo in his Temjno della Pittura, p. 103. 
 
 Called also Bambara, Zambaja and Zambaglia. 
 
 ■'' He commanded the French troops in the war against Pope Julius II., ^^•ho 
 had allied himself with the King of Aragon and the republic of Venice, in order 
 to recover the territory which had been wrested from him by the French. Having 
 forced the Papal army to raise the siege of Bologna, Gaston de Foix made a rapid 
 march of eight days to Brescia, which had been shortly before taken by the 
 Venetians, carried it by assault, and gave it over to the tender mercies of his 
 soldiers, Avho in a few days almost destroyed one of the most flourishing cities in 
 Lombardy. He then entered the Romagna and gave battle to the troops of the 
 league, and Pedro Navarre. After a short and terrible conflict between the two 
 
LOMBAKDY. 
 
 147 
 
 fell at the battle of Ravenna after a short am glorious career of 
 two months, 'qui fut toute sa vie et son immortalitc.' ^ His body- 
 was recovered by his followers and taken to Milan, where it was 
 placed in a leaden coffin covered with a splendid brocade embroi- 
 dered with the lilies of France, and suspended m the cathedral 
 between two columns. Below it hung the sword of Julius 11. in a 
 sheath of gold, and many banners also taken at Ravenna. A year 
 later when the French were driven from Milan, the victorious Swiss 
 took the body of Gaston and exposed it upon the ramparts of the 
 castle, whence some revei'ent hands removed it to the church of 
 Sta. Marta.^ After the battle of Marignano which once more gave a.d. isi.) 
 Milan to the French, Francis 1. commissioned Bambaja to erect a 
 magnificent tomb in honour of the young hero. He worked upon 
 it for eight years and then left it incomplete,^ but a drawing 
 in the South Kensington Museum'' shows us (see Plate XVIII. r)ef,>.nfor 
 
 tho fcinl) 
 
 No. 1) his entire design.^ The flat sides of the sarcophagus ofciasiui. 
 are adorned with bas-reliefs, separated from each other by pro- B-imbaja. 
 jecting pilasters upon which stand statuettes; and its curved base 
 is supported upon foliated lions' feet, and decorated with a rich 
 cornice. The mortuary couch is surrounded by candelabra, and 
 the whole structure raised from the ground upon a flat basement 
 resting upon double pilasters, on Avhich stand figures of the Virtues, 
 and below which sit others of apostles and prophets. This very 
 noble tomb was intended to stand in the middle of a chapel Aviiose 
 
 armies, which mimbered in their ranks the best soldiers of Christendom, the 
 French routed their foes and made many important prisoners. At this crisis 
 Gaston de Foix, as yet unharmed, saw a band of Spaniards retreating along the 
 river Ponco, and mistaking the few fugitives who fled before them for an important 
 body of French troops, rushed madly in pursuit. In an instant he was surrounded, 
 struck from his horse and killed, boldly defending himself to the last. 
 ' Henri Martin, Ilisfoire de France, vol. vii. p. 400, note 1. 
 
 2 MS. by Andrea da Prato, cited by Franchetti, ojh cit. p. 90, note 1, and by 
 Verri, ii. 119. 
 
 ^ This is disputed. Lattuada, Besc. di Milano, v. 56, in proof of his opinion 
 that it was set up at Santa Marta, cites the following inscription fi-om a tablet 
 placed upon the wall below the statue of Gaston de Foix when the old church 
 was restored : ' Cum in asde Martha^ restituenda ejus tumulus dii-utus sit hujusce 
 coenobii virgines .... hoc in loco coUocandum curavere,' a.d. 1074. 
 
 ■* Vide Illufif rated Catalogue by J. C. Robinson, Esq., pp. 170 et seq. The 
 drawing, ascribed to Lionardo da Vinci, was purchased at the Woodbura sale. 
 
 * See Vasari, xi. 271, and viii. 183, Vita di R. da Montelupo; also Cicognara, 
 lib. v. ch. v., and Biondelli's article on Bambaja in the Folitecnico di Milano, 
 no. iii. pp. 222 et seq. for notices of Bambaja and his works. 
 
 u 2 
 
148 
 
 ITALIAN SCULPTORS. 
 
 walls were to have been ornamented with bas-reliefs by Bambaju. 
 Those which fill the flat spaces of the pilasters are composed of 
 arms, trophies, instruments of music, and horses, almost detached 
 from the background by deep cutting, and are marvels of skilful 
 workmanship (see Plate XVIII. No. 2), but we cannot extend our 
 admiration to the statuettes and reliefs belonging to other parts 
 of the tomb, which are wanting in style and purity of outline.^ 
 Of all the fragments of this monument none moves us like the 
 mutilated statue of the young soldier, which was taken to the Brera 
 when the convent of Sta. Marta was suppressed by the French 
 (see Plate XIX.). Olothed in armour and wearing a helmet 
 wreathed with laurel upon his head, he lies in a simple attitude, 
 with his arms crossed upon his breast, and a severe and dignified 
 expression in his face, ' quasi tutto lieto nel sembiante, cosi 
 morto per le vittorie avute.' Were it not for this one statue, we 
 should think Bambaja overrated, notwithstanding his really great 
 skill as an ornamental sculptor. The details of his small monu- 
 Monii- ment to Lancinus Curtius in the Renaissance museum at the 
 Laneinus Brera ^ are excellent, but the general design is meagre and in 
 bad taste. Upon a tablet below the resumbent effigy is an 
 
 ' Fragments are to be seen not only at Milan, but also in Spain and England. 
 Those in the Ambrosian library, consisting of three pilasters covered with trophies 
 and military emblems, were bequeathed to it by Cesare Piatti, nephew of the 
 Cardinal Flaminio Pitti, who purchased them for 200 gold scudi when the convent 
 of Santa Marta was restored. At Castellazzo, the villa of the Marchese Busca 
 near Milan, there are seven bas-reliefs, three pilasters, and six seated figures, 
 which were bought in the early part of this century by the Count Giuseppe- Maria 
 Arconati. Three seated statuettes may be seen at the Brera, and four others at 
 the church of Chiaravalle in the neighbourhood of the city ; in the museum of the 
 Academy at Turin there are four pilasters, and in the museum at Madrid two 
 unfinished reliefs, one of which represents a procession of soldiers barely sketched out 
 in the marble ; lastly, there are two statuettes of Fortitude and Charitj'-, and three 
 important reliefs in the South Kensington museum. The first (1515) represents a 
 warrior leading a horse and is inscribed with the motto ' Nunquam teutes aut 
 perfice;' the second (1518), men shooting upwards, standing on either side of a 
 truncated column with the devise ' IIIebso lumine solem.' In the third, a warrior 
 crowned by Apollo sits upon a triumphal car above which Jupiter and the Eagle 
 appear in the clouds. This relief beai'S the latest date (1523) connected with 
 the monument, but it is probable that Bambaja continued to woi'k upon it until 
 the defeat of the French at Pavia in 1525. 
 
 * Originally in the cloister of the church of St. Mark at Milan. It is in- 
 scribed : ' Opus Anguf.tini Basti. A.D. 1513. absolut. e. ccenobio. S. Marci. Mediol. 
 translat." 
 
LOMBARDY. 
 
 149 
 
 inscription^ lauding this eminent man of letters, who wrote Latin 
 poems and epigrams, and made an excellent Latin version of the 
 poems of Callimachus. A second tablet sustained by winged horses, 
 emblems of poetical genius, and volute-shaped flaming torches, 
 typical of the light which it sheds, is placed above the sarcophagus, 
 and contains a bas-relief of the three Graces. This monument is 
 surmounted by a crowned female genius, below which are winged 
 figures of Victory with a palm branch, and of Faith with a torch 
 flanked by putti with candelabra.^ Bambaia was attached to the Woiks by 
 
 '.,1.1.11 Bambaja 
 
 Fabbrica during the last ten years of his life,^ dunng which he in the 
 made the mediocre monuments of the Cardinal Marino Caracciolo, Milan, 
 governor of Milan, and of the canon Giovanni Andrea Vimercati 
 for the Duomo. Nothing could well be more cold and bald than 
 the architectural design of these late Renaissance tombs, or 
 more uninteresting than their accessories. Five years before his 
 death Vimercati commissioned Bambaja to sculpture a bas-relief 
 representing the Presentation of the Virgin for an altar in the left 
 transept.'* Here again he failed to produce a work worthy of his re- 
 putation. The composition is poor, the figures are inordinately long, 
 and utterly wanting in expression and elevation of style. Bambaja's 
 name appears in the list of artists who worked upon the fa9ade of 
 the Certosa, but we look in vain among its many bas-reliefs for some 
 trace of his co-operation.^ We have no such doubt as to his having 
 
 ' ' En virtutcm mortis nesciam ! Quascumque lustraiis oras : 
 
 Vivet Lanciiius Curtius Tantum possunt Camenae.' 
 
 Sascula per omnia, 
 By the historian Paolo Giovio. 
 
 2 Engraved by Cicognara, vol. ii. tav. 79. 
 
 ^ Franclietti, p. 77, nota 1, says Bambaja was attached to the Veneranda 
 Fabbrica July 16, 1537, and remained so till his death in 1548. 
 
 October 23, 1543, Vimercati deposited 2200 ducats in the hands of the 
 treasurer to pay for these works. See Franchetti, op. cit. p. 77. 
 
 ^ It is true that those upon the side pilasters of the portal, which represent the 
 history of the edifice, have certain points of resemblance with the bas-reliefs of 
 the Presentation at Milan, in the extreme length of the figures, and with the 
 compositions upon the tomb of Gaston de Foix in the combination of basso- with 
 alto-rilievo, but these are not distinctive marks, and we are the less inclined to 
 accept them as indications, because the said reliefs are very much superior in 
 style and composition to any of his known works. The draperies are simply 
 treated, and fall in straight-lined well-arranged folds, whereas those in the 
 statuettes and bas-reliefs belonging to the tomb of Gaston de Foix are fluttering 
 and cut up ; so also the architectural backgrounds are of a purer Renaissance 
 style than those of Bambaja. 
 
150 
 
 ITALIAN SCULPTORS. 
 
 Tomb by sculotured a tomb in the family chapel of the Borromei on the Isola 
 
 Bambaja .... 
 
 at Isola Bella, although it is neither signed nor dated, for the bas-reliefs 
 
 Bella. ' o o i 
 
 of the Agony in the Garden, and the Flagellation, and that of a 
 warrior marching in triumph surrounded by a crowd of soldiers and 
 people, as well as the birds, masks, festoons, and arabesques upon 
 the sarcophagus need no signature or documentary evidence to 
 substantiate their authenticity. In them as in his other works Av^e 
 find great excellences, counterbalanced by those great defects which 
 characterise the art of his time. Even in ornament as excellent 
 as that upon the pilasters of the tomb of Gaston de Foix he violated 
 the laws of sculpture by the introduction of drums, banners, and 
 other objects equally unfit for representation in marble, and in his 
 bas-reliefs disregarded the bounds which should regulate treatment 
 of subject in sculpture. 
 Contem- Among his contemporaries were Antonio di Domenico da Ligorno 
 
 artists. or Ligiuuo (a province of Como), Avho is styled ' egregius sculptor ' 
 A.D. 1608. document of the time;^ Bernardino da Milano, who assisted 
 
 Giacomo da Ferrara in sculpturing the frieze of the Palazzo Castelli 
 A.D. 1522. at Ferrara after the designs of Baldassar Peruzzi ;^ and Galiiius de 
 A.D. 1475. Cozteno, a native of the Valtelline;^ Antonio di Santo, who long 
 lived and worked at Reggio Avhere he adorned the portal and stair- 
 A.D. 1503. case of the palace of Count Borsio Sforza;"^ Gristoforo da Milano, 
 A.D. 1509. who worked at Ferrara;^ and Bernardino from Milan or Lugano, 
 a noted bronze-caster, who was employed to cast the figures of St, 
 John disputing with a Levite and a Pharisee, which Francesco 
 Rustici had modelled for the baptistery at Florence. For each 
 statue he was to receive 400 florins, with the condition that in case 
 Marco of failure he should forfeit 300.'' The reputation of Marco Ferrari, 
 called from his native town near Milan, da Gra or Agrate, is not 
 borne out by his statue of St. Bartholomew in the cathedral at 
 
 ' Cittadella, op. cit. p. 661. 
 
 2 Ibid. p. 318. 
 
 3 Bossi, MS. cartella viii. 
 
 ■* Campori, Art. Eat. p. 316, op. cit. In a filza from the ArcJiivio di Parma 
 cited by Gualandi, Mem. etc. 6tli series, 31, 33, this artist is styled ' Mo. Antonio 
 di Domini Sancti ; habitat in civitatis Regii in vie. Scti. llaphaelis.' 
 
 5 Cittadella, op. cit. pp. 318, 423. 
 
 ^ Vasari says they were cast twice. Tliey were finished iu 1511 (vide Tuscan 
 Scnlptors^ life of Rustici, vol. i. ch. vii. ; and Giornale, De^Ii Arch. Toscani, iv. 63, 
 anno 1860. 
 
LOMIURDY. 
 
 151 
 
 Milan. So repulsive a subject as that of this Christian Marsj'as 
 would hardly have been selected but for the purpose of displaying 
 his knowledge of anatomy, and we may conclude from an inscription 
 upon the pedestal, in which we are warned not to fall into the error 
 of attributing the work to Praxiteles,^ that in attaining this object 
 he felt that he had proved himself to be a great sculptor. That 
 he was not so is proved by other works, such as a bas-relief of 
 the Marriage at Cana in the Cappella dell' Albero in the same 
 cathedral, and the monument of Bartolomeo Martini in the duomo in 1507. 
 at Parma.^ 
 
 Milanese sculptors, as we have said, seldom wandered far from 
 home, but now and then traces of a straggler are to be met 
 with, as at Atri in the Abruzzi, where we find a work by Paolo 
 de Garviis. When Matteo III. Acquaviva, who had rendered Rioiodo 
 himself obnoxious to the house of Aragon by taking part in the 
 conspiracy of the forty barons against Alfonso, fell into the hands 
 of the Spaniards he was thrown into a horrible prison, where he 
 spent four years ' sub terra, con ferro in piedi, c con decesette ferite.' 
 In the hope of hastening his liberation his wife Isabella Piccolomini 
 determined to fulfil her husband's vow, to dedicate an altar in the 
 duomo to the Virgin and St. Anne on regaining his freedom, and 
 commissioned the above-mentioned Milanese architect and sculptor 
 to erect it. She had reason to believe that her act had obtained 
 favour in the Madonna's sight, as before it was finished Matteo was a.d. 1500. 
 set li-ee.^ The altar stands beneath a ciborium supported on four 
 pilasters, whose flat spaces are adorned with the arms of Matteo III. 
 and his wife Isabella, and with gracefully combined leaves, festoons 
 and arabesques. Paolo de Garviis also made the font in this a.d. 1503. 
 
 1 ' Non me Praxiteles, sed Marcus finxit Agrates ' (vide Cicognara, vol. ii. 
 tav. 80 ; and Vasari, vol. xi. p. 273, note G). 
 
 2 Franchetti, ojj. cit. p. 107 ; and Bossi, MS. vol. i. no. 78. 
 
 3 Not long after he resumed the reins of government the Prince of Capua 
 excited his subjects to rebellion ; the streets of Atri were filled with an armed 
 mob which broke into the duomo and threw down the Acquaviva altar. "Wlien 
 peace was restored it was reconstructed and then again taken down in order to 
 make room for a staircase to communicate with the episcopal palace. A few years 
 since it was once more set up in the duomo of which it nows forms one of the 
 principal objects of interest. (Andrea Matteo III. Acquaviva e la sua Cappella, da 
 Gabriello Cherubini, Mem. St. Art. Pisa, 1859.) The inscription upon it is 
 ' Andreas Mattho3us Acquavivus Dux Hadrise et Thermini, Divie Virgini, et 
 Sanctissim« Matri Annse, sacellum hoc dicavit anno partu ejus mdvi.' 
 
152 
 
 ITALIAN SCULPTORS. 
 
 Milanese 
 sculptors 
 of the 
 sixteenth 
 century. 
 
 Michel- 
 Angelo. 
 
 Giovan 
 Giacomo 
 della 
 Porta. 
 
 A.D. 1498. 
 
 Guglielmo 
 
 della 
 
 Porta. 
 
 church, which is sheltered under a roof supported upon carved 
 pilasters.^ 
 
 Many sculptors of talent flourished in the Milanese territory 
 during the sixteenth century, such as Brambilla, Fontana, Guglielmo 
 della Porta, and Leone Lioni, whose works atford little or no satis- 
 faction, since they, like their brethren in other parts of Italy, copied 
 the defects of Michel- Angelo without attaining his grandeur of style. 
 The disturbed state of the country, which was trampled under foot 
 by the invading hosts of France, Spain, and Austria, prevented such 
 great art enterprises as those which shed a lustre around the names 
 of Azzo and Galeazzo Visconti and Lodovico il Moro, nor is this 
 to be regretted as had any such been undertaken they would neces- 
 sarily have borne the stamp of that vicious taste which was fast 
 falling into the monstrous eccentricities of the Baroque. 
 
 Amonff the scholars of Cristoforo Solari we mentioned Giovan 
 
 <~> 
 
 Giacomo della Porta, who assisted him when working upon the tomb 
 of the Duchess Beatrice, and who was employed at the Certosa, both 
 upon the fa9ade and upon the tomb of Gian Galeazzo, and was 
 attached to the Duomo at Milan. The works of his nephcAv and 
 scholar Guglielmo della Porta, one of the most noted artists of his 
 time, show no trace of that careful study of Lionardo da Vinci to 
 which Vasari tells us'"^ he devoted himself in his youth, but this is 
 perhaps owing to the influence of Pierino del Yaga,^ under whom 
 he worked at Genoa, when he went there in company with his uncle, 
 who was commissioned by Filippino Doria to erect a ciborium over 
 the altar in the chapel of St. John the Baptist in the cathedral.^ 
 He sculptured the Prophets in alto-rilievo upon the pedestals of its 
 porphyry columns, as well as the mannered and thoroughly mediocre 
 statues and bas-reliefs in the chapel of SS. Peter and Paul.^ He 
 also made two marble angels for the Compagnia di San Giovanni, 
 two busts for the Bishop of Serraga, a statue of Ceres, a group of 
 the Graces, some marble putti which were sent to Flanders, and a 
 very poor statue of St. Catherine which still stands on the landing 
 
 ' The inscription upon it is to this effect: ' Paulus de Garve fecit et P (?) 
 charitate d(omi)nus Galantia mdiii.' — Schultz, op. cit. ii. 17. 
 
 2 Vol. xiii. p. 119. 
 
 3 Gualandi, 6th series, p. 133, says that Guglielmo married the daughter of 
 Perino, who was greatly attached to him. 
 
 ■* This ciborium cost 1000 gold scudi (Bauchero, II Duomo di Genova, p. 178). 
 * Made for the Bishop of Serraga di Casa Cibo. 
 
LOMBARDY. 
 
 153 
 
 of the staircase of the academy.^ On his arrival at Rome he was A.i). 1537. 
 warmly commended by his uncle to Fra Sebastiano del Piombo, who 
 put him in the road to success by presenting him to Michel- Angelo. 
 Through him he obtained an order to restore some antique statues 
 at the Palazzo Farnese, was admitted to the pope's service, and on the a.d. i.>47. 
 death of Fra Sebastiano, succeeded him in the office of ' piombatore.' 
 It is said that Pope Paul III.^ purchased from him a bronze base 
 originally intended for a monument of Bishop de' Solis meaning to 
 use it for his own tomb, but we may doubt if this be so, as the base 
 of that which Guglielmo erected to him by order of Cardinal Farnese, a.d. lo.)!. 
 in St. Peter's, is of plain white marble. In general design it follows 
 the type originated by Michel -Angelo in the tombs of the Medici. Tomb 
 The pope sits in an attitude of meditation, looking down upon two Paui ' 
 alleo-orical fio;ures which recline below him. One of them is 
 Prudence, an old woman looking into a mirror, said to be the por- 
 trait of Giovanna Gaetani da Sermoneta, mother of the pope; the 
 other, Justice, strangely personified by a young woman with an 
 unmeaning face and voluptuous person, who is identified with Giulia 
 Gaetani, the pope's sister-in-law. The complete nudity of this figure 
 was considered so scandalous, that after the death of Guglielmo his 
 son Teodoro was employed to cover the body with a bronze tunic.^ A.n. 1577. 
 Had the monument been a masterpiece in all its details, its general 
 eff'ect would have been spoiled by the use of such antagonistic 
 materials as bronze, for the mannered statue of the pope, and marble, 
 for the heavy and characterless figures of the Virtues, whose vague- 
 ness of meaning, unlike that of the allegorical statues of Michel- 
 Angelo which strikes us as a want of perspicacity in ourselves, 
 
 ' Banchero, op. cit. p. 466, says it formerly stood over the Porta detta dell' 
 Acquasola. 
 
 * Paul III. was a Farnese and the first Roman pope since Martin V. 1417-31. 
 He was a good classical scholar, gay and ' spirituel ' in conversation. His pride 
 and nepotism are well known. He made his natural son Pierluigi (a man of very 
 bad moral character) Duke of Parma, and married his grandson Ottavio to 
 Margaret, natural daughter of Charles V. afterwards regent of the Pays-Bas, who 
 gave her name to the Palazzo and the Villa Madama. He built the Palazzo Farnese 
 and during his reign Michel- Angelo finished the Last Judgment (Gregorovius, 
 op. cit. p. 211). 
 
 3 Gualandi, 6th series, pp. 123, 125, documents concerning father and son 
 from 1577 to 1604. Melchiori, Guida di Eoma, says the monument cost 24,000 
 scudi. In 1578 and 1592 Teodoro prayed for the payment of 5000 scudi still due 
 to his father's estate. 
 
 X 
 
164 
 
 ITALIAN SCULPTORS. 
 
 evidently arises from poverty of idea. Pope Pius IV. commissioned 
 from Guglielmo a bas-relief from the history of our Lord, which he 
 was to have cast in bronze for one of the doors of St. Peter's, but 
 we cannot regret that he never did so as he was evidently wanting 
 Other in religious feeling. Among the members of his family who followed 
 ^cidi^tors j^.^ profession were his son and scholar Teodoro, the Cavaliere Gian 
 Toita Battista della Porta, and his brother Tomaso, who was renowned 
 I'l""^- j^-g cigygj. imitations of the antique.^ This artist modelled heads 
 
 of the twelve Caasars in bas-relief for Pope Julius II. by whom he 
 was pensioned, made a statue of St. John the Evangelist, and a 
 AD. loir, group of the Deposition. Another della Porta, named Paolo, is 
 mentioned in an inscription upon the tower of the Madonna di 
 Saronno,^ a church near Milan kno^vn to all lovers of art as rich in 
 the admirable frescoes of Luini. 
 
 We now come to one of the most prolific and best known artists 
 i.roiiR of his country, the goldsmith, medallist, and sculptor, Leone Lioni, 
 
 l.icjiii. * . . . . 
 
 called II Cavaliere Aretino, though despite tlus surname he appears 
 to have been born at Mena2:2:io, a town in the district of Como.^ 
 Living m a century when art was chiefly dependent upon that 
 Spanish patronage which was so detrimental to it, he spent his life 
 in working for the Emperor Charles V., the Cardinal de Granvela 
 or Grambela, and Don Ferrante Gonzaga, Viceroy of Sicily and 
 Governor of Milan. His style was mannered and corrupt, and his 
 character revengeful and passionate.* Called to Brussels, where 
 
 ' This Tomaso who died in 1568 is not to be confounded with another of 
 the same name who cast the statues of SS. Peter and Paul for the Trajan and 
 Antonine columns, and died in 1618 (Bossi, MS. cartella x.). 
 Bossi, MS. cit. cartella xv. 
 3 Campori, Arf. Est. p. 283, and Morigia, lib. v. ch. v. p. 470, both speak of 
 him as a native of Menaggio. Guilliot, Les Artistes Italiens cii Esj)a(jnc, p. 23, 
 and Vasari, vol. xiii., say he was born at Arezzo. The editors of Vasari, xiii. 3, 
 nota 1, account for this difference by supposing that his father was an Aretine 
 residing at Menaggio when his so a was born. But in a contract made by Leone 
 for the Melegnano monument, he is called Leone Aretino son of Giovanni Battista 
 Milanese. 
 
 * Among the many discreditable facts in his life which prove this we may 
 mention his treatment of Pellegrino de' Leuti, jeweller to the Pope, whom he way- 
 laid in the street at night and cut about the face with his dagger so cruelly, ' che 
 a vederlo pareva un mostro.' For this deed, which was prompted by revenge for 
 an alleged insult to his wife, Leone was put into prison and condemned to the 
 galleys. In wi-iting to Pietro Aretino he refers to his condemnation, and accounts 
 for his liberation in these words : — ' Forced into the Papal galley's, I was set at 
 liberty at Genoa by order of Andrea Doria Prince of Melfi. I have been joined 
 
LOMBARDY. 
 
 155 
 
 he was lodged in the imperial palace and honoured with the title Residence 
 of CavdJiere, he was commissioned to make a bronze statue oi Lioni at 
 Cliarles V. (now in the gardens of the villa of Buen Retiro, near a.d! 1552- 
 Madrid) trampling an allegorical figure of Rage under his feet.^ On 
 his return from Spain, whither he had followed his imperial patron. Goes to 
 he received a pension, and the present of a house, in the Contrada then re- 
 degli Omenoni,^ which he called the casa Aureliana from a copy of Milan." 
 the equestrian statue of Marcus Aurelius in its courtyard.^ His 
 chisel was so constantly employed upon statues, busts, and medal- 
 lions of the imperial family that his friend Pietro Aretino sur- 
 named him 'II Scultore Cesareo.'^ The most important of his 
 works in Italy is the bronze statue of Don Ferrante Gonzaga, which st;.tue of 
 his son Don Cesare erected at Milan, and Don Ferrante II. removed 
 
 rante Gon- 
 
 to Guastalla. It represents him in the costume of a Roman general, betwera '^'^ 
 standing with his foot upon the prostrate body of a satyr who i*''^'"^'^^*- 
 grasps a triple-headed snake, typical of Envy, and holding three 
 apples in his hand, like a Hercules returning from the garden of the 
 Hesperides. The group is ably composed and skilfully cast, but 
 the style is mannered, and the action of the figure exaggerated.^ 
 The explanation of its allegorical portions is to be found in the 
 
 here by my mother, wife, and son Ponipeo, and I pass my time in snap])ing my 
 fingers at the priests, and in praying God that he will cause the bad among them 
 to burst, and the good to prosper.' Again, when his pupil and assistant Martiuo 
 refused to return with him from Venice to Milan, Leone hired a bravo from whose 
 hands Martino escaped with dangerous wounds ; and Avhen Orazio Vercelli the son 
 of Titian had received 2000 scudi from the Duke of Sessa, then governor of Milan, 
 in payment for some of his father's pictures, Leone wishing to possess himself of 
 the money, and jealous because the duke had commissioned Orazio to paint his 
 portrait, set upon him in his own house and wounded him severely in the face and 
 shoulders (Bottari, Lett. Pitt. vol. v. no. 84; see also no. 83, ibid.). Cadorni, 
 Pareri cU XV Archittettl, pp. 50, 103 : 'Dell' Amore dei Veneziaui a Tiziano.' 
 
 ' In a letter from Ai'etino dated 1552 he mentions that Don Ferrante had 
 given the commission for this statue to Leone (Lett. Pitt, di Bottari, vol. iii. 
 no. 82). 
 
 2 So called from the colossal figures of prisoners upon the facade (Vasari, 
 xiii. 115). 
 
 3 Giiilliot, Les Artistes en Esp'agne, p. 25. 
 
 * Sucli as the statues of the emperor and empress in the Academia di S. Ferdi- 
 nando, and the bust of the emperor in the new palace at Madrid ; two large 
 bronze medallions of Charles V. and the Empress Isabella at Buen Retiro, and 
 several busts of the imperial family ; and busts of Charles V., Philip II., and the 
 Duke of Alva in his palace at Madrid. He also projected an equestrian statue of 
 the emperor (Campori, o|). cit. p. 249). 
 
 * Engraved in Litta's Fconiijlie C'elcbri, fasc. .xxxiii. pt. ii. 
 
 x2 
 
156 
 
 ITALIAN SCULPTORS. 
 
 Died 
 Xin-. \:,. 
 1.j77. 
 
 iiiciit of 
 (iiiivan 
 Cia^onio 
 Medici. 
 
 A.n. }Mr,, 
 (,r l.)90. 
 
 Pompeo 
 ]ji()iii, 
 d.td IGIO. 
 
 A.D. 1582. 
 
 A.I). 1; 
 1097. 
 
 93- 
 
 history of Don Ferrante, whose conduct while governor of Milan 
 caused so much discontent that he was called to Madrid to justify 
 his acts, and though he succeeded in doing so in the eyes of 
 his master, who loaded him with honours, Avas not sent back 
 to resume his former charge. The bronze monument to Giovan 
 Giacomo de' Medici Marquis of Melognano in the duomo at Milan 
 was made by Leone after the designs of Michel- Angelo in the late 
 Renaissance style common to the monuments of his school.^ The 
 marquis stands clad in armour between seated allegorical figures 
 of Peace and Military Virtue, above which are personifications of 
 Prudence and Fame. It is what the Avorld calls a fine monu- 
 ment, that is to say a huge mass w^hich produces an eff'ect by great 
 size, and costliness of material. 
 
 Among his other offices, Leone Lioni held that of director of 
 the mint at Milan, in which he was succeeded by his son-in laAV 
 Giovanni Battista Suardi.^ His son and scholar Pompeo Lioni, 
 sculptor and medallist, who imitated his father's style so closely 
 that their works are hardly distinguishable, spent much of his 
 life in Spain, where he made no less than thirteen bronze statues 
 of members of the imperial family.^ After living many years at 
 Madrid, he returned to Italy, in order to work under his father's eye 
 upon certain statues designed by Giovanni de' Herrera, for the high 
 altar of San Lorenzo in the Spanish capital, and sent each statue 
 to its destination as soon as completed. When all were done he 
 returned to Madrid where he was paid 3000 ducats, and in considera- 
 tion of thirty years' service had an annual pension assigned to him 
 of 600 ducats. Quantity without reference to quality was appre- 
 ciated at Madrid, and in this respect Pompeo gave full satisfaction, 
 for in the space of four years he turned out ten bronze figures 
 
 ' He did not belong to tlie Medici of Florence. Franchetti, p. 66, says lie was 
 both avaricious and cruel. The monument was commissioned by Pope Pius IV. 
 wlio gave to it seven marble columns, and cost 7800 gold scudi. Giovanni Angelo 
 Medici, brother of Giovan Giacomo who was born at Milan, reigned from 1559- 
 1565, and was buried at Santa Maria degli Angeli at Rome. The contract 
 between Cardinal Morini and Gabrio Serbelloni acting in the pope's name, and 
 Leone Aretino son of Gio. Battista Milanese della Parocchia di San Martino in 
 Norigia is dated September 12, 1560 (Archivio di Casa Medici, Note dell' Abate 
 Frisi, Vcrri, oji. rif. p. 266, nota 2). 
 
 2 Lomazzo, Tcmpio tlella VUhmi (Milan 1590), p. 16-1. 
 
 ^ Va-iiiri, iii. 117; and Guilliot, oji. cit. p. 60. 
 
LOMBARDY. 
 
 157 
 
 larger than life, and modelled nine statues for the church of 
 S. Filippo Reale.^ 
 
 Martino Pasqualigo, a Milanese scholar of Leone Lioni, went to 
 
 Venice at an early age and there lived in intimacy with Jacopo Martino 
 
 Sansavino and Pietro Aretino. He was painted by Titian, and after Hgo^born 
 
 his death had his name coupled with that of Palladio in the verses Isyo! '^^''^ 
 
 of a contemporary poet.^ Other sculptors of this period were other 
 
 ^ -I ^ ^ _ sculptors 
 
 Antonio Abbondio, ' detto I'Ascona,' who sculptured the termmal of this 
 figures upon the fa9ade of Leone Lioni's house and some colossal 
 heads at San Celso,^ in a bad style upon which it is not necessary to 
 expatiate; and Battista ' detto 1' Asconino,' who made several statues 
 for the exterior of the Milanese cathedral. 
 
 Antonio Fontana a far more clever artist of the Baroque school, Antonio 
 
 Fontana, 
 
 and therefore all the more mischievous, beo^an life as a o-oldsmith, bom 1540, 
 
 • 1 ^ 1 . M 1 ? . T died 1687. 
 
 and first attamed repute for his silver work, cameos, and intaglios 
 in rock crystal.* He offered to sculpture some statues for the 
 fa9ade of the church of San Celso, but as the deputies had never 
 heard of him as a sculptor, they prudently lent him a block of 
 marble on security, and assigned him a workshop in which he could 
 try his hand upon it before employing him. There it was (as we 
 have already related^) that the Florentine sculptor Lorenzo Stoldi, 
 curious to see what he was about, watched him through a hole in 
 the wall between their two studios, and struck Avitli the beauty of 
 his work resigned his appointment of sculptor to San Celso, on the 
 ground that mortals stood a poor chance when angels took up their 
 profession.*^ The deputies accepted Fontana's Madonna with accla- 
 mations, and gave her a place of honour inside the church above the 
 left side-door, declaring her to be indeed the work of an angel rather 
 than a man. To us she appears heavily draped and essentially 
 
 ' No wonder he grew rich, since we are told he was paid 23,000 ducats for 
 these works, and we do not know how miich more for the fifteen gilded bronze 
 statues which he made for the Etcurial ; their quality may be judged of by the fact 
 that they are fitted with marble draperies whose borders are enriched with precious 
 stones. 
 
 2 Giovan Battista Maganza. 
 
 3 Torre, op. cit. p. 68 ; Bossi MS. vol. i. no. 146. 
 
 Morigia, ch. v., mentions a casket in rock crystal with intaglios by Fontana, 
 for which he was paid 6000 scudi. 
 * Tuscan Sculptors, ii. p. 178. 
 ^ Bossi MS. cartella vii. ; Torre, p. 69. 
 
158 
 
 ITALIAN SCULPTORS. 
 
 common-place, thougli less vicious in style than the statues of 
 prophets, the bas-reliefs and the angels blowing trumpets, which 
 Fontana subsequently placed about the fa9ade of San Celso. He 
 also cast the rich bronze gates for the ' cancellum ' of this church, 
 and made a statue of St. John the Evangelist,^ which fills a niche 
 above the tomb of the artist whose merits are summed up in a 
 Francesco fulsomc epitaph.^ Among his contemporaries was Francesco Bram- 
 >i.imbiiid. ^^j^Q long capo maestro of the ' Veneranda Fabbrica ' with 
 
 the obligation to instruct the young sculptors in his art.^ He 
 occupied himself chiefly in making designs for works generally 
 carried out by his pupil Andrea Biffi. Among these were the 
 bronze symbols of the Evangelists and the doctors of the Church, 
 which support the two pulpits in the cathedral of Milan ;^ the bronze 
 ' tempietto ' uj^on the high altar ; the angels which separate the bas- 
 reliefs about the choir ; and the ornate marble console under the 
 statue of Pope Pius IV.^ Pietro Antonio Daverio, who sculptured 
 many statues for the exterior of the duomo, and Ruggiero Basgape 
 or Bescape were among his scholars.^ Other Milanese artists who 
 flourished in the second half of this century are Lionardo,^ who made 
 the statues of SS. Peter and Paul in the chapel of Cardinal Riccio 
 da Montepulciano at Rome; the brothers Jacopo and Tomaso Casi- 
 gnuola, who cast the Baroque bronze statue of Pope Paul IV. for his 
 Ambrogio monumcnt in the CarafFa chapel at the Minerva ; ® Ambrogio Bron- 
 i-ieino, viciuo, who sculpturcd the monument of Pope Urban VII. in the same 
 
 died 1590. 
 
 ^ Torre, ojt. cit. p. 69, says it was esteemed as highly as Michel- Angelo's 
 Moses, of which the head is a palpable imitation. 
 
 ' Anniiiali Fontana Mediolanensi sctilptori svimmo qui vel marmora stiqmnfe 
 vatara in homines mutavit, vel hominura simulacra in marmoribus spirare jussit,' 
 &c., &c. 
 
 ^ Martino Bassi, quoted by Bossi, MS. cit. 
 
 * Cast by G. Battista Busca about 1599. 
 
 * His scholar Andrea Biffi executed many of his designs in marble, such as 
 statues of S. Lucia, S. Satiro, and cast two bronze angels for the high altar in the 
 duomo (Franchetti, pp. 63, 78, 117; see also Vasai'i, xi. 274). Brainbilla is buried 
 in the duomo. 
 
 ^ Mentioned by Morigia, Nuhilta di Milano, p. 474. The same author mentions 
 Francesco Borella (p. 473) a contemporary of Brambilla. 
 ^ Vasari, xiii. 124. 
 
 * Daring the riot which broke out after the death of this pope who had treated 
 the Jews with great severity, shutting them up within the limits of the Ghetto 
 and forcing them to wear a yellow cap, one of this despised race climbed upon 
 the monument and placed that hated badge of infamy upon the top of the Papal 
 tiara (Gregorovius, o^). cil. p. 220). 
 
LO.MBARDY. 
 
 159 
 
 church, and bas-reliefs for the tombs of Popes Clement VIII. and 
 
 Paul V. at Sta. Maria Ma^o-iore, as well as the bas-relief of Christ's a d. i.j92- 
 
 ^ 1621. 
 
 charfre to Peter at St. Peter's, and a statue of St. John the 
 Evangelist in the Barberini chapel at S. Andrea della A^alle; and 
 Giacomo Scilla Longhi,^ who carved six mediocre bas-reliefs upon 
 the sarcophagus of San Silvestro in the abbey church of Nonantola. 
 
 It remains for us to speak of sculptors from Como, Pavia, and Sculptors 
 other cities and towns of the Milanese territory. Like the catlie- como. 
 dral at Milan and the Certosa at Pavia, thougli in a much less Tiieauomo 
 
 ' o at Como. 
 
 degree, the cathedral at Como offered a field for the exercise of 
 artistic talent during the second half of the fifteenth century. So 
 far back as the year 1396 Duke Giovan Galeazzo permitted his 
 architect Lorenzi degli Spazii to accept the invitation of the magis- 
 trates of Como and take the supreme direction of the works, but the 
 fa9ade was built in the latter half of the fifteenth century by Luc- a.d. 14.57- 
 chino da Milano, architect and sculptor, who is probably identical with Lm-oiiino 
 the Lucchino da Cernuscolo mentioned as joint appraiser with ' 11 ^^'^ Miiano. 
 Gobbo ' of some marble-work executed for the Certosa by Omodeo 
 and the brothers Manteojazza.^ Lucchino designed it in a trans- a.d. hts. 
 ition style between Romanesque and Gothic, and incrusted its 
 surface with slabs of black and white marble, divided by pilasters 
 adorned with many statuettes. The lunettes of the three doors are 
 filled with reliefs of the Adoration, the Circumcision, and the Nativity, 
 the first of Avhicli is certainly by Lucchino, and remarkable in that 
 the figures in the foreground are completely worked out in the 
 round, while those in the background are sculptured in low relief, 
 so that the effect is like that of a scene upon the stage. But the 
 greater part of the sculpture about this very elegant fa9ade is the 
 work of the brothers Tommaso and Jacopo Rodari, natives of Tommaso 
 Maroggia a tOAvn near Lugano, the first of whom succeeded L UC- copo 
 chino as architect of the building.^ To them we should attribute 
 the five statuettes of the Madonna and saints in round-headed 
 niches surmounted by Gothic canopies above the great portal, as 
 well as the statuettes of bishops and saints about the -windows and 
 in the niches of the pilasters, and the two very ornate Renaissance 
 
 ' Campori, ojh rit. p. 292. 
 
 ^ Ricci, vol. ii. p. 406, and p. 432, note 74. 
 
 3 Calvi, op. rif. pt. i. pp. 119, 120. 
 
IGO 
 
 ITALIAN SCULPTORS. 
 
 tabernacles on either side of the central door, which contain seated 
 statues of the two Plinys, whose effect is so picturesque that we 
 feel loth to criticise their faulty proportions. The best examples 
 of the skill of the brothers Rodari are the animals, birds and orna- 
 ments sculptured about the sideposts of the small door on the left 
 side of the duomo, which show great taste and careful study of 
 nature. That they were less capable of dealing with figures than 
 with ornament is shown by the feeble reliefs above the altar of 
 Sta. Lucia, representing scenes from the life of our Lord, the 
 Madonna with a bishop, and SS. Catherine, Peter, and Anthony.^ 
 In gratitude for the permission accorded to them to throw down a 
 part of the citadel and some buildings which interfered with the 
 completion of the duomo, the magistrates of Como caused the statue 
 of Cecco Simonetta '^ who had obtained this favour from the Duke 
 Francesco Sforza, to be sculptured by an unknown artist and placed 
 upon the fagade.^ 
 
 Sculptors Tommaso Lombardo the scholar of Jacopo Sansavino, was a 
 gano. native of Lugano, who lived for many years at Venice Avhere he 
 LomimTo employed by his master with other pupils to decorate the fagade 
 fl. 1547. of the library.'* He worked chiefly in stucco, a material then greatly 
 in favour in that part of Italy, as it was well adapted for the 
 rapid production of figures intended for decorative purposes. The 
 marble group of the Madonna and Child with St. John,^ which he 
 made for an altar in the church of St. Sebastian as a memorial 
 to the Venetian infantry-general Melio da Carbona, is a close imita- 
 tion of Jacopo Sansavino's group in the Loggetta della Piazza, and 
 
 ' It is inscribed, ' Venerabilis Bartolornceus . . . . ac ejus venerabilis nepos 
 fecerunt prsesens opus per Tomma.so de Roderis de Marozia, a.d. 1492.' 
 
 2 Ricci, op. cit. p. 432, note 74. 
 
 3 Como produced several native sculptors of talent in the thirteenth, fourteenth, 
 and fifteenth centuries ; such as Guido da Como who made the pulpit in the church 
 of S. Andrea at Pistoja which is dated 1250. In the inscription upon it he is 
 spoken of as ' Sculptor laudatus qui doctus in arte probatus.' The work is 
 interesting as it enables us to estimate the great advance of Niccola Pisano beyond 
 his contemporaries in the pulpits which he made a few years later for Pisa and 
 Siena. In the same century Maestro Giacomo Portata da Como (Jacobus 
 Portata de Cumis) commenced the portal of the cathedral at Cremona, a.d, 
 1274. Battista da Como (1458) and Domenego (1456-1473) worked as taglia- 
 pietri at the cathedral of Ferrara. Giovanni the father of Battista was a sculptor 
 from Como (1453). 
 
 Lomazzo, op. cit. iii. 298 ; Vasari, xiii. 97 ; Bossi, cartella ix. 
 * Selvatico, o-p. cit. 313. 
 
LOMBARDY. 
 
 161 
 
 both mannered, heavy, and corrupt in style, while his statuette of 
 St. Jerome in the same church is poor in conception and timid in 
 action. A few other artists from Lugano flourished in the preced- 
 ing century, one of whom named Piero worked at Ferrara,^ and a.d. hog. 
 two others, Giacomo Benvenuti and Stefano de Lugano,^ were A.n. i498. 
 attached to the cathedral at Milan. Maestro Galeazzo de Lugano 
 was employed under Maestro Giovanni Minello to carve capitals, 
 architraves, &c., &c., for the chapel of the titular saint in the 
 church of Sant' Antonio at Padua,^ together with an artist from a.d. isoo- 
 
 ' ° 1502. 
 
 Saronno named Alessandro, who sculptured rosettes. Medusa heads, a.d. 1502- 
 dolphins, bases and pilasters.^ 
 
 A Maestro Amadeo of Bergamo (not to be confounded with his Sculptors 
 great namesake who lived more than a century later) sculptured gamo. 
 a red marble sarcophagus to contain the bones of Pietro da Suz- m. 1327. 
 zara, an eminent professor of jurisprudence at Ileggio; one of its 
 rudely-worked bas-reliefs representing the man of law instructing 
 his scholars, is preserved in the ' Museo Lapidario ' at Modcna.^ 
 Another artist from Bergamo named Pietro, worked at Ferrara in a.d. 1551. 
 the sixteenth century, and made the doors of the church of the 
 Annunziata at Naples, which Avere adorned with subjects in ' mezzo- 
 rilievo.'^ Giovanni Castello, called II Bergamasco, who was archi- 
 tect, sculptor, and painter, sculptured the clumsy ill-draped statue 
 of Hope in the Lercaro chapel in the cathedral at Genoa. He spent 
 several years of his life in Spain, and died at Madrid.^ Pietro a.d. 1579. 
 di Bonomo de' MafFeis, who carved many animals in wood about a.d. 1526. 
 the choir of Sta. Maria Maggiore at Bergamo, was also a native of 
 that city. 
 
 At Cremona we know of no native sculiitors before the fifteenth Sculptors 
 
 T • 1 11 • /-^• • from Cre- 
 
 century, durmg the second half of which flourished Giovanni Gasj)are mona. 
 Pedoni, whom Vasari** styles ' finissimo lavoratore di marmo,' as he 1500!*'^ 
 
 * Cittadella, op. cif. p. 52, note. 
 
 * Bossi, MS. cartella iv. 
 
 ' Gonzatti, La Basilica di 8. Antonio, doc. 87, vol. i. 
 
 * Ibid. vol. i. p. 160, and doc. 87, p. xcvi. 
 ^ Campori, oj). cif. p. 68. 
 
 6 These doors were taken down when the church was rebuilt in 1540 (see 
 Guicla degli Scienziati, i. 410). Bossi, MS. cartella x., says that this Pietro was 
 the master of Giovanni da Nola. 
 
 Soprani, ArcJi. Sc. e Pitt. Genovesi, i. 402, says he came to Genoa when very 
 young. See also Tassi, n^). cil. i. 156, 158. 
 
 8 Vol. xi. p. 262. 
 
 Y 
 
162 
 
 ITALIAN SCULPTORS. 
 
 indeed showed himself iii the trophies, arms, helmets, candelabra, 
 medallions, &c. &c. which he sculptured about the Renaissance 
 doorway of the great hall of the municipal palace at Cremona. The 
 poorly-draped figures of Justice and Temperance, and the small 
 reliefs of the labours of Hercules upon its side-posts show that his 
 ' forte ' lay in figure-sculpture rather than in ornament, as is further 
 
 Dated provcd by the masterly decorations in relief of the fire-place in an 
 adjoining room.^ As they show no trace of Omodeo's style it is 
 evident that Pedoni w^as not one of the Cremonese sculptors who 
 came within his influence, unlike his fellow-citizens Gio. Battista 
 Malojo,^ and Geremia,^ both of whom have been named as the 
 sculptors of the sarcophagus of SS. Pietro and Marcellino in the 
 duomo. No authentic sculpture by these artists is known, but as 
 the work in question is evidently by Omodeo, we may suppose that 
 
 A.D. 1495. they were his scholars and assistants. Tommaso Amici and Francesco 
 Majo^ sculptured the ancona over the altar of St. Nicholas in the 
 duomo. The figures in its three niches are simply composed, and 
 draped in broadly-disposed folds. The stalls in the choir were carved 
 
 A.I). 1490. by Giovanni Maria Platina.^ Tommaso Malvito^ was employed at 
 
 A.D. 1504. Naples to sculpture the statue of the Cardinal Oliviero CarafFa in 
 the crypt of the duomo. The heavily-draped figure kneels with 
 raised head and clasped hands before a prie-dieu, upon which lie 
 his cap and missal. The style of the work is bad, and the execution 
 coarse. The half- figures of apostles and saints in the panels of the 
 ceiling by the same artist, are tome and uninteresting. Among the 
 few remaining Cremonese sculptors known to us are Cristoforo 
 
 AD. 1533- Pedoni,^ probably the son of Giovan Gaspare, who sculptured the 
 Area di Sant' Arcaldo in the crypt of the cathedral at Cremona; 
 
 A.D. 1522. the brothers Jacobus and Galeatino de' Cambi who worked at 
 
 ' From the inscription upon it, ' Jo. Gaspare di Lugano 1499,' it would seem 
 that the family of this artist originated at Lugano. 
 
 2 Vasari, xi. 261, mentions him as a bronze-worker and scholar of Brunelle«chi. 
 Zaist, p. 31, says that he knows no works by this sculptor. Cicognara, ii. 184, 
 says he is the supposed author of many anonymous works at Venice. 
 
 ^ Mentioned by Filarete in his MS. treatise as an excellent bronze-caster. 
 
 * Cicognara, ii. 186, mentions them as Cremonese. Corsi, Giiida di Cremona 
 p. 32. 
 
 * Conte d' Arco, pp. 17, 18. 
 
 ^ Tassi, i. 71 ; Schultz, Denkmdler, &c. iii. 34. Ltibkc, Geschiclde der Plastil; 
 i. 515, says Malvito was a native of Como. 
 ' Zaist, op. oil. i. 33. 
 
LOMBARDY. 
 
 163 
 
 Bergamo; and the brothers Campi, one of whom, Bernardino, painted a.d. looo. 
 frescoes in the cliurch of St. Sigismond near Cremona. 
 
 From Pavia, whose one ffreat sculptor, Giovanni Antonio Sculptors 
 
 1 T T . 1 T-.- at Pavia. 
 
 Omodeo, has been amply discussed m these pages, came Pietro de 
 Pavia, who sculptured the life-size statue in fig-tree wood of Christ 
 bound to the column, for the church of San Giovanni a Monte at 
 Bologna,^ a work which resembles Michel -Angelo in pose and 
 general character, and shows careful study of anatomy. The head 
 is expressive, and the coloured eyes and lips give the face a very 
 living look. One of Pietro's contemporaries and fellow-townsmen, 
 named Simon, ^ was employed in company with a Maestro Giovanni 
 Simone de Gerrnano to make a magnificent ancona of gilded bronze 
 for the confraternity of Sta. Maria della Misericordia at Bergamo, 
 with niches, cornices, and columns and figures of chiselled silver . 
 two feet in height.^ He cannot however have lived to complete it, 
 as towards the end of the century the Confraternita is known to 
 have made search for some one competent to do so. 
 
 * Gualandi, Gidda di Tlohgna, p. 79; andil/e»?. delle Belle Arti, serio ii. p. 19G, 
 note to the Appendix. 
 
 2 Lomazzo, op. cif. iii. 208, mentions Tiburzio and Angelo Maini fi-om Pavia as 
 sculptors of this period. U Anonimo, p. 48, with Morelli's note 85. 
 
 ^ Tassi, Pitt. Sr. Bergamaschi, i. 68, quotes a document to prove that it was 
 designed by Giovanni Belli of Bergamo. 
 
164 
 
 ITALIAN SCULPTORS. 
 
 CHAPTER V. 
 
 VENICE. 
 
 ' Sunt moenia hujus gentis . . . 
 Circunisepta maro, nec ab ajdibus alter ad secies 
 Alterius trausire potest, nisi liiitra vehatur.' 
 
 G. Appulus. De Normannis. 
 
 Causes of A FAR stroiiffer feelins: for colour than for form was developed 
 
 preference Z_l o o i 
 
 for colour xX [n the Venetians by the peculiar situation of their city, and 
 
 over form. ... , 
 
 by their early commercial relations with the East. The sea around 
 them, the sky with its shifting clouds above their heads, and the 
 distant mountains which bounded their horizon, objects beautiful 
 in colour but uncertain in form, aided this development, which 
 was also fostered by the marbles and stuffs of various hues brought 
 in merchant ships from distant countries. When we look around 
 us at Venice we see colour expressed in every object which meets 
 the eye. St. Mark's with its marbles and mosaics is ablaze with it; 
 the Ducal Palace is toned like the inside of a sea-shell ; the fa9ades 
 of the stately buildings which line the Grand Canal are variegated 
 with disks of serpentine and porphyry; the sails of the fishing-boats 
 vary in tint from a golden yellow to a deep amber; the water in the 
 side canals, which as we emerge from them into the Giudecca or 
 the Lagoon expands into the broad sea, is as blue as those long 
 strips of sky between the black chimney-tops, which in like manner 
 widen out into the measureless heavens. Seen from afar through 
 the early morning haze Venice looks like some ' vaporous amethyst,' 
 and at sunset, when the flaming heavens above her are reflected 
 in the smooth waters, her towers and palaces grow grey upon a 
 pavement of fire, like ashes resting upon glowing embers. City 
 and sky and sea are then all visionary, all indistinct in outline, 
 and we feel why a great school of colourists rather than a great 
 school of sculptors grew up at Venice. Venetian sculpture was 
 
VENICE. 
 
 165 
 
 always strictly decorative, and the artists who practised it were character 
 
 rather marble-workers than sculptors, men skilful in carving sta- fjeft 
 tuettes and arabesques, but incapable of raising their art out of its 
 
 Medieeval dependence upon architecture. It consists of statuettes Subordi- 
 
 1 • • p T ' th nation of 
 
 made for the purpose of producing variety of Ime m an edifice, sculpture 
 by the contrast between their varied outlines and draperies and tecture at 
 its architectural forms; of bas-reliefs and sepulchral effigies as 
 parts of tombs; of columns, capitals, friezes, cornices, and other 
 architectural accessories ; and of arabesques to adorn pilasters and 
 architraves. Thus closely connected with architecture, it may be 
 classed with it under the head of Gothic, Renaissance, and Ba- Division of 
 
 ,., -Ill 1 sculpture 
 
 roque, the three styles which successively prevailed between the into styles, 
 
 beginning of the fourteenth and the end of the sixteenth cen- spouJing 
 tury, and all the leading sculptors during these three hundred If IrcW- 
 vears were eminent as architects. Filippo Calendario, the Mas- 
 
 •J . . A.I). 1300- 
 
 segne, and the Bons, represent the Gothic style ; Andrea Rizzo, the i45o. 
 Loinbardi, and Leopardi, the Renaissance, and Alessandro Vit- ^.b. 1450- 
 
 1530 
 
 toria with his followers the Baroque style into which it degenerated. 
 These men gave to tlieir works that unity which is in itself a very 
 high excellence, and one that can hardly be attained unless the 
 architect possess such a knowledge of the decorative arts, as will 
 enable him to conceive the ornamental accessories of a building with 
 direct reference to the place which they are to occupy. Sometimes, 
 however, a building has grown up slowly like a forest tree, gradually 
 accumulating about it the styles, the spoils and trophies of cen- 
 turies, and so absorbing them into itself that the general harmony 
 is not disturbed. Nowhere can a more striking example of this 
 be found than the basilica of St. Mark's, where Oriental cupolas, St. Mark's 
 Roman arches, Grecian horses, mosaics of all styles and periods, nioiT 
 Byzantine Madonnas, Gothic and Renaissance tombs are fused fneon-^ 
 together into an admirable whole, and to one conversant with the eWnts. 
 origin and growth of Venice, the building is a chronicle in which Historical 
 the gi-eat events of the past are recorded in marble and mosaic and of st!'^**'^ 
 bronze. The Roman arches and antique columns with their Corin- 
 thian capitals tell of Aquileja and Heraclea and Altinn, from which 
 they were brought hy the founders of Venice. The bronze horses ^ 
 
 ' Probably cast in the island of Chios, whence the Emperor Tlioodosius con- 
 veyed them to Constantinople to adorn the Jlippodrome. 
 
166 
 
 ITALIAN SCULPTORS. 
 
 recal the fact that the Venetians of the mainland were renowned 
 as horse-breeders among the Greeks/ and that their name was given 
 to one of the factions of the Hippodrome in honour of their skill as 
 charioteers and horsemen ; ^ and also witness to the military glory 
 
 A.D. 1204. of Mediaeval Venice, since they were saved from destruction when 
 Constantinople was sacked, and brought home by the Venetian 
 podesta Marino Zeno. The marbles and precious stones with 
 which the walls are incrusted, recal the provident law enacted by 
 
 aistdoge. the doge Domenico Selvo, which obliged every ship returning from 
 
 1085. the East to bring materials for their decoration ; and the many 
 mosaics which represent scenes in Venetian history can be easily 
 read by those who look upon them. 
 
 The very birds that circle in ceaseless flight about the roofs and 
 
 Legend cupolas and pinnacles of St. Mark's bring back to the mind a legend 
 
 connected i-ii • • pi -tr 
 
 with the connected with those emigrations of the ' Veneti primi from the 
 tory^of'^ mainland to the islands of the Lagoon by which the Republic was 
 gradually constituted. Two hundred years after the invasion of 
 A.D. 452. Attila had driven many of the inhabitants of Aquileja and Altina 
 A.D. 641. from their homes, the province was desolated by tlie Lombards. 
 
 The Altinese alarmed at their approach anxiously deliberated 
 whether the}' should remain to face this ' Australis plaga,' or seek 
 safety in flight, when they beheld vast flocks of birds with their 
 fledglings in their beaks take flight from the city walls and towers, 
 and direct their course seaward.^ Regarding this as a sign from 
 heaven some departed to Ravenna, some to Pentapolis, and others 
 to Istria, leaving behind them a band of devout persons, who in 
 order to obtain a more direct manifestation of the will of heaven 
 determined to fast and pray for three days, according to the advice 
 of their bishop Paulus.^ At the end of that time they heard a voice 
 like thunder, saying, ' Ascend into the city tower and look at the 
 
 ' ware Kai ovo^n iv ro7c "FAXjjcrt yiriaOai -ijc 'E) £r(».">7t TnoXilcig Kcti noXvi' yp6}'0>' 
 ii)2o(C(ju)/Tai TO yh'oc. — Sti'abo, lib. V. cb. i. p. 4. 
 
 ^ ' Venetam aatem factionem appellavit qiiod ex Veneta provincia Romse sub- 
 jecta,' &c. — Job. Malalae, Chr. ap. Bizant. 
 
 3 Chr. Ven. : ' quod Altinate nancupatur ' (pub. dall' Ab. Aiit. Rossi, Arcli. St. Tt. 
 torn. yiii. lib. ii. p. 54, disp. xiv.). This chronicle was written by Martino da 
 Canale about a.d. 1210. 
 
 * Paulus Bishop of Altina migrated with his flock, their relics, and treasure to 
 Torcello and the neighbouring islands a. r>. C)A^ (^Chrcni. Thonl. p. 115 b, commentarj' 
 to lib. ii. p. 27). 
 
VENICE. 
 
 167 
 
 stars.' Tliey beheld a vision of boats and ships and islands, and 
 
 takinof this as an indication that tlieir course should be directed 
 
 seaward, they removed their most precious possessions to the Island 
 
 of Torcello, where since the days of the Romans many wealthy Jg^^^J^^^^ 
 
 Venetians had possessed villas and gardens, and where many of '^1^°^' 
 
 their countrymen had taken refuge two centuries before when driven 
 
 from their homes by the Huns. As their flight had been deliberately Materials 
 
 11-iT for build- 
 planned the fugitives took with them money, tools, and building ing, &c. 
 
 materials, and were thus enabled to build churches and other edifices, from the 
 for whoce decoration they obtained an almost inexhaustible supply 
 of sculptured marbles from Heraclea, Aquileja, Altina, and other 
 deserted cities of the mainland.^ Many such transplanted frag- 
 ments consisting of antique capitals and columns, and of early 
 Christian slabs sculptured with peacocks, (see Plate XX. No. 2,) 
 lions, crosses, and vines in flat surfaced low relief, may be seen at 
 St. Mark's and about the cancellum, the cattedra, and the ambo in 
 the duomo at Torcello.^ This building was founded by the bishop 
 Paulus who headed the fugitives from Altina, together with the 
 baptistry, for which he caused a font to be made, which was fed 
 Avith water ever running from the mouths of brazen animals.^ This 
 font no longer exists, nor, with the exception of the marbles already 
 mentioned as brought from the mainland cities, is there any sculp- 
 ture in the duomo at Torcello earlier than the present font, which gpuipt 
 was probably sculptured as late as the ninth century. The four ^^J^^^, at 
 capriciously -imagined monsters on the outside of its marble basin, Torceiio. 
 
 ures 
 
 ' ' Molti sculture e marmi si riconoscono trasportati da Altiua.' — Ston'a di 
 Venezia, da Romanin, i. 41. The continuator of the Cronaca AUinate says that 
 tlie citizens of Oderzo ' totam petram dehinc abstulerunt.' 
 
 ^ The Marchese Selvatico {op. cit. pp. 13, 14) thinks that the duomo at 
 Torcello is the original building built in the seventh century and partially re- 
 stored in 1008. The words of Sagorninus (Chr. Ven. p. 41, Venetiis 1765), 
 ' Ecclesiam jam vetustate consumptam recreare,' have caused some Venetian 
 antiqixaries to suppose that it was entirely rebuilt. The chronicler's dosci-iption 
 of the original building as ' Mirabilem habentem claritatem ' {Cronaca Altinatr, 
 lib. ii. p. 56 ; Arch. St. It. vol. viii.) agrees perfectly with the luminousness of 
 the existing edifice. Ruskin, Stones of Venice, ii. 18, after noticing this jibundance 
 of light as compared with the gloom of contemporary basilicas elsewhere, in his 
 wonted vein of poetry dilates upon the necessity which the heart-stricken fugitives 
 felt for the cheering influence of sunshine. ' There was fear and depression upon 
 them enough, without a material gloom.' 
 
 3 ' Et foris in fontem expuere per becos bcstiarum figuras quae crant aencEe . . . . 
 quse et ipse [Paulus] fecit.' — dir. Band, p, 59. 
 
168 
 
 ITALIAN SCULPTORS. 
 
 and the human figures grouped around the short column upon 
 which it stands, are sculptured with the extreme rudeness which 
 characterises work of that period, and which was not modified until 
 after the tenth century, when some slight amelioration took place in 
 the sculpture of figures ; draperies were better arranged, and hands 
 and feet fashioned a little more like nature. 
 Early ex- The character of early Venetian sculpture, which in type and 
 
 amples of , , ^ . . . 
 
 sculpture treatment of subject resembles the early Christian in other parts 
 of Italy, is illustrated among other examples by the cathedra in 
 the treasury of St. Mark's, a work of only the tenth or even 
 of the eleventh century, although it lays traditional claim to an 
 origin of far higher antiquity.^ The mystic lamb standing upon 
 the mountain out of which flow four rivers, the olive branch of 
 peace and the cross, are represented upon the slab which forms 
 its back, and the symbols of the four Evangelists surrounded by 
 the six wings of the cherubim, upon its sides.^ Other contem- 
 porary marbles in and about the basilica, carved in the same rude 
 style, show us that Venetian sculptors at the end of the tenth and 
 Want of the beginning of the eleventh century, were men of little educa- 
 for°s^fn the tiou in their art, and we know that they and their brother architects 
 iith cen- were either very few in number or very lightly esteemed, since tlie 
 tunes. (Joge Pietro Orseolo procured artists from Constantinople to rebuild 
 A.D. 976. St. Mark's, which had been burnt down during the reign of his 
 
 tyrannical predecessor Candiano IV. 
 Venice The remark ' that the history of the human race might be 
 
 rich in 
 
 menu- written by the aid of tombs ' is peculiarly applicable to that of the 
 ments. Venetians, whose city is so rich in these memorials of the dead. 
 
 Through them we not only learn the names of her doges, great 
 captains, and eminent men, but in the early simplicity, the increasing 
 splendour, and the ultimate extravagance of their monuments, 
 discover the causes of the primitive strength and the later weak- 
 
 ' Venetian clironicles state that St. Mark .sat upon this cathedra; that it was 
 brought from Alexandria to Constantinople by the Empress Helena, and thence 
 sent by the Emperor Heracliiis as a present to Primigenius, Patriarch of Grado, 
 who wished to keep up amicable relations with the Venetians, and at the same 
 time to avoid engaging in a war with the Lombards to recover the treasury of 
 Grado whicli had been carried off by Fortnnatus, Patiiarch of Aquileja. 
 
 2 This apocalyptic mode of representation is rare in Christian monuments 
 (Selvatico, op. cit. p. 4i). 
 
VENICE. 
 
 109 
 
 ness of tlie Republic, wliile at the same time we gain a knowledge 
 of the rise, development, and decadence of her schools of arclii- 
 tecture and sculpture. 
 
 The custom of burying illustrious persons in Roman or early ^j^j'j}-^.''^' 
 Christian sarcophagi prevailed until the fourteenth century. A^itale rseofoid 
 Faliero, for instance, lies in the atrium of St. Mark's, to the right pimgi. 
 of the great portal, in a sarcophagus decorated with shapeless ^^,"'108.^ 
 octagonal columns. Had Venice had any fitter resting-place for ^"^'^^ 
 this doge, in whose reign occurred the miraculous recovery of the 
 body of St. Mark' and the visit of the Emperor Henry IV.,^ she 
 would not thus have buried him in a tomb made up of old frag- 
 ments. In a similar sarcophagus on the other side of the great 
 portal lies the wife of Vitale Michieli who ruled the Rej)ublic at j ^yj^"^"" 
 the time of the first crusade, in which Venice co-operated but coldly, 
 fearing that it would interfere with her commerce with the East; 
 the fleet she sent to Syria was employed in fighting with the Pisaiis 
 off Smyrna for possession of the bodies of SS. Teodoro and Niccolo, 
 and in plundering the richly -laden Genoese ships in their homeward 
 voyao;e.^ Another doge, Marino Morosini, whose short and un- 1249- 
 
 ^ _ _ ' ' _ _ 1256. 
 
 eventful reign is summed up by Maestro Martino da Canale in the 
 words, ' fu si grazioso ch' egli uso sua vita in pace, ne nulla oso 
 assalire di guerra,'^ also lies in the atrium of St. Mark's in an 
 old Christian sarcophagus, sculptured with rude figures of Clirist 
 and the apostles, angels bearing censers, and ornate crosses. We 
 cannot say why this doge was not rather buried at San Salvatoie, 
 where he had built a chapel, and made a tomb for himself adorned 
 with mosaics, which represented him kneeling before the Saviour 
 between two of the officers whose business it was to see that the 
 public peace was not disturbed during the night.^ His immediate 
 
 ' The body of St. Mark disappeared when tlie basilica was burnt in 97(3. 
 
 ^ A medal was struck under Vitale Faliero to commemorate these events. On 
 one side of it was inscribed, ' Henr. IV. Imp. Venecia,' and on the reverse, ' Invent. 
 Corp. S. Ma. MLXXXXiv.' (Fasc. 32, Storia dei Dogi, 2nd ed. Venezia 18-59 ; and 
 Romanin, op. cit. i. 326, 333.) 
 
 ' Michaud, Ilist. des Croisadex, does not mention the Venetians as concerned in 
 the first crusade. Cantu, Storia degli Ifaliani, ii. 278, says they gave unwilling 
 aid, being influenced by selfish motives. Romanin, p. 14, note 1, considers this 
 accusation unjust. 
 
 * Cronaca Veneta, Arch. St. It. viii. 417. 
 
 ^ Storia dei Dogi, vol. ii. 
 
 Z 
 
170 
 
 ITALIAN SCULrTORS. 
 
 43rd dope, 
 A.D. 1229- 
 1219. 
 
 46th doge, 
 A.T). 1268- 
 1275. 
 
 Causes 
 and ex- 
 amples of 
 Byzantine 
 influence 
 at Venice. 
 
 A.n. 1125. 
 
 predecessor, Jacopo Tiepolo,^ and his grandson the doge Lorenzo, 
 were buried in massive sarcophagi on the fa9ade of San Giovanni e 
 Paolo, which are simply decorated with angels bearing censers, and 
 with birds with crosses like crests upon their heads. 
 
 Their commercial relations with the East, which brought the 
 Venetians under Byzantine influences, shaped the national taste in 
 art until the thirteenth century. The capitals of many of the 
 columns of St. Mark's, the general character of the building, and the 
 numerous Byzantine Madonnas upon its walls, are all proofs of this, 
 and of the presence of Greek artists at Venice, Avhile its central 
 bronze door'-^ shows how closely the Italian artist followed the Greek 
 type, since were it not for the Latin inscriptions and saints upon its 
 panels, we should suppose that it had been cast at Constantinople.^ 
 The Scripture bas-reliefs carved upon the marble columns of the 
 ciborium,^ and a bas-relief in the baptistry representing the Baptism 
 of our Lord, show us that in the thirteenth century a rude but 
 national style was beginning to replace Byzantine rigidity and 
 formalism. The little figures at the base of the columns in the 
 Piazzetta also indicate this, as well as that inclination to select 
 subjects for art representation from the life of the people, which 
 afterwards found its full expression in the capitals of the columns 
 of the Ducal Palace. These figures were sculptured by a Lombard 
 artist named Nicolo, who was surnamed Barattieri, because he 
 Avas allowed to establish public games of chance between the 
 columns, as a reward for his skill in raising them from the 
 ground, where they had lain since the Doge Doinenico Michieli 
 brought them from the Holy T^and.^ This Nicolo di Barattieri, a 
 
 ' See the legend of the vision of this doge in the third volume of the Stones of 
 Venice by J. Ruskin. In the year 1237, when Pope Gregory IX. published a new 
 crusade, the Eastern Emperor Giovanni Vataces negotiated a loan of 200,000 francs 
 with some Venetian merchants, and gave the veritable Crown of Thorns in pledge 
 of payment. Unable to pay the sum when due, the crown would have been taken 
 to Venice at the demand of a Venetian merchant named Nicolo Guarini, had not 
 St. Louis of France advanced the sum and carried the precious relic to Paris where 
 he built the Ste. Chapelle for its safe keeping {Htor'ia del I)ogi, op. cit. vol. ii.). 
 
 2 This door was made by order of the procurator of St. Mark's, Leone di 
 Molino, in the year 1112. 
 
 8 The door to the right is a real Byzantine work brought from Constantinople 
 in the year 1204. 
 
 See introductory chapter to Tuscan Sculj>tors, p. liii. 
 
 * Selvatico, oji. cit. pp. 77, 78. 
 
VENICE. 
 
 171 
 
 Maestro Donato,^ and the Joannes di Venetia who carved the attr 1- Venetian 
 butes of the Evangelists above the door of Sta. Maria in Cosmedin priorto* 
 at Rome, are the only Venetian artists known to us before the four- century.^ 
 teenth century. Up to that time, as we have ab-eady had occasion 
 to remark, the few native sculptors were employed in adapting old 
 fragments to new uses, and it was not until the supply of carved 
 stone began to fail, and the necessity of having sculptors competent 
 to meet the demand for it was consequently felt, that Italian sculp- 
 tors multiplied and improved. The introduction of the Gothic style a.d. isoo. 
 of architecture helped to bring about this change, as the Greeks, 
 who on account of their superior skill and acquaintance with the 
 exigences of the old style had been liitherto employed, were incom- 
 petent to deal with the new. Thus with the adoption of these 
 forms of architecture, of which sculpture formed an integral part, 
 the art may be said to have first taken root at Venice. 
 
 Among the early sculptors of this period are Bertuccius, who Bertuonius, 
 cast the external bronze gates of St. Mark's;^ Marcus Venetus, who ^^.^^.^.^^^ 
 rudely carved several figures of saints upon the capital of a column J^'j'gj'y 
 which supports an angle of the cloisters of San Matteo at Genoa ; and 
 the anonymous sculptor and painter whom the Podesta of Murano, a.d. isio. 
 Messer Donato Memo, employed to make an ancona of wood for the Amonain 
 altar of the duomo at Murano, as a votive offering at the shrine of It mui-^i'»o. 
 his patron San Donato.^ This very mediocre work, which is in low 
 relief and both painted and gilded, represents the saint of colossal size, 
 dressed in episcopal robes, with a mitre on his head, and a book and 
 crozier in either hand. Diminutive figures of the donator and his 
 
 wife are painted kneeling at his feet.* The bones of San Donato, San Do- 
 nato. 
 
 ' Mo. Donato, Sc. Vencziano. ' Hoc opus fecit Doiiatus Magister S. Marci de 
 Venetiis A.D. 1276.' ' Donatus Magister S. Marci de Venecia a.d. mcclxxvii. Hoc 
 opus fac' or fee. Zani, Eiic. Met. vii. 401, quotes these inscriptions without 
 mentioning to what works they refer. 
 
 2 Selvatico, op. cit. p. 85, states his opinion that Bertuccius sculptured a bas- 
 relief of San Leonardo which exists upon the wall of St. Mark's towards the 
 Piazzetta dei Leoni. 
 
 3 ' Correndo Mcccx. Indicione viii. in tempo che lo nobil homo Misier Donato 
 Memo honoranda Podesta di Murano, facta fu questa ancona da Misier San Donato.' 
 
 * Such extreme difference in size between the saint and his worsliippers, 
 seen also in bas-reliefs of the 'Madonna della Misericordia,' is met with in Greek 
 votive bas-reliefs, between gods and men. Dr. Priederichs {Bdusteine znr Gesc/iich fe 
 der r/r. rom. Plastik, p. 213) says, in the absence of an inscription, it is the surest 
 mark of a votive relief. 
 
172 
 
 ITALIAN SCULPTORS. 
 
 Bishop of Epirus, who was famed for his miraculous powers, were 
 A.n. 1126. brought by the Venetians from Cephalonia, after they liad taken 
 possession of that island during an expedition conducted by the doge 
 Pomenico Micheli against the Emperor of Constantinople. Tradition 
 hath it that their authenticity Avas fully established in the same way 
 as that of the bones of St. Mark at Alexandria, by a delicious perfume 
 which issued from the sarcophagus when it was broken open,^ ' un 
 oudor si grant et si pleisant, que ce totes les espices dou monde fus- 
 sent en Alissandre, fust il aces sofisant chose.' Another anonymous 
 sculptor made the rude Madonna della Misericordia above the Ponte 
 del Paradiso at Venice, which is surmounted by a Gothic arch of 
 great elegance and exquisite lightness. 
 
 The bas-reliefs of the second half of the century show but 
 little improvement. Take for instance that sculptured by Arduinus 
 Ariiinus Tiijapicra at the entrance to the cloister of the Carmine church, 
 flunXh!'d which represents a Madonna with staring eyes and stolid face, 
 seated beneath a Gothic arch supported upon twisted columns, 
 holding an almost shapeless Christ- child upon her knees ^ (see Plate 
 Auoiiym- XX. 3); or that of the Madonna and Child with angels, and sup- 
 works, pliants,^ and figures in relief of SS. Leonard and Christopher^ near 
 Ic. isil the entrance to the Academia;^ or a Madonna della Misericordia at 
 Sta. Maria dell' Orto.^ Who would suppose that these works were 
 ])osterior to those of Andrea Pisano, and contemporary with those of 
 Orgagna in Tuscany? If they really represent Venetian sculpture 
 
 1 Cronaca di Mai-tiiio da Canale, viii. 288, Arch. St. It. ■ 
 
 2 ' MCCCXL. mensis Octubris Arduin Tajapiera fecit.' It seems hardly probable 
 tbat this Arduinns is identical witli the architect of the same name who built the 
 basilica of San Petronio at Bologna a.d. 1390. Temanza, op. cit. p. 363, nota A, 
 says he has no proofs to offer of the fact. Cicognara, i. 242 (cd. in-folio), says 
 that Ajitonio Vincenzi or di Vincenzo (who is mentioned by Gualandi, Guida di 
 Bologna, p. xi. as the architect of San Petronio) was a Bolognese magistrate, 
 ambassador to Venice in 1396, and that he probably superintended Arduinus 
 Venetus in his architectural labours. He cites a notice to this effect found in the 
 papers of Paliadio by Algarotti. 
 
 3 ' In lo tempo di M. Marcho Zulia fu fa to questo lavorier.' 
 
 * 'Fu fato questo lavorier al onor di Dio e de la Vergine Maria e del glorioso 
 Chonfcssor M. San Leonardo e in memoria de tutfi che in lo santo di fo chomensada 
 e croada.' — St. Smita Fraternitate e SchuoJa. 
 
 ^ The Scuola della Carita (now the Academia) was the first of the six con- 
 fraternities instituted for charitable purposes at Venice a.d. 1260, under the pro- 
 tection of San Lionardo (Sansavino, Venezia DescriUa, p. 281). 
 
 6 Zanotto, Guiila di Vei>r::ia, p. 321. 
 
VENICE. 
 
 173 
 
 during the fourteenth century it is indeed hardly worth examination, 
 but if, as we believe, the ducal palace sculptures Avere wholly planned 
 and [)artially executed by Filippo Calcndario, the most eminent archi- 
 tect and sculptor of his time, and not, as some eminent critics ha^'e 
 laboured to prove, by Bartolomeo and Giovanni Bon nearly a hundred 
 } ears later, then no period of its history is so interesting, for these 
 marbles form the most perfect scheme of decoration adapted to any 
 modern buildino;. But who was Calendario? The answer to this i-'iiSppo 
 
 o _ _ t'alen- 
 
 question contains in itself proof of his great powers. He was a man dario. 
 who from the condition of a sailor or shipbuilder at the fortress of 
 Murano, raised himself to be capo-maestro of the ducal palace, and 
 superintendent of public works,^ and who was consulted by the senate 
 in all matters connected with the restoration and decoration of city 
 edifices. How he acquired the education necessary to enable him to 
 fill such important posts is a mystery, but certain afiinities of style 
 between the compositions sculptured upon the capitals of the ducal 
 palace and those which fill the panels of the gate of the baptistry at 
 Florence, lead us to believe that Calcndario was broufjht into con- a.d. i289- 
 
 1311. 
 
 tact with Andrea Pisano,^ and received from him lessons which bore 
 their fruit in works far superior to all others of the pre-Rcnaissance 
 Venetian school. 
 
 Every child knows the history of Marino Faliero, how that pas- The con- 
 sionate, ambitious old man, irritated against the nobles by some real ji'irtno" 
 or fancied insult,^ organised a conspiracy against the Republic within 
 
 ' Caclorin, Fareri do XV Arcldtettl, at p. 122 quotes a document to prove 
 this from Egnazio, De Exemp. III. Vir. Venefce, lib. viii. p. 275, Venezia 1554 : 
 ' Era molto valent' uomo di tagliapietra, e molto amato ed onorato dalla Signoria, 
 e per buon iutelletto e per buoni consigli che a lei egli dava nell' editicare palazzi e 
 torri.' Sabellico says ' clie era scultore ed arcbitetto in que' tempi nobile,' &c. 
 (vide Ricci, op. cit. ii. 333). At p. 161, note x. Cadorin, mention is made of a 
 MS. codicil in the Museo Correr at Venice entitled Congium Falter, inv. 175, in 
 which the following passage occurs : ' Filippo Scalandico (vuol dir Calendario) 
 e suo fil, si dice che costoro erano scultori eccellentissimi, e che questi ebbono fatte 
 tutte le figure antiche del Palazzo Ducale che sopra delle merli si vedono.' 
 
 ^ Vasari, vol. ii. p. 87, nota 2. See Tuscan Sculptors, vol. i. ch. iii. pp. 63, 64. 
 
 ' The immediate cause of this determination is given in the apocryphal story of 
 the public insult offered to the doge's young wife Donna Ludovica Gradenigo. 
 This story is not mentioned by the oldest and best chroniclers, nor is Steno spoken 
 of by his contemporaries Carosini, Trevisan and de Monacis, or in the unedited 
 chronicles of Ant. Morosini or Pietro Dolfin. They speak of out^rages offered to 
 the doge by a company of young nobles of whom Steno may have been one. 
 (Romanin, Storia Doc. di Venezia, iii. 182.) 
 
174 
 
 ITALIAN SCULPTORS. 
 
 a year of his accession to the ducal throne, and liow the suspicions of 
 the Council of Ten were roused by the warning given by one of the 
 April 15, conspirators, named Beltrame, to the patrician Nicolo Lioni; how 
 
 1356, 
 
 the plot was discovered on the very eve of its execution, and the doge 
 degraded and decapitated on the steps of his palace ; ^ but it may be 
 new to some of my readers, that among the Venetians who shared his 
 fate was his relative and friend Filippo Calendario, who was seized in 
 his house at San Severo, brought with his son Niccoletto, his father- 
 in-law Bertuccio Tsraello,^ and others before the Council, and after 
 Caieiuiario scntencc of death had been pronounced against him was gagged, and 
 
 is put to 
 
 death. hung from the red columns of the balcony of the ducal palace. We 
 do not know Calendario's age when he underwent this shameful 
 death, but we may suppose that he was older than his century, if it 
 be true that in 1327 he had already attained such reputation as an 
 architect, that the senate considered him worthy to complete the 
 arsenal, which is generally supposed to have been designed by 
 Andrea Pisano some twenty years earlier. It was found necessary 
 about the same time to reconstruct the old palace of the Doges,^ and 
 designs for the purpose were furnished by Pietro Basseggio the ' Pro- 
 Examina- tomastro.'^ The design then was certainly given by an architect of 
 probabiii-'' ^^^^ fourteenth century, the friend and associate of Calendario and 
 favour of ^^^^ father of his son Nicolo's wife, who dying left him executor 
 
 Calendario 
 being the 
 
 ' The words ' non scribatur ' in the original records of the Council of Ten show 
 their feelings as to the enormity of the doge's crime, as does the black veil painted 
 over his portrait with the inscription, ' Hie est locus Marini Faletro decapitato 
 pro criminibus.' 
 
 ^ Calendario's wife was Maria, daughter of Bertuccio Israello. The Croiiaca 
 Sdvma says : 'Li sedesi [s/c] capi della congiura fiirono Bertuccio Israello patron 
 de nave de San Trovaso ; Filippo Calendario suo genero e San Severo.' — Cadorin, 
 Appendix. 
 
 3 From remote tirhes the ' due Colonne Rosse ' designated a part of the external 
 gallery of the ducal palace destined for the execution of criminals of rank or 
 patricians. The ' Colonne Rosse delle balconate del Palazzo ' from which, 
 according to Sanudo, Calendario and liis accomplices were hung, were probably 
 situated in the ancient wing of the old palace facing the piazzetfa, which was rebuilt 
 after 1424. The present ' red columns ' may perliaps be the same, transported 
 from their original site and made uniform with the new series wliich were con- 
 tinued along the same piazzetta after 1424, 'sni tipo del Calendario medesivtu' (Storia 
 del Dogi di Vene/.ia). 
 
 * Cadorin, oji. cif. and Selvatico, p. 108. 
 
 Cadorin says that Calendario was eiti.er tlie predecessor or associate of 
 Basseggio. 
 
VENICE. 
 
 175 
 
 of his will, and whom he succeeded in his office.^ Now as it is artist who 
 
 ' uesigiied 
 
 nowhere mentioned that Basseo-o-io was anything but an architect, thescuip- 
 
 ^ . . tures of 
 
 we may fairly suppose that he left the planning and execution of its the ducal 
 decorations to Calendario, who was also a sculptor. If the date m 
 Arabic characters, sculptured upon the twentieth capital,^ counting 
 from the corner of the palace near the ' Ponte della Paglia,' be cor- 
 rectly read, the series of supporting columns was thus far finished 
 eleven years before Calendario's death. Sixty-seven years later the a.d. n u. 
 doge Tomaso Mocenigo braved the penalty of a thousand ducats, a.d. 1422. 
 which was imposed by law upon any person who should advise its 
 reconstruction, and induced the Signory to order that the fa5ades 
 should be rebuilt and the palace restored, in accordance (says the 
 edict) with the original designs of Pietro Basseggio. The unbe- 
 lievers in the claims of Calendario say that this decree was literally 
 carried out under successive doo;es by Giovanni and Bartolomeo Bon. a.d. 1424- 
 
 14C1 
 
 It is well known that very important works were undertaken about 
 the palace while Bartolomeo was its head architect, but the com- 
 plete dissimilarity of style between the sculptures of the Porta della 
 Carta and those of the ducal palace lead to the belief, that moved by a 
 creditable desire not to disturb the harmony of the building by the 
 introduction of elements in a different style, he limited himself to the 
 task of copying old capitals to complete the series, and employed old 
 materials as much as possible. This explains why several of the 
 capitals on the Piazzetta are repetitions of others on the Rio, for one 
 can hardly accept the theory, that the rich powers of invention shown 
 in the Rio capitals had so far failed when the artist was near the end 
 of his work, that he was obliged to repeat himself. The unity of Unity of 
 aim which binds these sculptures together, as relatively important thraugh- 
 parts of a great Avhole, their completeness as a series, and their duL?*^ 
 fitness for the place which they occupy, all convince us that they sc'lltptures. 
 
 ' Cadorin says in his Appendix that Venice owes the piazza, the ducal palace, 
 the great hall of council, the oi-naments of the columns and intercohiranar spaces 
 to Calendario, and quotes Egnazio {Be Excmplis Illustr. Vi'r. Venetw, lib. viii. 
 p. 275, Ven. 1554, in-4to). Sansavino, Venezia Descritta, says the Sala del Scrutinio 
 was finished in 1309. Selvatico remarks that Calendario was too young to have 
 taken part in its construction (ojt. cit. p. 108). 
 
 Iconngraphie des Chapiteaux, par W. Burgcs, p. 20. This date says M. Burges 
 is on the twentieth column counting from the Rio end of the palace. M. Didron 
 in his note to this passage expresses a doubt as to whether this is a correct reading 
 of the date. 
 
17G 
 
 ITALIAN SCULPTORS. 
 
 were planned by one mind.^ It was not simply with the intent of 
 beautifying the walls of the edifice that the sculptor carved all these 
 groups, and capitals, and ornaments. He had as definite a purpose 
 as the architect who divided it into spacious halls and chambers, 
 proper for the reception of the great bodies of the state and for the re- 
 sidence of its chief magistrate. It was to convey lessons of importance 
 to governors and governed ; to reflect as in a mirror the habits of life 
 and guiding influences of the nation ; in short, to make the palace 
 stand in the midst of Venice as an image of the political state, faith, 
 and occupations of the Venetians, and thus give it a physiognomy 
 so national, that it Avould appear to have been born of the place. 
 The task was difficult, let us see liow far he accomplished it. 
 Descrip- At eacli comcr of the two facades, whose junction forms the apex 
 
 tion of the . . t J i 
 
 sculptures, of a triangle, stands the statue of an archangel, to show the trust of 
 the Venetians in divine protection, whether they were upon the 
 sea or upon the land, at war or at peace. Raphael the patron of 
 travellers with his staff in his hand, at the end looking towards the 
 sea; Michael the warrior and avenger holding his sword, at the 
 angle above the Piazzetta ; and Gabriel the peace-maker bearing the 
 lily, at the corner next St. Mark's. Under each of tlie archangels is a 
 group of figures in alto-relief. The drunkenness of Noah, under the 
 statue of Raphael, is an admonition against that vice, and a Avarning 
 against filial impiety, happily contrasted Avith filial piety by the 
 young Tobias, who sits at the feet of Raphael holding in his hand 
 the fish whose liver is to cure his father's blindness. The group of 
 
 ' The diversity of opinions upon the dat3 of these sculptures is curious. 
 Selvatico, op. cit. p. 109, concludes that the two fa9ades are posterior to 1424. 
 Cadorin says that what Calendario did is not known (p. 124, op. cit.). Burges 
 and Ru?kin both believe, that with the exception of the seven copied capitals, all 
 belong to the first half of the fourteenth century. Didron thinks they are rather 
 of the thirteenth than of the fifteenth. Francesco Zanotti in his work on the ducal 
 palace (ch. xii. note 18) speaks of an inscription said to have been discovered on 
 the capital of the Column of Justice to this effect : ' Duo soti (socii) Florentini incisi.' 
 Upon this inscription he founds a theory that these two Florentine associates were 
 the Pietro di Niccolo da Firenze and Giovanni Martino da Fiesole, who made the 
 tomb of the doge Tomaso Mocenigo (died 1423) at S. Giovanni e Paolo, during 
 whose reign this portion of the palace was completed. But as no one else mentions 
 this inscription, and as the noble style of the capital is very different from the 
 mediocre character of the work about the tomb, we are not inclined to accept 
 Zanotti's hypothesis, especially as this capital is the finest of the whole series. Ricci, 
 Storia delV Arcliitettura in Italia, ii. 341, expresses as his opinion that the designs 
 for the decoration of the facades of the ducal palace were given by Calendario. 
 
VENICE. 
 
 177 
 
 Adam and Eve (Plate XXI. No. 1) hi tlie act of plucking the for- 
 bidden fruit, below the statue of Michael, who was sent to drive 
 them out of their forfeited Paradise, warns against disobedience; 
 lastly the Judgment of Solomon, (see Plate 5t¥5?: No. 2,) below the XKl . 
 statue of Gabriel, speaks more particularly to the magistrates of 
 their duty towards the people. 
 
 We now come to the carved capitals of the thirty-six columns The scuip- 
 upon which the edifice rests. They too have for the most part llTs. 
 their separate as well as connected meaning, though the sculptor 
 apparently allowed himself here and there a certain freedom of in- 
 vention. They represent the conditions of man, the animals and 
 plants needful for his existence and comfort, the planets which 
 preside over his destiny from the cradle to the grave, and the 
 winds which purify the air and propel his ships across the sea. The 
 capitals beginning at the Raphael end of the fagade, are sculptured 
 with figures of children; heads of young knights and warriors; 
 birds ; emperors (among whom are Titus and Trajan) ; women's 
 heads ; virtues and vices symbolically represented ; wise men, 
 such as Solomon, Aristotle, and Pythagoras; the planets Saturn, 
 Jupiter, Mars, and Venus ; the patron saints of sculptors, each 
 working upon a capital, a cornice, or a figure ; the trades, such as that 
 of the lapidary, the carpenter, the husbandman, the blacksmith; the 
 seasons with their varying occupations ; the ages of man, represented 
 by the infant, the schoolboy, the warrior, the student, and the old 
 man leaning upon his crutch, and dead upon his bed ; the courtship 
 and marriage of a young man and woman, who are again represented 
 with their child, first an infant, then a youth beside whose deathbed 
 they are weeping and praying. Last of all we come to the colunni 
 of Justice, which stands below the Judgment of Solomon and the 
 statue of Gabriel. Its capital, which is the finest of the series, is 
 covered with the richest leaf-work, growing upwards from its base 
 and drooping in graceful volutes, between which are inserted figures 
 of Justice seated upon two lions, the law-givers Aristotle, Solon, 
 Numa, and Moses, and an admirable group of the Emperor Trajan 
 reining in his horse to listen to the Avidow's prayer for vengeance 
 upon the murderer of her son.^ (See Plate XXII.) The beautiful 
 
 ' In note 73 to Longfellow's admirable translation of the Purgatori'o, he men- 
 tions tliat the history of Trajan and the widow is told in nearly the same words in 
 the Fiore de' Filosnfi, a work attributed to Brnnctto Latini (vide Nanmicci. ^Tarnmlc 
 
 A A 
 
]78 
 
 ITALIAN SCULl'TOKS. 
 
 (lescriittion of this subject in the ' Purgatorio ' may have suggested 
 to the sculptor the happy thought of thus making a reality of that 
 visionary sculpture, Avhich Dante saw carved with a more tlian 
 . mortal skill when he reached the circle in which the sin of Pride is 
 pu]-ged away : 
 
 Tliere the high glory of the Roman prince 
 
 Was chronicled, whose great beneficence 
 
 Moved Gi-egoi'j to his great victoiy ; ' 
 
 "Pis of the Emperor Trajan I am speaking ; 
 
 And a poor widow at his bridle stood 
 
 In attitude of weejiing and of grief. 
 
 Around about him seemed it thronged and full 
 
 Of cavaliers, and the eagles in the gold 
 
 Above them visiblj- in the wind were moving. 
 
 The wretched woman in the midst of these 
 
 Seemed to be saying : ' Give me vengeance, Lord, 
 
 For my dead son, for vrhom my heart is breaking.' 
 
 And he to answer her : ' ISTow, wait until 
 
 T shall return.' And she : ' i\Iy Lord,' like one 
 
 In whom grief is impatient, ' sliouldst thou not 
 
 Retui-n ? ' And he : ' Who shall be where I am 
 
 Will give it thee.' And she: ' Good deed of others 
 
 What boots it thee, if thou neglect thine own ? ' 
 
 Whence he : ' Now comfort thee, for it behoves me 
 
 That I discharge my duty ei-e I mo-\"e ; 
 
 Justice so Avills, and pity does retain me.'^ 
 
 It cannot be denied that the figures of the group by Avhich the 
 Venetian sculptor has rendered this subject are defective in their 
 I'elatiA e proportions, but this and other technical defects are lost 
 
 (h'lhi Lrltcrithira, rial prima secnlo, iii. 291). It may also be found in the Legenda 
 Aurea, in the Cento Novelle AnttcJte, no. 67, and in the life of St. Gregoiy by Paulus 
 DiaconiTS. 
 
 ' Saving the soul of Trajan by prayer. A long time afterwards says the 
 legend as given by Ser Brunette (quoted in Longfellow's notes), St. Gregory 
 hearing of this justice, saw his statue and had him disinterred, and found that he 
 was all turned to dust except his bones, and his tongnie, which was like that of a 
 living man. And by this St. Gregory knew his justice, for this tongue had always 
 spoken it ; so that he wept piteously through compassion, praying God that He 
 Avould take his soul out of hell, knowing that he had been a pagan. Then God, 
 because of these prayers, drew that soul from pain, and put it into glory. And 
 thereupon the angel spoke to St. Gregory, and told him never to make such a prayer 
 again, and God laid upon him as a penance either to be two days in purgatory or 
 to be always ill with fever and side-ache (male di fianco). — The following phrase 
 is inserted in the Greek ritual : ' God, pai-don him as thou didst pardon Trajan 
 through the intercession of St. Gregorj'.' M. Ampere {H>sf. Rortiaiue a l^ovie) 
 states his belief that the preservation of Trajan's column and of the remains of 
 ihc T Ipian basilica is o^^■ing io popular faiili in tliis b(>nnfifnl legend. 
 
 - ./ / P II rijaiorio. x. T-^" iK;!, Iranslfitcd In 11. \^'. l/rnigl'ollow. 
 
V KXici:, 
 
 si<^ht of in the life wlucli animates, and the sentiment ^Yhieh pervack's 
 them. The eapital, as well as the group above it, appears to be 
 later in date than the other capitals and groups, for although we 
 may believe that one person planned all the sculpture at one time 
 as parts of a scheme of decoration, we cannot pretend to limit the 
 period of its execution to the first half of the fourteenth centur\-. 
 This would be absurd in face of the manifest differences of style 
 which exist between the stiff and lifeless figures of Adam and 
 Eve, and the comparatively broad iuid flowing lines and draperies 
 of the Judgment of Solomon. We trace sufficient points of re- 
 semblance, in the type of face and arrangement of hair, between 
 the Adam and Eve and the figures emblematic of the planets, 
 and those upon the marriage capital, to warrant the idea that 
 they are by the same sculptor. 
 
 With one or two exceptions there are no sculptures at Venice 
 either among; those of the fourteenth or fifteenth century which 
 remind us of those about the ducal palace. Their decided superiority 
 to all other pre-Renaissance Venetian marbles is so remarkable, 
 that we have been forced to seek for an explanation of it in some 
 extraordinary cause, such as the influence of a foreign artist upon 
 one sculptor of great natural abilit}-, but how it happened that this 
 influence was not brought to bear u])ou other artists of th.e time 
 is a mystery that we cannot penetrate. 
 
 Jf Vasari is to be believed, Calendai io was not the only sculptor 
 of the fourteenth century who was educated by a Tuscan master, 
 for he tells us^ that Jacopo Lanfrani, one of Calendario's contempo- .laoopo 
 raries, as well as Jacobello and Pietro Paolo delle Massegne, were '"" 
 pupils of Agostino and Agnolo Sanesi.'^ Unfortunately the 
 church of Sant' Antonio at Venice^ and that of San Erancesco at 
 Imola,* both of which were built by Lanfrani (who sculptured many 
 
 ' Vasari, vol. ii. p. 13. 
 
 See Tuscan Sculptors, vol. i. ch. iv. pp. 94, et seq. 
 ^ Sansavino, p. 29. This church no longer exists. The Venetian ambassador 
 II Magnifico Piero Pasqualigo in writixig from London, April 15, 1515, mentions 
 that on his journey through Franco ho visited St. Denys, and thei'e saw ' the tomb 
 of Charles VIII. with his graven image the size of life, wrought by the same 
 artificer that did the statues of St. Anthony's church at Vemce (see Four Years at 
 the Court of Henry VIIT., Despatches of the Venetian Ambassador Seb. Ginstiniani, 
 i. 83-4, edited by Rawdou Brown, Esq.). 
 
 Rioei, 'ip. cif. p. 30], vol. v. note 1, p. 320 ; also Vasari, ii. 13. 
 
 A A "2 
 
180 
 
 ri'ALIAN SOULPTOHS. 
 
 bas-reliefs about the portal of the latter editice), have been destroyed, 
 A.r.. 1337. so that we have only the monument of Taddeo Pepoli in the church 
 of San Dorainico at Bologna, by which to judge of his manner, which 
 is here not unlike that of his alleged Sienese masters. The bas- 
 relief upon the sarcophagus, Avhich stands in an arched recess 
 above a blank space filled in with diamond-shaped slabs of white and 
 black marble, represents the magistrate seated, and holding in his 
 hand a book, which he appears to be explaining to the persons 
 standing by his side. A second panel, divided from the first by 
 a statuette of an apostle, contains the figures of an angel and a 
 kneeling donator, Avho offers him the model of a church. The 
 figures are well proportioned, quiet in action, and draped with much 
 simplicit}", but there are not in the general design of the monument 
 any such points of resemblance Avith that adopted by the Sienese 
 school as would lead us to connect Lanfi-ani with it. 
 Gotiiic The Gothic type of tomb common at Venice is of all types perhaps 
 
 tonib°at tlie most perfect, being beautiful to the eye, as well as satisfactory to 
 Venice. ^^iq mind through its solemn sentiment and fitness. It consists of a 
 sarcophagus, generally set high up against the wall of a chapel under 
 an arched canopy, whose gable is adorned with crockets and sur- 
 mounted by a finial.^ The front of the sarcophagus is divided into 
 two panels, containing Scriptural or historical bas-reliefs, having 
 a statuette of Christ or a group of the Madonna and Child under a 
 little baldacchino, placed between them, and figures of the Angel of 
 the Annunciation and the Virgin carved at each end, in sign of that 
 hope of a joyful Resurrection which was given to mankind through 
 the promise made to her by the heavenly messenger.''^ The recumb- 
 
 ' These ornaments, as well as the elaborate leaf-work and friezes and cornices, 
 are for the most part treated too pictorially by Venetian artists, who having passed 
 directly from Oriental to Northern influences, without that intermediate study of 
 the antique which chastened the manner of the early Gotliic masters in Tuscany, 
 were from the beginning wanting in purity of style. 
 
 2 The angel, who came down to eartli with tidings 
 
 Of peace, that had been wept for many a year, 
 
 And opened Heaven from its long interdict, 
 
 In front of us appeared so truthfully 
 
 There sculptured in a gracious attitude, 
 
 He did not seem an image that is silent. 
 
 One would have sworn that he was saying ' Ave ;' 
 
 For she was there in eSigy portrayed 
 
 Who turned the key to ope the exalted love, 
 
VENICE. 
 
 181 
 
 ent figure of the deceased upon the sarcophagus was originally 
 intended to represent the corpse when laid out in the church before 
 burial, and this realistic thought was spiritualised by placing angels 
 near it, either holding back the curtain which hangs from the canopy 
 above it, or standing motionless with censers in their hands beside 
 it, or supporting the cushion upon which the head rests. The 
 curtain-drawing angels ^ were introduced at Venice towards the 
 middle of the century upon the monument of Andrea Dandolo, and 
 the sepulchral effigy lirst appears upon that of Duccio degli Aliberti,^ 
 which is also remarkable as the first upon which are any figures of the 
 Virtues. The sarcophagus is adorned in front with panels contain- Tomb of 
 
 ^ P , Duccio 
 
 ing a cross and two shields, separated from each other by tmsted de-ii ah- 
 colonnettes, and Avith two excellent statuettes of Justice and Tem- 
 perance.^ Over it is a Gothic canopy supported upon twisted 
 columns, with shields sculptured within its pointed gable. That 
 this type was not universally followed at the time is proved by the 
 tomb of Doge Francesco Dandolo, a sarcophagus adorned with a Tomb of 
 bas-relief of the Death of the Virgin, standing under a simple arched Dan'doio° 
 canopy,'* and by that of Bartolomeo Gradenigo, his successor, who Yy'is-^ 
 was buried within the atrium of St. Mark's in a sarcophagus without 
 
 Aud in ber mien this language had impressed 
 ' Ecce ancilla Dei ' as distinctly 
 As any figure stamps itself in wax.' 
 
 Furgatorio x. 34-45, Longfellow's translation. 
 
 ' First used in Italy by Arnolfo del Cambio in tbe tomb of Cardinal de Braye a.h. 1285. 
 at Orvieto, and adopted by Giovanni Pisano in that of Pope Benedict XI. at Perugia 1305. 
 (see Tuscan Sculptors, vol. i. eh. ii. pp. 48, 51.) 
 
 ^ Ambassador to Florence when Venice was allied with that city against 
 Mastino Cane lord of Verona. 
 
 ^ Mr. Ruskin, oj>. cit. iii. 74, praises these statuettes as exquisitely beai^tiful, 
 and says he has no doubt they were executed by a Florentine sculptor. 
 
 * The canopy still exists in its original position in the chapter-house of the 
 Frari. The sarcophagus is in a desecrated cloister at the Salute. The statue of 
 this doge kncehng before the lion of St. Mark with a banner in his hand was 
 sculptured by a certain Maestro Martino, and set up over the portal of the ducal 
 palace which he built. ' Questo Doze anche fece far la porta grande che se al 
 intrar del Palazzo, in su la qual vi e la sua statua che sta in zenocchioni con lo 
 confalon h\ man davanti li pie de lo Lion S. Marco.' The position of this door 
 is disputed (see Ruskin, ii. 294, and Cadorin, o^j. cit. 189, 1, June 1, 1335). ' We 
 Andrea Dandolo and Marco Loredano procurators of St. Mark's, have paid 
 Martino tajapiera and his associates for a stone of Avhich the lion is made which is 
 put over the gate of the palace. — 1344, Nov. 4 : We have paid thirty-five golden 
 ducats for gold-leaf to gild the said Hon.' 
 
ITALIAN 
 
 SCUIvPTORS. 
 
 Tomb of 
 the doge 
 Bartolo- 
 meo Gra- 
 de.nigo. 
 
 Tomb 
 of Saut' 
 Isidoro. 
 
 Tomb of 
 
 Andrea 
 
 Daudolo. 
 
 Tomb of 
 
 Paolo 
 
 Lorediino. 
 
 A.I). 1351. 
 
 Analogies 
 
 between 
 
 the 
 
 works of 
 Milanese 
 and 
 
 Venetian 
 sculptor.". 
 
 Tomb of 
 
 Marco 
 
 Cornaro. 
 
 an effigy, adorned with poorly-sculptured statuettes of the Virgin 
 and the Angel of Annunciation at the angles, and with a central 
 bas-relief of the doge kneeling before the Madonna.^ In the monu- 
 ment erected by Andrea Dandolo to S. Isidoro in his chapel at 
 St. Mark's, we find two of the distinctive features of the perfected 
 Gothic tomb, namely the effigy, which is remarkably fine, and the 
 canopy, while in that of Andrea Dandolo in the baptistery of 
 St. Mark's the type is completed by the curtain-drawing angels. '"^ 
 'We hardly know,' says Mr. Ruskin, ' if it be a tomb indeed, for it 
 is like a narrow couch set beside the window, low-roofed and 
 curtained, so that it might seem, but that it is at some height above 
 the pavement, to have been drawn towards the window, that the 
 sleeper might be wakened early. Only there are two angels who 
 have drawn the curtain back and are looking down upon hini.'^ 
 
 A simple sarcophagus placed high up against the wall in the 
 church of San Giovanni e Paolo, with a St. Paul and two praying 
 angels sculptured u[)on its front, and a recumbent figure so resting 
 on an inclined plane upon its lid that it may be seen from below, con- 
 tains the remains of Paolo Loredano, a brave and able soldier of 
 this time, captain -general of the republic when Venice ^\'as menaced 
 by the Genoese, her ambassador at Milan when the Emperor 
 Charles IV. was crowned, and her chief instrument in quelling the 
 revolt of the Candiotes under Giovanni Calergi. Certain tombs by 
 unknown sculptors, which are variously regarded as works of the 
 Milanese Campionesi, or of the Venetian Massegne,^ show how closely 
 the two schools, both of which had a common Pisan root, resemble 
 each other ; they are indeed often very difficult to distinguish, as 
 the}' are without marked 23eculiarities, tiie figures in both being 
 extremely simple in pose, and sober in gesture. Such a monument 
 is that of the doge Marco Cornaro^ at San Giovanni e Paolo, above 
 
 ' This is the doge to whom the fisherman brought the ring of St. ^lark — a 
 scene represented in the splendid picture by Paris Bordone at tlie Academy. 
 
 His first chronicles brouglit down Venetian history to the year 1242, the 
 second to 1280, published in vol. xii. of Muratori's Sc. Her. It. Petrarch speaks of 
 him in his Epistolm as erudite, eloquent, wise, afi'able, and humane. 
 
 ^ Stones of Venice, ii. 68. 
 
 Calvi, oj). cit. p. 59 ; Selvatico, 021. cit. p. 146. 
 
 * When Giovanni Doltin objected to the election of this wise and eloquent 
 doge, that he was old, poor, married to a plebeian, and the friend of foreign 
 princes, he replied that he had grown old in the service of Venice, that his poverty 
 proved his inlegvity, that his allianco with the people through his wife would rather 
 
VEXIf'E. 
 
 183 
 
 whose plain sarcophagus are five statuettes in niches, of the Virgin 
 with SS. Peter and Paul and two patron saints, carefully sculptured 
 in a simple style. Such also is the tomb of the Senator Simon Tomb of 
 Dandolo (a member of the council which condemned Marino Faliero) DanToio, 
 at the Frari, whose sarcophagus is decorated with the usual figures '^'^'^ 
 of the angel and the Madonna, and a group of the Madonna 
 enthi'oned, and overshadowed by a curtain held up by four 
 diminutive angels. That of the doge Giovanni Dolfin, thouo-h Tomb of 
 
 Gr' :)viniii 
 
 without any recumbent figure, is one of the most noted Gothic iMfin, 
 monuments in the church of San Giovanni e Paolo. The sarco- ^^^'^ 
 phagus is enriched with statuettes, and with bas-reliefs of the doge 
 and the dogaressa kneeling at the feet of the enthroned Christ, the 
 Death of the Virgin, and the Epiphany, and has an elaborate leaf- 
 Avork cornice and plinth. The details of these Venetian monuments 
 though effective and well calculated to add to the general pictur- 
 esqueness of their appearance, are seldom of much value ; the recumb- 
 ent figures are often excellent in sentiment, and impressive by 
 reason of their rigid quietness, but the bas-reliefs cannot for a 
 moment be compared with those upon Tuscan monuments of the 
 time, and serve chiefly to break the monotony of plain surfaces. . 
 'J'he statuettes of saints and angels are generally diminutive and 
 of little importance, and suffer by the increasing prominence 
 given to leaf-ornaments, crockets, and finials. We have already 
 referred to Jacobello and Pietro Paolo, sons of Antonio delle Jacobello 
 Massegne or de' Massigni, as the supposed scholars of Agostino and Paoiodeiie 
 Agnolo Sanesi, but we are rather inclined to connect them less ^^^^^^^ne. 
 directly with Tuscany through Bonino da Campione (the scholar of 
 Balduccio da Pisa) to whom some of the anonymous Gothic tombs 
 in Venice have been attributed.^ The Masseo:ne are now recoo-nised Gothic 
 as the sculptors of the Gothic altar-piece in the church of San liythe 
 Francesco at Bologna.^ It contains a central bas-relief representing 
 
 Masspgne. 
 A.D. 1388. 
 
 make him love Venice more than less, and that the friendship of foreign pi inces 
 showed how ably and coarte(nisly he had conducted the missions with which 
 he had been charged to them (Romanin, op. cif. iii. 220). 
 ' Calvi, op. cif. p. 59. 
 The contract for this ancona (made between the Frati Minori and the 
 Massegne in 1388), given by the Marchese Davia, overthrows the statement of Vasari 
 that it was made in 1329 by Agostino and Agnolo Sanesi (see Vasai-i, vol. ii. 
 p. 7, note 1 ; and Ciualandi, Onidn rli Bologna, p. -53). The price agreed upon was 
 "21.')n golf] dncats. 
 
184 
 
 ITALIAN SCULPTORS. 
 
 A.D. 1394. 
 
 A.l>. U97. 
 
 Tomb of 
 Antonio 
 Vt'iiier, 
 died 1400. 
 
 Tomb of 
 Micheli 
 Mornsini, 
 died 1382. 
 
 Portal of 
 S. Stefano. 
 
 Paolo delle 
 Massegue. 
 
 Tomb of 
 Jacopo 
 Cavalli, 
 died 1384. 
 
 the Coronation of the Virgin, uround whicli are placed bas-reliefs 
 and statuettes of saints, simple and unpretending figures care- 
 fully draped, but somewhat heavy in their proportions. Other 
 works by the Massegne are the statuettes of the Virgin, St. 
 Mark and the apostles, SS. Peter and Clement, and the Madonna 
 with SS. Christina, Clara, and Catherine at St. Mark's; and the 
 monument to the Doge Antonio Venier,^ which is placed high up 
 above the door of the Cappella del Rosario at San Giovanni e Paolo. 
 The sarcophagus is adorned with statuettes, and others are placed 
 above the recumbent effigy of the deceased.^ Another monument 
 in this church which may be their work, is that of the doge Micheli 
 Morosini, one of the richest examples of the florid Gothic style. 
 The want of proper balance between decoration and the thing deco- 
 rated, and of fit subordination of detail to general efi'ect becomes 
 more and more palpable as we approach the -period of the Renais- 
 sance. Another striking example of it is furnished by the portal of 
 the church of S. Stefano, which is attributed to the Massegne. 
 The stone vegetation about its Gothic arch is absolutely rank, and 
 quite out of proportion with the dimensions of the arch itself. 
 
 The brothers Massegne had an able assistant in Paolo, the son 
 of Jacobello, who was a more original artist than either. His 
 best work is the tomb of the Veronese condottiere Jacopo Cavalli, 
 who commanded the land forces of the Republic in that famous 
 Chioggian war, which would have proved ruinous to her, had it not 
 been for the unlimited sacrifices and devoted bravery of her sons. 
 He was buried at San Giovanni e Paolo in a monument which, 
 though robbed of its statuettes^ and no longer brilliant with colour, 
 is one of the most picturesque at Venice. The sarcophagus is 
 heavily but richly adorned with leaf-mouldings, and with roundels 
 containing the symbols of the Evangelists in alto-relief. Upon it 
 
 ' Surnamed the Venetian Brutus, because his rigid sense of justice obhged hini 
 to refuse to Hberate his dying son Luigi from prison. 
 
 ^ Selvatico, op. cit. p. 123, says that a Jacopo Celega and his son Paolo, who 
 built the campanile of the Frari between 1361 and 1396, are perhaps identical with. 
 the Massegne. The Pietro Paolo who was called to Udine to build the duomo in 
 1366 is perhaps one of the Massegne. He may have sculptured some of the 
 statuettes about the great window of the Sala del Maggior Consiglio at the ducal 
 palace, finished in 1405. 
 
 3 The engraving in Zanotti's work, II Palazzo Ducale, shows that there were 
 originally statuettes of Faith, Hope and Charity on projecting brackets in fi-ont of 
 this tomb (see Ruskin, op. ri'f. iii. S2). 
 
VENICE. 
 
 185 
 
 lies the effigy of the brave knight clad in armour. (See Plate 
 XXIII.) His face is very much sunken in his helmet, his hands 
 are crossed upon his breast, his head rests upon a lion and his feet 
 upon a dog, fitting emblems of his honour and fidelity. The re- 
 cumbent effigy on the tomb of the famous general Prendiparte Pico ^ p"'"^.°^ 
 in the church of San Francesco at Mirandola by the same sculptor parte Pico, 
 is also clad in armour. The front of its sarcophagus is decorated 
 Avith a bas-relief of the Crucifixion ; the right end with that of a 
 mule sinking to the earth under a heavy burden, and the left with 
 the Pico arms and medallion portraits of Prendiparte and his wife 
 Catarina Cornari, who erected the monument to her husband's 
 memory. The composition of these reliefs is simple and clear, but 
 the figures are heavy, and the workmanship is not over careful. 
 Though Ave cannot praise Paolo di Jacomello for technical skill, 
 we find in the varied design and the marked character of these 
 monuments proof of his originality and fertility of invention. We 
 are struck with his superiority Avhen Ave compare him Avith his con- 
 temporaries, Maestro Andriolo or Andreolo'^ (head architect of the Maestro 
 basilica of Sant' Antonio at Padua), Avho built the chapel of San a. 1372. ' 
 Felice for Bonifazio di Lupi Marchese di Soragna,^ sculptured the 
 rather lifeless but not ill-draped statuettes of the marquis and his 
 wife, with those of SS. James, Peter, and Paul above its entrance, 
 and prol)ably made the two sarcophagi ornamented Avith disks of 
 porphyry and Oriental granite, Avhich stand AAdthin it;* Raynaldinus, Rayuai- 
 Avho made the thickset, stiffly-posed statuettes of the Virgin and fl!"i3^75. 
 Child, and those of SS. Peter, Paul, and James, Avhich stand upon 
 
 ' Upon this tomb as upon that of Jacopo Cavalli is inscribed : ' Quest' opera 
 d' intaglio e fatto in picra, un Venicien la fe ch'a nome Polo, nato di Jacomel 
 Chatapiera.' 
 
 ^ He has been confounded with an Andreolo di Fei'rari Francescano, the scholar 
 of Giovanni da Giussano, who worked for the duomo at Milan towards the end of 
 the fotirteenth century, but who had no reputation as a sculptor (Gonzati, i. 173). 
 
 ^ Bonifazio di Lupi when exiled from Parma went to Florence, commanded the 
 Tuscan troops in a war with the Pisans (1360) and built the hospital of San 
 Giovanni Battista in the Via di San Gallo at an expense of 24,000 florins, and 
 endowed it with an annual stipend of 700 gold florins (Gonzati, ii. 93-^). At 
 Padua, where he afterwards resided, he was entrusted with several missions of 
 importance, and led the Paduan troops intended to co-operate with the Genoese 
 fleet against Venice (1372). The contract for the building of the chapel of San 
 Felice is dated February 12, 1372 (see Gonzati, vol. i. p. 107, doc. 102). 
 
 The marquis lies buried in one of the sarcophagi, and a de' Rossi of Parma in 
 the other. 
 
 B B 
 
186 ITALIAN SCULPTORS. 
 
 Giovanni the altar in this chapel;^ Giovanni de' Sanctis (buried with his 
 
 de Sanctis, ^ 
 
 fl. 1390. father Fihppo the sculptor ^ at Sta. Maria dell' Orto), who is known 
 through his epitaph to have sculptured a group of the Madonna and 
 Bernardo Child which he gave to the church;^ Bernardo da Venezia, the first 
 
 oaVenezia, " ' 
 
 fl. 1396. head architect^ of the Certosa at Pavia, who was employed by 
 A.D. 1391. the Duke Giaii Galeazzo to build the castle of Pavia, and by the 
 directors of the cathedral at Milan to sculpture a group of the 
 Madonna and Child in wood, which stood for many years above the 
 Bonafuto high altar 1 ^ and lastly, Maestro Bonasuto or Bonafuto,^ who sculp- 
 
 da Venezia. . 
 
 A.D. 1394. tured the half-figures of prophets and saints upon the base of the 
 fa9ade of St. Petronius at Bologna in a bold effective style (see 
 Plate XX. No. 1). 
 
 sfabs''' '^'^^ One of the best examples of a common form of memorial used 
 at this time at Venice, is the sepulchral slab of Bonincontro di 
 Boaterii, a celebrated Bolognese jurisconsult, abbot of San Giorgio, 
 set into the wall of a corridor leadino; from the church of San Gioro^io 
 Maggiore to the Cappella dei Morti. The effigy of the deceased 
 in flat relief, which is enclosed in a sort of niche, represents him 
 clad in the long mantle of a novice, holding a copy of the decretals 
 in his hand, which he is expounding to his disciples who are scul[)- 
 tured ' in httle ' at his feet. 
 
 ' The head of Saint Paul is a restoration by Giovanni Bonazza. Raynaldinus 
 received 196 ducats for these statuettes (see Gonzati, vol. i. pp. 113, 174, doc. 102 ; 
 and Gualandi, series vi. p. 135, no. 193, and p. 145). 
 
 ^ Cicogna, Isc. Ven. ii. 278, says that Filippo sculptured the sarcophagus of the 
 Beato Oderici, a Minorite monk, who died in 1331. 
 
 3 ' Hie jacet Magister Joannes de' Sanctis Lapicida de Sn<=t' Severi, qui j^er 
 suam maxi/mam devotionem obtulit et dedit imaginem Beatae Virginis in Ecclesia 
 S'^ Xphori de Venex.' . . . Sta. Maria dell' Orto, originally called San Cristoforo, 
 changed its name in honour of a rude image of the Virgin found by the monks in 
 an adjoining garden a.d. 1377 (Ricci, op. cit. ii. 377). The huge colossal wooden 
 statue of St. Christopher with painted face, hair and robes, upon an altar iu this 
 church, was sculptm-ed by Gasparo Moranzone, one of a family which produced 
 several artists. The same Gasparo ornamented two altar fonts in S. Stefano and 
 S. Giobbe (Sansaviuo, lib. ii. p. 60 and lib. iii. p. 57 ; Cicogna, vol. i. p. 83, no. 176). 
 Francesco Moranzone, a wood carver, carved a frame for a pictui'e by Donato 
 Veneziano in 1460. In 1500 his son Jacopo went to Udine to do the like for a 
 picture by Pellegrino da San Daniele (Maniago, pp. 42, 293, ed. 1823). This 
 Jacopo di Fi-ancesco was also a painter. 
 
 ■* Calvi, op. cit. pt. i. p. 103, and a pamphlet entitled La Fondazione del Tempio 
 della Certosa by the same author. 
 
 * Bernardo built the church of the Madonna del Carmine at Milan (Calvi, 
 p. 105). 
 
 ^ Cicognara, Sforia della Scultiira, pp. 321, 429, and Selvatico, p. 124. 
 
VENICE. 
 
 187 
 
 The period of a liimdi^ed and fifty years, during which the 
 Gothic style prevailed at Venice, is represented by three schools, 
 two of which, those of Calendario and the Massegne, have now been 
 examined ; the third, tiiat of the Bons, Giovanni and his sons Barto- 
 lomeo and Pantaleone, now claims our attention. These artists, 
 who were probably born Venetians, lived in the Contrada a San 
 Marziale, near the church of Sta. Maria dell' Orto. In the year 
 1438 Giovanni and Bartolomeo made a contract with Tommaso 
 Malpieri and his associate ' provveditori ' to build the great gate of 
 the palace contiguous to the church of ' Misier San Marcho.' ^ This 
 portal which was at first called the Porta Dorata, and afterwards 
 the Porta della Carta because public edicts were affixed to it, is a 
 very elaborate structure in the florid Gothic style. A pointed 
 window filled in with rich tracery and surmounted by a roundel 
 supported by flying angels, containing a half figure of St. Mark, fills 
 up the space above the square-headed portal, which is flanked by 
 three-sided pilasters rising to the top of 
 the window, and crowned by pinnacles. 
 Between them is a central arch, which 
 is adorned with elaborate crockets of 
 leaf-work filled in with little climbing 
 figures, and terminates in a dispropor- 
 tionately large figure of Venice seated 
 between two lions. The pilasters are 
 divided into four portions by string 
 courses, the lower are panelled, the two 
 next on either side adorned with cano- 
 pied niches containing statues of the 
 Virtues (see Woodcut), and the upper 
 with ' putti ' supporting shields. The 
 figures are square in their proportions, 
 heavily draped in a classical style, and 
 wanting in the delicacy and elegance 
 
 of line demanded by the character of the architecture of which they 
 form a part. Cold in feeling and without individuality, we can see 
 
 Gothic 
 period re- 
 presented 
 by three 
 schools. 
 
 Giovanni 
 and Bar- 
 tolomeo 
 Bon. 
 
 Porta della 
 Carta, 
 Nov. 10, 
 1438. 
 
 ' The Porta della Carta was built between 1439 and 144'^, under the doge 
 Francesco Foscari. In 1442 the Bons, father and son, promised to complete the 
 figures about it within a year (doc. pub. by Gualandi, series vi. p. 105). The 
 price agreed upon for the whole work was 1700 gold ducats (Selvatico, p. 136). 
 
 B B '2 
 
188 
 
 ITALIAN SCULPTORS. 
 
 Share 
 taken by 
 theBons in 
 the decora- 
 tion of the 
 Ducal 
 Palace. 
 
 A.D. 1463. 
 
 A.D. 1423- 
 1457. 
 
 Tomb of 
 
 France.seo 
 
 Foscari. 
 
 Cappella 
 dei Mas- 
 eoli. 
 
 Bas-relief 
 upon the 
 altar. 
 
 in them no sign of the mind whicli conceived, or the hand which 
 executed the justly -vaunted sculptures of the ducal palace. As 
 the gate is inscribed with the words ' Opus Bartolomei,' we may- 
 suppose that Giovanni's assistance was almost nominal, but he and 
 his sons certainly worked together upon the statuettes and other 
 decorations of the internal faQades of the palace, and built the 
 corridor leading from the Porta della Carta to the Giant's Staircase.' 
 It is to payment for these works, as we think, that reference is made 
 in an order of the council by which Maestro Bartolomeo Bon is 
 commissioned to finish the palace decorations.^ 
 
 It is not a little singular that Calendario and Bartolomeo, the 
 two most eminent sculptors of their day, should have been em- 
 ployed by the two most unfortunate of doges, the one to commence, 
 the other to terminate the ducal palace. Just two years more than 
 a centuiy after the decapitation of Marino Faliero upon its steps, 
 Francesco Foscari, old and worn-out with grief, fell dead in the 
 same place, when he heard the sound of the bell which announced 
 the election of his successor. He was buried at the Frari in a 
 tomb whicli although it has some Gothic elements, such as the tre- 
 foiled arches which support the sarcophagus, the crockets upon the 
 pediment, and the pinnacle surmounted by a statuette of our Lord, 
 is the first important example of monumental Renaissance at Venice. 
 This doge employed Bartolomeo Bon to build the Cappella dei 
 Mascoli at St. Mark's ; and to make statues of the Madonna, 
 SS. Mark and John for the three Gothic niches over its altar. 
 These heavily-draped lifeless figures are in the same style as those 
 of the Virtues upon the Porta della Carta, but the angels bearing 
 censers on its front are in a much purer manner, which reminds us 
 of some of the earlier capitals of the ducal palace, of the Madonna 
 and angels in the lunette over a side door of the Frari,^ and of the 
 
 ' Selvatico, o'p. cif. p. 135. 
 
 2 ' Azio che tanta clegna opera per piccola cosa non restasse essere complida ' 
 (Gualandi, series vi. p. 108). In 1797 the group of the doge Francesco Foscari 
 kneeling before the winged lion, which stood above the doorway of the Porta della 
 Carta, was thrown down. The mask alone escaped destruction, and now forms one 
 of the objects of interest in the museum of the ducal palace, but as it was very 
 coarsely sculptured, that it might produce an effect when seen from a distance, it is 
 no fair example of Bartolomeo's skill. 
 
 3 Cicognara strangely enough attributes this work to Pyrgoteles a second-rate 
 sculptor of the middle of the fifteenth century. Selvatico, Avho criticises this attri- 
 
VENICE. 
 
 189 
 
 emblem of St. Matthew upon the fa9ade of a house near the Ponte 
 del Kavano; all works of the fourteenth century. We may not 
 therefore perhaps be wrong in the conjecture that Bartolomeo 
 used old material for the adornment of his altar, in accordance 
 with what had been at one time a common practice at Venice. 
 Other works attributed to Bartolomeo Bon are a Madonna della Works 
 Misericordia, and the statuettes of SS. Cristina, Calista, and toBar- 
 Dorotea, in the church of the Abazia; those above the door of Bon'"'^° 
 the Scuola di San Marco; the archivolts of the lower and of the 
 second story of the fagade of St. Mark's, which are adorned ^d- 
 with leaves and figures of saints; the facade of the church of 
 Sta. Maria dell' Orto with its row of niches decorated with sta- 
 tuettes ; and a very ornate well in a cortile near San Giovanni e 
 Paolo. There is also at Udine on the angle of the Palazzo Publico, 
 a Gothic tabernacle containing a mediocre figure of the Madonna 
 holding in her hand the model of a church, which may be his, 
 as it is said to have been made by the same sculptor who made 
 the portal of the ducal palace at Venice.^ It is possible also a.d. 1472. 
 that he is the ' Maestro Bartolomeo ' who went to Constantinople 
 with Gentile Bellini, when the sultan requested the signory to 
 send him a portrait painter and a sculptor.'-^ This supposition is 
 plausible, as he was in the habit of signing his works mth his 
 Christian name only, and we know of but one other contemporary 
 artist called Bartolomeo, who though eminent as an architect 
 had too little reputation as a sculptor to have been sent to a foreign 
 country.^ 
 
 "VVe now come to that time when the Renaissance stvle, so- introduc- 
 
 •' tion of the 
 
 called from its re-adoption of classical forms, was introduced at Renais- 
 
 -17 • rni • ••11 1 1 • • • sanee style 
 
 Venice. Ihis name was not justified by an absolute imitation of at Venice. 
 Greek and Roman architecture until the sixteenth century, when 
 Palladio, enslaved by the precepts and rules of Vitruvius, produced 
 his cold copies of the art of a bygone time. Though Alberti and 
 
 bution as hazardous, suggests that perhaps it may be by the Massegne, and says 
 what is true that he finds in it that idealism which seeks to express sentiment 
 rather than form, and none of the naturaUsm which forms the base of the fifteenth- 
 century art. 
 
 ^ Maniago, Guida nel Friuli, p. 59. 
 
 ' Doc. ined. trouves par M. de Mas Latrie, Gazette des BemiT-Art.% Hv. du 
 1" mars 1866, p. 286, et seq. 
 
 3 Bartolomeo Buono, aveln'tect of the Prnriiratir rpcrJiir. 
 
190 
 
 ITALIAN SCULPTORS. 
 
 Brunelleschi, who originated the movement in Tuscany before the 
 middle of the fifteenth century, yielded in some degree to the 
 genuine enthusiasm of their time for antique literature and art, they 
 showed independence and originality in their architecture, and 
 clothed their own ideas in a foreign language without losing the 
 idiomatic beauty of the original, using the cornices, friezes, and 
 other accessories of Roman architecture to ornament buildings 
 strictly adapted to the wants of their own time, and thus despite 
 such classical elements keeping them thoroughly Italian.^ Such 
 Antonio -^y^s also the case with Pietro Lombardo, and Antonio Giovanni 
 
 Bregno, 
 
 born about Brcffuo (commonlv called Rizzo or Riccio^), both of whom claim 
 
 1430. b \ J ^ n 
 
 to be the pioneers of the Renaissance movement at Venice. The 
 honour may be fairly divided between them, as though Rizzo was 
 the older of the two and first used its elements there, the works of 
 Pietro Lombardo had a much greater influence upon the establish- 
 ment of the style. Rizzo was born at Verona, and formed his 
 taste by the study of the noble Roman ruins which are still her 
 
 AD. 1464. pride, but he is called a Venetian in documents of the time,^ from 
 having spent the greater part of his life at Venice, where he was 
 superintendent of the Bottega di Tajapiera — the workshop for the 
 sculptors and stone-cutters connected Avith the palace.'^ Rizzo's 
 
 A.n. 1474. labours were interrupted by a journey to Scutari, in company with 
 
 • As for instance the Palazzo Strozzi at Florence, with its magnificent cornice 
 which was imitated from an antique fragment at Rome ; the Palazzo Riccardi, and 
 the Pitti ; all original and national buildings inspired by but not copied from the 
 antique. So also the finest Renaissance palaces at Venice, such as the Grimani, 
 which though classical in style are at the same time Venetian, and quite unlike any 
 buildings ever erected at Athens or Rome. 
 
 ^ Scardeone, Vasari and Sansavino have all fallen into the blunder of identify- 
 ing him with the renowned bronze-caster Andrea Riccio of Padua. He has also 
 been confounded with Lorenzo Bregno (perhaps a relative) a mediocre sculptor 
 who flourished about 1510. 
 
 ^ As for instance in the decree of 1483 by which his salary was raised he is 
 called Antonius Riccius Venetus — because as JNIorelli (notes to I'Anonimo, p. 97) 
 remarks, he had long held the office of ingegnere or architect to the Illustrissiraa 
 Signoria di Venczia. Colucio speaks of him as a Veronese, as does Zovcnzorno in 
 a sonnet to ' Crispo Veronensi marmorario clarissimo ' and his biographer Dott. C. 
 Bernasconi in a pamphlet entitled ha Vifa c le njiorc di Antonio Rizzo, archiifeto e 
 scuJtore Veronese, Verona, 1859. 
 
 Bernasconi, pt. i. p. 13, and Cadorin, p. 142. The stone-cutters (scarpellini) 
 and the sculptors (scultori) at that time both belonged to the guild of the Tajapiera 
 and both worked as architects. In 1723 they were separated into distinct guilds 
 through the agency of the sculptor Ant. Conadino. 
 
VENICE. 
 
 191 
 
 Antonio Loredano and Count Aloise Quirini, who went to defend 
 that town against the Turks. His knowledge of the art of defence 
 proved so valuable, and his brave conduct during the siege attracted 
 so much notice, that on his return to Venice, after being severely 
 wounded, the Senate gave him a twenty years' pension. A few a.d. uss. 
 years later, when a portion of the ducal palace had been destroyed 
 by fire, he received the appointment of head architect, with a salary 
 of 125 ducats a year, which was soon after increased to 200, in con- 
 sideration of his having closed his workshop that he might the 
 better serve the Signory, although it brought him in three times 
 the amount of this salary. His duty was to superintend the 
 sculptural as well as the architectural restorations and in the 
 decree by which his salary was raised, he is spoken of as indispen- 
 sable to the welfare of the building.^ Unfortunately the unbounded 
 confidence of the Signory was not justified by his conduct. Much 
 of the public money had been appropriated to his own private uses 
 during thirteen years, and when suspicions were awakened and inves- 
 tio-ations were about to be commenced he fled from Venice to Foligno, 
 where he soon after died.^ ' Excellent architect, illustrious geome- March h, 
 trician, most skilful sculptor, and most gifted superintendent of the 
 workmen attached to the ducal palace ' ^ are the appellations given to 
 Rizzo in a decree appointing him to be chief adviser in the restora- 
 tion of the duomo of Vicenza. The invention of a new and highly a.d. h88. 
 approved system of constructing windmills proved him a skilful 
 mechanician ; at Scutari he showed himself an able military engineer ; 
 at Venice, a skilful architect and able sculptor. In this latter 
 
 ' ' Le figure come tutte altre cosse necessarie alia ditta fabbrica ' (doc. 
 dated October 10, 1491, published by Cadorin, p. 63, nota 19, and reprinted by 
 Dr. Bernasconi, op. cit. pp. 11, 12. 
 
 2 Sanuto, vol. i. pt. ii. p. 27, says that Rizzo expended 19,000 ducats while in 
 office, the greater part for his own private uses. Malipiero, lUustrazioni delle due 
 Statue di Adamo ed Eva, p. 1, tells the story and adds, ' Emigre a Foligno e poco dope 
 mori.' One would be glad to doubt the truth of this story, and some gi-ounds for 
 doing so may be found in the decree appointing his successor which simply speaks 
 of Rizzo as absent ; but it is circumstantially told by several Venetian writers of 
 authority, and accepted as true by his enthusiastic panegyrist and fellow-country- 
 man Sig. Bernasconi who would certainly have proved its falsity had he been able 
 to do so. He attributes the sileuce of the senate to honourable motives of delicacy 
 towards an aged artist of genius who had rendered them long and useful service 
 {op. cit. p. 22). 
 
 ^ Morelli, notes to I'Anonimo. 
 
192 
 
 ITALIAN SCULPTORS. 
 
 capacity we can only judge him by statues of Adam and Eve (in 
 niches opposite the Giant's Staircase) which he is supposed to have 
 made soon after his first arrival in Venice.^ The contrasted action 
 of the figures shows a just appreciation of the subject. Each holds 
 the fatal apple, but while Eve looks down as if convicted of sin, 
 Adam places one hand upon his breast, and raises his eyes to 
 heaven as if seeking to justify himself. The fair flow of line and 
 well-contrasted action of limb and muscle make this figure supeiior 
 to the common run of architectural statues. The overcrowded, 
 ugly, and disjointed monument to the Doge Nicolo Tron at 
 the Frari and the statuettes upon it, ascribed to Rizzo, do not 
 raise our estimate of his merit. During his long connection with 
 the ducal palace he designed and constructed the Giant's Stair- 
 case^ as well as the fa9ade opposite to it,^ and a considerable portion 
 of the fa9ade upon the side canal. His biographer endeavours to 
 prove that he built San Giobbe, Sta. Maria de' Miracoli, the Palazzo 
 Vendramin Calergi, and other famous edifices which have been 
 always attributed to Pietro Lombard©, and puts forward his claims 
 with a show of argument which proves how difficult it is to get at 
 the truth in questions where civic pride is enlisted. On the other 
 hand we have the Venetian writers backed by tradition, equally 
 warm on Pietro's side, while nothing which we absolutely know 
 to be Rizzo's work warrants a belief that he could do anything so 
 good. 
 
 The Lorn- The name Lombardo is in all probability a patronymic applied 
 to many North-Italian artists, not necessarily related to each othcr.^ 
 Pietro Lombardo, who was the son of a marble-worker at Venice 
 named Martin o, had three sons — Tullio, Antonio, and Giulio, 
 architects and sculptors of difi'erent degrees of merit belonging 
 to the body of workmen attached to the ducal palace under Rizzo's 
 direction, for which reason Tullio and Antonio as well as their 
 
 ' These statues were not set up in their niches till about 1471, but Morelli 
 thinks they were made about 1462. A group of the doge Cristoforo Moro kneeling 
 before the winged lion, perhaps by Rizzo, which stood above the upper arch of the 
 facade was thrown down in 1797. 
 
 2 Giovanni da Spalatro, Aloise di Pantaleone, M. Domenico and Stefano 
 Tagliapiera also assisted Rizzo in this work. The delicate ornaments upon it 
 were sculptured by Domenico and Bernardino da Mantova scholars of Rizzo. 
 
 ^ Completed under the doge Cristoforo Moro, who died in 1471. 
 
 * This opinion is stated by Temanza, oj\ cit. p. 125. 
 
VENICE. 
 
 193 
 
 father have been called his scholars.^ We are however inclined to 
 believe that Pietro, who was a man of about the same age as Rizzo, Pietro 
 and who although his position at the palace was subordinate stood 
 beyond its precincts in a perfectly independent light, rivalling Rizzo 
 in reputation, himself instructed his sons.''^ Rizzo showed the value a.d. use. 
 which he attached to their services, by obtaining for them a dis- 
 pensation from the law which forbade any artists connected with 
 the palace to buy or sell objects pertaining to their art. That Pietro 
 stood high as an architect in 1480, may be presumed from his having 
 then received a commission to build the church of Santa Maria de' 
 Miracoli, after one of many designs offered in competition by the 
 most eminent architects. Although he had this important afl\tir on 
 his hands he left it at the request of Bernardo Bembo, then Venetian 
 governor of Ravenna, in order to make the toinb of Dante. ^ The The tomb 
 
 of Dante. 
 
 manner in which he acquitted himself of a task which none but the 
 greatest of artists could have worthily accomplished, and to be 
 allowed to undertake which Michel- Angelo soon after vainly aspired,"* 
 
 ' Vide Temanza, pp. 79, 80; Cadorin, p. 140; and Selvatico, p. 185; and tlio 
 commentary to the Life of Vittore Scarpaccia, Vasari, vi. 128. Other Lombardi 
 were: Ser Giovanni de Ser TuUio, mentioned as a witness to a deed, dated 
 November 20, 1515, preserved at the Miiseo Correr. Vincenzo was the son of 
 Antonio, and Sante the son of Giulio. TuUio II. and Girolamo were sons of Sante. 
 Martino II. and his son Moro are not certainly known to have belonged to the 
 same family. 
 
 ^ Pomponius Gauricus De Sculptura, a work published in Pictro's lifetime, says 
 that they were rivals. 
 
 3 After Dante's death his remains were buried in a stone sarcophagus by his 
 friend Guido Novello, whose exile and death prevented him from carrying out his 
 intention of giving them a more fitting resting-place. In 1692 the Bembo monu- 
 ment having been much injured was restored at the expense of the city, and the 
 chapel in which it stands was erected in 1780 by the Cardinal Luigi Valenti 
 Gonzaga. The bones of Dante were supposed to have been removed from their 
 original resting-place by the Franciscan friars in 1519 when they feared that Pope 
 Leo X. would order them to be taken to Florence, but in June 1865 a wooden 
 chest was discovered in the wall adjoining the chapel of Braccioforte, within 
 which they were found complete, together with a paper stating that Fra Antonio 
 Santi, chancellor of the convent of San Francisco, had placed them there for safe 
 keeping in the year 1677. This discovery having been made at the very time 
 when the Florentines were preparing to inaugurate a statue of the poet on the 
 Piazza di Sta. Croce, with the ceremony befitting an occasion looked upon as 
 the consecration of the newly-achieved independence of Italy, created a great 
 sensation, and was received by many as a token of Dante's share in the consum- 
 mation of the work to which he liad so powerfully contributed by his life and 
 writings. 
 
 * See Tuscan Scnlpton; ii. 35. 
 
 C C 
 
194 
 
 ITALIAN SCULPTORS. 
 
 was SO unworthy of the greatness of the opportunity offered, that 
 we cannot suppose he was led to accept it by any strong feeling of 
 enthusiasm for Dante, or that he addressed himself to its accom- 
 plishment with any deep sense of resj)onsibility, else here if any- 
 where he would have exhausted his skill in carving upon it arabesques 
 and ornaments even more beautiful than those by Avhich he after- 
 wards made his reputation at Venice. Instead of doing so he made 
 a cold and lifeless alto-relief of the ' altissimo poeta,' seated before 
 a reading-desk with books lying upon it, which harmonises but 
 too well with 
 
 ' The little cupola more neat than solemn ' 
 
 under which it is placed. He also sculptured a S. Apollinare and 
 a winged lion to stand upon two columns in the Piazza of Ravenna,^ 
 before returning to Venice. Called upon by the directors to com- 
 f^ta. Ma- plete the plan accepted for Sta. Maria de' Miracoli by adding to 
 Miracoii, it the chapcl of the Sanctuary, he signed a new contract with 
 A.D. 1484. ]jy -which they agreed to furnish him with building materials, 
 
 and to pay him an annual salary of 60 ducats.^ It seems almost 
 incredible that eight years sufficed for the construction and orna- 
 mentation of this church, Avhich is one of the most elaborate 
 examples of Renaissance architecture. Without and within its 
 walls, doorways, and pilasters are covered with leaves, floAvers, birds, 
 and strange creatures born of a fancy wayward bat ever logical in its 
 deductions from nature, not carelessly carved, but conscientiously 
 Avorked out in every detail with equal taste and skill. The rich 
 balustrades of the staircase leading to the chapel of the Sanctuary 
 are adorned with small half-figures of the Virgin, the Angel of the 
 Annunciation, St. Francis and Sta. Chiara, and the pilasters and 
 
 ' Wlien Ravenna lapsed to the pope, the winged lion was replaced by a statue 
 of San Vitale. Temanza, p. 81, says the S. Apollinare was sculptured by Pietro 
 Lombardo, and not by a hypothetical artist named Pietro da Ferrara. See Baruf- 
 faldi, op. cit. vol. i. p. 215, note 1. 
 
 ^ Selvatico, op. cit. p. 186, says that this chapel is uvdouhtedly by Pietro 
 Lombardo. Bernasconi who denies it, see op. cit. p. 42, says that it is incredible 
 that this chapel should not have been comprised in the original plan, as it was for 
 the sanctuary that the Venetians wished to build the church. When it was 
 proposed to build it in honour of a wonder-working image of the Virgin, 80,000 
 ducats wei-e collected for the purpose in a few months, and a board of manage- 
 ment composed of six patricians was appointed to superintend all affairs connected 
 with it (Temanza, op. cit. p. 82). 
 
VENICE. 
 
 195 
 
 panels about it are filled with ornaments inspired by but not copied 
 from the antique. One of the Lombardi, supijosed to have been various 
 either Pietro or his father Martino, erected about the same time the atn-ibuted 
 Palazzo Yendramin Calergi. Pietro also built the now demolislied Lonibairlo. 
 churches of S. Cristoforo at Murano, S. Andrea on the island of * 
 the Certosa, and perhaps that of Sta. Maria Mater Domini.^ But 
 did he build the magnificent chapel of the doge Cristoforo Moro in 1471'. 
 at San Giobbe, and sculpture the exquisitely-adorned doorway 
 through which the church is entered?^ These are questions which 
 cannot be positively answered, though much of Pietro's fame de- 
 pends upon them. If we accept him as the sculptor of the ornaments 
 at Sta. Maria de' Miracoli we can see no difficulty in believing him 
 to have previously sculptured those of San Giobbe,^ which like them |an^^ 
 are marvels of Renaissance work, but we must suppose that some 
 other artist sculptured the figure-work there, as it is greatly superior 
 to anything of the kind which we possess by Pietro. The portal of 
 San Giobbe is surmounted by a round arch, and has a broad archi- 
 trave, which rests upon two Corinthian pilasters covered with the 
 most delicately-sculptured convolvulus plants, upon whose winding 
 stems sit all but living birds. The architrave is adorned with sym- 
 metrically-arranged leaf- work; the capitals of the pilasters are com- 
 posed of acanthus leaves and ox-skulls, from whose horns liang 
 festoons which are twined about the flower-filled volutes ; and the 
 cornice and archivolt are enriched with architectural details borrowed 
 from the antique. Statuettes of SS. Francis, Bernardino of Siena,^ 
 and a bishop are placed on the arch and at the ends of the entablature, 
 and the lunette is filled with a bas-relief representing SS. Francis and 
 Giobbe kneeling in prayer on either side of a little mount, upon which 
 rays of light descend from heaven. The more Ave regard these sculp- 
 tures the more we are convinced that they are the work of several 
 
 ' Temanza affirms that he began it and that it was completed by Jacopo 
 Sansavino. Selvatico thinks it much moi'e modern. 
 
 * Selvatico thinks it pi-obable (ojj. cit. p. 285). Zanotto asserts it (Guida di 
 Venezia, p. 335, note 1). Bernasconi denies it. 
 
 ' The Cappella Maggiore at San Giobbe must have been built before 1471 as 
 in that year the doge Cristoforo Moro died, and not earlier than 1462 as the ducal 
 bonnet is introduced with his coat-of-arms (Selvatico, p. 234). 
 
 The doge Cristoforo Moro was the friend of San Bernardino da Siena, who it 
 is said when preaching at Venice predicted that lie would sit on the ducal throno 
 (^Storia dei Dogl di Vctiexia). 
 
 c c 2 
 
196 
 
 ITALIAN SCULPTORS. 
 
 hands ; if the arabesques and architecture of the door, and perhaps 
 the statuettes, are by Pietro, the bas-relief, which is dry and precise 
 in its style and forms, can hardly be his. So also in the Cappella 
 Maggiore the ornaments, and the grave-slab of the doge,^ which is 
 enframed in a border of exquisitely-sculptured arabesques and bears 
 the ducal arms in its four corners, are his, but some other artist 
 sculptured the Evangelists in the spandrils of the internal arches, 
 and the charming angels which support them. Their Tuscan air, 
 which is unmistakeable, lends strength to the tradition that an 
 artist bred in that school worked in this church, and traces of a 
 Tlorentine hand uve also visible in the taste of certain ornaments 
 and mouldings about the Grimani chapel, and in the terra-cotta 
 Evangelists upon its roof. 
 
 A.r. 1499. When Antonio Rizzo fled from Venice, Pietro Lombardo was 
 appointed to succeed him, and filled this post during the remainder 
 of his life. He completed the internal fa9ade of the palace, and 
 superintended the construction of other public buildings, among 
 which the clock tower on the Piazza of St. Mark is generally 
 
 A.D. U83. included.^ While occupied at Sta. Maria de' Miracoli, Pietro 
 received the commission for reconstructing the great chapel in the 
 
 Works at duomo at Treviso and erecting a monument to Monsignor Zanotti, 
 
 AD^ilss ^^^^ ^^^^ ^^^^ ^ large bequest for these purposes. He made the 
 necessary designs, and bound himself to execute them with the 
 assistance of his sons, but did not probably do so till some years 
 later. The ornamental marble-work upon the tomb would be alone 
 sufficient to establish our sculptor's reputation as unrivalled in his 
 peculiar branch of art. The sarct)phagus rests on a projecting base 
 supported upon consoles, and is adorned with statuettes. Upon 
 its front are sirens holding vases in their hands, and rich leaf-work ; 
 and an eagle with spread wings. Its most remarkable feature is an 
 exquisite sculptured frieze, which seems to have been worked out 
 with a needle rather than Avitli a chisel, so finely and delicately 
 is it wrought. Pietro also made the tomb of the senator Onigo in 
 
 ' Cristoforo Moro reigned ft-om 1462 to 1471. ' Guercio e piccolo di sfcatura, 
 mal voluto (dice il Sanudo) dal popolo per la sua avarizia, e in fama d' ipocrita e 
 vendicativo, beneficando pero nel sue testamento i poveri, i frati, e le chiese.' — 
 Romanin, ojj. cit. vol. iv. ch. iii. p. 357. 
 
 ^ Selvatico doubts this {op. cit. p. 19G) because, according to Sanudo, the 
 tower was built in 1466 before Pietro was attached to the service of the republic. 
 
VENICE. 
 
 197 
 
 the church of San Nicol^), at Treviso, which is composed of two 
 sarcophagi, the upper one ornamented with leaf-work and an eagle 
 placed in the centre of the front panel. A life-size statue of the 
 senator, evidently a faithful portrait, stands above the cornice, 
 between two shield-bearing pages of graceful design. The lower 
 sarcophagus, which rests on consoles and serves as base to the 
 upper, is adorned with profile heads of Roman emperors in flat 
 relief, and with 'putti' bearing cornucopia).^ In the beginning of a.d. 1502. 
 the new century Pietro was employed in building the duomo at 
 Cividale in the district of Friuli,^ but he certainly returned to Tre- 
 viso a few years later to assist Fra Giocondo da Verona in con- a.d. 1509. 
 structing the city fortifications, and then made the doors of the 
 churches of San Guaronta and San Tommaso. According to some 
 authorities he was later elected gastaldo, or chief officer of the guild of ^.d. i5u. 
 the scarpellini.^ This however seems to be doubtful, as he is generally 
 supposed to have died at Venice three years before.'* The bronze a.d. 15 u. 
 monument to Cardinal Zeno at St. Mark's is said to have been made Tomb of 
 under his superintendence, but we know by documentary evidence zeno'af 
 that the artists who constructed it were the otherwise unknown ^'•^^^'"'^^ 
 sculptor Paolo Savii, and Pier Zuano delle Campane (a scholar of a.d. 1515. 
 Alessandro Leopardi), who cast the heavy and uninteresting statues 
 of the Madonna and Child, and SS. John and Peter for the altar.^ 
 The monument, which occupies the centre of the chapel, consists of a 
 mortuary couch supported upon a quadrilateral base Avith six large 
 figures at its corners and sides. Between the statues are panels 
 adorned with female figures in relief, holding branches in their hands. 
 
 ^ A sculptured altar near tlie great door of the church, inscribed ' Franciscus 
 Bettignolo ded. mortuus est 1491,' is probably by the Lombardi, as well as the 
 tomb of the apostolic legate, Nicolas Franco (elected A.D. 1501), in the chapel of 
 the Sacrament at the Duomo. The statuettes of SS. Peter and Paul upon the 
 altar, and the bas-reliefs of the four Evangelists in roundels upon the roof may also 
 be their work. 
 
 ^ Lettere sulle Belle Arti Trevigiane, p. 311. 
 
 3 Temanza, p. 91. 
 
 * This date is adopted by Selvatico, p. 180, and by the commentators of Vasari, 
 vol. vi. comm. p. 129. 
 
 5 The commission for this work was first given to Leopardi and Antonio 
 Lombardo, who speedily quarrelled. Leopardi was then dismissed, and Zuane di 
 Alberghetto, with Pier Zuane delle Campane, were appointed to assist Antonio. 
 As matters still went ill, the superintendence of the work was given to Pietro 
 Lombardo, who agreed to design the figures which Zuane delle Campane was com- 
 missioned to cast in bronze (Selvatico, oji. cit. p. 190). 
 
198 
 
 ITALIAN SCULPTORS. 
 
 Tomb of 
 
 Pietro 
 
 Mocenigo. 
 
 A.D. 1474 
 1476. 
 A.D. 1488. 
 
 Statuettes 
 by Pietro 
 Lombardo. 
 
 Tullio 
 Lombardo. 
 
 Bas-reliefs 
 at Padua. 
 
 The bronze effigy of the cardinal is robed in a vestment carefully 
 worked out in raised patterns. The features are individual, and the 
 statue is conscientiously wrought, but it wants that tender sentiment 
 found in so many sepulchral effigies of the last century, which never 
 fails to awaken our sympathy. Pietro is said to have assisted his 
 sons in making the monument of the doge Pietro Mocenigo at San 
 Giovanni e Paolo, but we suspect he did little more than sketch its 
 general design, as neither in style nor conception does it resemble 
 his other monuments, which have nothing allegorical about them 
 and are richly ornamented. Here on the contrary Ave have sta- 
 tuettes of Roman warriors and bas-reliefs of the Labours of Hercules, 
 in allusion to the military prowess of this gallant doge who was 
 famed for his victories over the Turks, and arabesque-work upon the 
 side pilasters and archivolt which is not comparable to that upon the 
 Trevisan monuments. In figure- work Pietro was out of his element, 
 and he rarely attempted it. The only statuettes at Venice attri- 
 buted to him are those upon the balustrade of Sta. Maria dei 
 Miracoli, and those of SS. Anthony, John, and Jerome, at San 
 Stefano. Where his design demanded their introduction, as in the 
 monuments at Treviso, his sons Tullio and Antonio probably 
 sculptured them. 
 
 Both these artists were clever sculptors, especially Tullio, who 
 has been called not only the best sculptor of his family, but of Venice. 
 Though an artist of distinguished merit his style is cold and mono- 
 tonous, and his compositions are seldom felicitous. Take for instance 
 his two large bas-reliefs in the Cappella del Santo in the church of 
 Sant' Antonio at Padua.^ One of them represents a youth healed by 
 St. Anthony, after he had cut off the foot with which in a moment of 
 anger he had kicked his mother. This scene is represented by ten 
 persons, whose hair is elaborately arranged in small curls, standing- 
 like a row of lay figures, unmoved spectators of the equally unmoved 
 sufferer, whose body stretched across the composition produces a 
 series of lines most disagreeable to the eye. The second, which 
 is equally wanting in life, illustrates the Scripture text ' where a 
 man's treasure is there will his heart be also,' by the representation 
 
 ^ Gonzati, ojy. cit. vol. i. p. 104, doc. 98, gives the contracts for these bas-reliefs 
 made with Tullio Lombardi in 1500 and 1501, for 250 ducats apiece. His receipt 
 for full payment is dated December 2, 1525. 
 
PLANCHE XXJV. 
 
VENICE. 
 
 199 
 
 of St. Anthony discovering the heart of a miser lying in his money 
 chest. To feel how meaningless and weak are these conceptions, 
 we have but to cross the church to the high altar and look at the 
 treatment of both subjects by Donatello, who sets forth his stories 
 with point, vigour, and clearness; never distracts the eye from the 
 main centre of action ; is true to nature and sentiment in every line 
 and detail, and charms us by his incomparable style. 
 
 We look in vain at Venice for something better calculated to 
 sustain Tullio's great reputation. The angels which support an altar ^"^e^^ 
 at San Martino are without expression, and monotonously uniform in tino. 
 drapery and action. The Christ and the Twelve Apostles in relief 
 at San Giovanni Crisostomo, are carefully draped and smoothly 
 worked, but wantino^ in life, and stiff in arrangement. If the bas-relief Bas-relief 
 
 ' o ^ o ^ ^ _ at the 
 
 on the fa9ade of the Scuola di San Marco, (see Plate XXIV.) which Scuoiadi 
 represents St. Mark baptising S. Ansiano, be really one of Tullio's Marco, 
 works, it must be classed as his masterpiece. The kneeling saint is 
 reverent and simple, St. Mark dignified, and both figures contrast 
 Avell with that of a woman in the background, whose face is full of 
 animated expression, and her action eager and full of life. The 
 composition is so good, the treatment so sculptural, and the grada- 
 tion of relief so well managed that we hesitate to attribute it to 
 Tullio. His hand is however clearly recognisable in other marbles 
 equally unauthenticated, as for instance in some of the bas-reliefs Bas-relief, 
 
 formerly 
 
 from the Palazzo Suffiolo near Modena, which are said to have been at Ferrara. 
 sculptured by him and his brother Antonio for the Duke Alfonso 
 d' Este, to decorate the Palazzo Belriguardo at Ferrara. Four of 
 these reliefs, which represent classical subjects,^ are in the same cold 
 and unsympathetic style as the bas-relief by Tullio in the Cappella 
 del Santo, though they are more highly finished. The remainder 
 which consist of griffins, eagles, tritons, and arabesques, are excel- 
 lent examples of Renaissance ornament, and worthily represent the 
 
 ' When the dukes of the house of Este left Ferrara they brought with them 
 many precious works of art, including these bas-reliefs, and placed them in the 
 Palazzo di Suffiolo ; this eventually came into the possession of Count d'Espagnac 
 who brought the marbles to Paris. The Cav. L. N. Cittadella, director of the public 
 library at Ferrara, states that nothing is known of their history at Ferrara, and 
 that no mention is made of them in the Boschini MS. In one of the meetings of 
 the ' Deputazione di Storia Patria ' at Modena, Sig. Malmusi read a paper about 
 these mai'bles and suggested that they perhaps formed part of the works of art 
 executed at Belriguardo di Fei'rara for Dnke Alfonso I. by the Brothers Lombardi. 
 
200 
 
 ITALIAN SCULnORS. 
 
 Tomb of 
 Giovanni 
 Mocenigo. 
 Statues of 
 Adam and 
 Eve. 
 
 Nov. 17, 
 1530. 
 
 Antonio 
 Lombardo. 
 
 Bas-relief 
 at Padua, 
 1505. 
 
 Died 1516. 
 
 Anonym- 
 ous mar- 
 bles at- 
 tributed 
 to the 
 Lombardi. 
 
 school of Pietro Lombardo, There is no proof that Tullio visited 
 Ferrara, so that the behef of hi6 participation in these Avorks is 
 simply based upon resemblance of style. We have yet to mention 
 the uninteresting monument to the doge Giovanni Mocenigo, 
 which he sculptured for the church of San Giovanni e Paolo, 
 and the coarse and vulgar statues of Adam and Eve in the 
 Palazzo Vendramin Calergi, to which they were removed from the 
 monument of the doge Andrea Vendramin in the same church. A 
 few years before Tullio's death at A^enice he worked with his father 
 at Treviso, and sculptured the very beautiful eagle upon the sarco- 
 phagus of Bishop Zanotti's monument.^ His brother Antonio is 
 chiefly known to us by a large bas-relief in the Cappella del Santo,^ 
 representing one of St. Anthony's many miracles, by which an infant 
 is made to bear witness to the innocence of its mother unjustly 
 accused of infidelity. The work is altogether second-rate; the 
 figures are clumsily proportioned, stiffly posed, and without expres- 
 sion. It gives us no proof that Antonio worked upon the alread}^- 
 mentioned bas-reliefs from the Palazzo Belriguardo, but one argu- 
 ment for it is to be found in the fact, that lie was attaclied to the 
 service of the duke Alphonso d'Este and resided at Ferrara during 
 the last eleven years of his life.^ 
 
 The anonymous marbles at Venice which have been classed as 
 belonging to the school of the Lombardi, comprehend nearly all the 
 Renaissance works produced between the last quarter of the fifteenth 
 century and the middle of the sixteenth. One of the best among 
 them is a bas-relief over a doorway in the museum of the ducal 
 
 • Tullio was buried at Venice in the clnirch of San Stcfano. See tlie Registri 
 di San Stefano, MS. Cod. della Bib. ]\Iarciano, quoted by J\Iorelli in liis notes to 
 TAnonimo, note 102, p. 193. 
 
 2 Gonzati, oji. cif. vol. i. doc. 101. Antonio received 2480 lire for this bas- 
 relief (ibid. p. 170). 
 
 3 It is certain that the two pretended families of Lombardi at Venice and 
 Ferrara were in reality one and the same. Antonio di Pietro, who was the founder 
 of the Ferrarese branch, came to Ferrara in 1505, was still in the duke's pay in 
 1515, and as we know from his widow's will was dead in 1516. His sons Aurelio, 
 Lodovico, and Girolamo were all under age at the time of his death. Aurelio and 
 Lodovico were in Ferrara in 1528. In 1530, or 1534, Girolamo went with his 
 brothers to Loreto, and worked there. They afterwards married and settled in 
 Recanati. Aurelio died in 1563. Girolamo left several sons, among whom were 
 Antonio and Paolo, sculptors, and Pietro, sculptor and painter (Letter from the 
 Cav. L. N. Cittadella). 
 
VENICH 
 
 palace, (see Plate XXV.) which represents St. Mark with a bishop 
 and a saint, presenting the doge Lionardo Loredano to the en- 
 throned Madonna, who by her somewhat impassive countenance and 
 dignified presence reminds us of Giovanni Bellini.^ The Divine 
 Child standing upon her knee bends forward to listen to the aged 
 suppliant, whose expressive face and clasped hands are full of 
 character and truth. The long trailing folds of his ducal mantle 
 are disposed with great skill, and worked out with great care. If it 
 be hard to find a sculptor among the Lombardi capable of so 
 admirable a work, it is equally difficult to find an author for the 
 marbles of the Giustiniani chapel at San Francesco delle Vigne. 
 This chapel is said to have been built by Agnesina Badoaro after 
 the death of her husband Girolamo Giustiniani, and to have been 
 decorated by Tullio, Antonio and 
 Santi Lombardo.^ The marbles 
 are evidently by three different 
 artists, but not by them we should 
 say, as Tullio was dead at the time, 
 Antonio though alive nowhere 
 shows the requisite capacity, and 
 Santi is only known to us as an 
 architect. The earliest and best 
 may perhaps have been executed 
 before the chapel was built, a 
 conjecture to which their style 
 lends a colour of probability.^ 
 They consist of a delicately-sculp- 
 tured bas-relief of the Last Judg- 
 ment, of an excellent statuette of 
 St. Jerome (see Woodcut), and of statuettes of the archangel 
 Michael, SS. Agnes, Anthony and James,^ which have much more 
 
 ' Loredano seems to have especially cultivated the worship of the Virgin, for 
 ■we find him again represented as kneeling before her, upon the 'quattrino,' a 
 square coin vs^hich vras struck during his reign (7 Dorji di Venezin). 
 
 ^ Zanotti, Guida di Venezia. 
 
 3 Cicognara, Storia della Sculfnra, vol. iv. p. 338, ed. in-8vo, and Selvatico, 
 op. cit., both ascribe these works to the fourteenth centuiy. The latter, at p. 381, 
 says Jacopo Sansavino built the church in 1534. Sansavino, Vcurxio^ Dfscriifa, 
 p. 48, says the church was 7-ebuilt in our day. 
 
 Selected by Agnesina Badoaro because their names were the same as those of 
 cei-tain members of her own family and of that of her husband. 
 
 D D 
 
 Lionardo 
 Loredano, 
 75th doge, 
 
 A.D. 1601- 
 
 1521. 
 
 Sculptures 
 in the 
 Cappellii 
 Giusti- 
 niani. 
 A,D. 1532. 
 
t>02 
 
 ITALIAN SCULPTOKS. 
 
 spontaneity and freetlom than the cold but highly-finished alto- 
 reliefs of the Evangelists upon the walls of the chapel. Another 
 less skilful hand sculptured the half-figures of prophets and the 
 bas-reliefs, whose subjects are taken from the lives of our Lord and 
 of the Virgin Mary. 
 Marble Among the works of the transition period between the Gothic and 
 
 parappt at 
 
 the Frari, the Renaissaucc, are the bas-reliefs upon the marble parapet around 
 the choir of the church of Sta. Maria de' Frari. The panels in the 
 spaces between its pilasters are adorned with half-figures of prophets 
 and saints, whose heads are expressive, and whose hands and 
 draperies show careful study. One among them is supposed to be 
 the portrait of the unknown sculptor, who in the devise, ' Soli Deo 
 Honor et Gloria,' engraved upon the cartel which he holds in his 
 
 A.D. U84. hand, disclaims all praise. Another unknown sculptor made the 
 monument of Jacopo Marcello at the Frari. ^ It is one of the first 
 examples of that departure from the noble type of tomb consecrated 
 by long usage, and of the use of those incongruous elements, which 
 gradually destroyed the solemn character of monumental art. The 
 statue of the deceased stands erect upon the monument, with a 
 banner in the hand, and male figures in Venetian costume bear 
 up the highly ornate sarcophagus. The tomb of the doge Nicolo 
 Tron shows still more plainly the decay of taste. It is a 
 towering overcrowded pile four stories in height;^ in the first 
 are three niches with statues of the doge and the Virtues ; in 
 the second an epitaph and bas-reliefs of children with vases of 
 fruit; in the third a sarcophagus with recumbent af^gy and three 
 statuettes ; in the fourth seven niches with as many symbolical 
 statuettes, and above them an arch within which is represented 
 the Resurrection of our Lord, while on the top is a God the 
 Father, with the Madonna and the Angel of the Annunciation. It 
 is not necessary to enlarge upon the confused effect of such a 
 monument, which proves to us that no richness of detail can com- 
 pensate for the absence of simplicity and unity of design. Other 
 Renaissance monuments at the Frari, in which the skilful hand 
 vainly strives to make up for the want of pure taste and correct 
 
 Meichiorre Sentiment, are those of Melchiorre Trevisan, general of the Venetian 
 
 Trevisan, 
 
 died 1600. 
 
 ' A brave Venetian captain who perished under the walls of Gallipoli during 
 the war between Venice and Ercole Duke of Ferrara. 
 * Perhaps designed by Antonio Rizzo. 
 
VENICE. 
 
 203 
 
 republic, and Benedetto Brugnolo, and that of Pietro Bernardo, an Benedetto 
 ornate casket, flanked by two seated lions, crowned by a statuette, died^uo5. 
 and supported upon a fluted cornice held up by consoles. Below 
 this is a sarcophagus resting upon consoles shaped like Doric 
 capitals, between which is an eagle with outspread wings. The 
 senseless fashion of surmounting tlie sarcophagus with an equestrian 
 statue of the deceased, which probabl}' originated in the moiunnent 
 of Bartolomeo Coleoni at Bergamo, became so identified with the 
 A^enetian school as to be called 'alia veneziana.' If we recal the 
 curtain-drawing angels, the still, straight- lined figure slumbering in 
 death, and the sarcophagus storied with Scripture scenes and 
 decorated with simple statuettes of the Virgin and the Angel, we 
 feel how inferior the monuments of which we have been speaking are 
 to those of an earlier date. The tomb of Jacopo Suriano at Santo Tomb of 
 Stefano is much better in style. ^ The arch, supported by Corinthian suriano. 
 colunms, is raised upon a richly-ornamented base, and contains in 
 its lunette a bas-relief of the devotee presented to the Madonna by 
 his patron saint. Below it is a sarcophagus, with the recumbent 
 efiigy of the deceased, resting upon griffins, between which stand 
 two genii with torches in their hands on either side of a memorial 
 tablet. To see what is considered by some writers as the crowning- 
 glory of Venetian monuments we must go to the church of San 
 Giovanni e Paolo, and look at that of the dooje Andrea Vendramin,'^ Tomb of 
 
 ^ o 'the doge 
 
 in which the Renaissance displays all its borrowed splendours. ■^"'^^^'^ 
 Corinthian columns supporting a triumphal arch ; pilasters and a min. 
 broad frieze covered with arabesques ; a mortuary couch resting 
 upon eaglet, and based upon a sarcophagus adorned with niches and 
 ornamented pilasters ; wreaths, sculptured panels ; and on the top a 
 medallion, supported by syrens. The abundance of pagan elements 
 is poorly balanced by the statuettes of Christian Virtues, placed about 
 the recumbent effigy of the doge and in the niches of his sarco- 
 phagus, virtues which according to history Andrea Vendramin did 
 not possess. Belonging to one of those Venetian families which were 
 ennobled for services rendered to Venice durino; the Chiofforian war, 
 
 ' An eminent physician from Rimini. 
 
 ^ Cicognara speaks of this tomb as ' il vertice a cui le arte, veneziane si 
 spinsero al ministerio dello scalpello.' Selvatico and others are equally extravagant 
 in their praises, but Ruskin shudders at it and finds satisfaction in the thought 
 that the man who designed it (Leopardi) Avas impure in spirit as in art. 
 
 i> i> 2 
 
204 
 
 ITALIAN SCULPTORS. 
 
 he owed his election rather to his influential connections than to any 
 personal merit, and his magnificent monument to his great wealth. 
 Many of its accessories were sculptured by the Lombardi, among 
 which were the vulgar statues of Adam and Eve^ originally in the 
 larger niches outside the columns now filled by personifications of 
 military prowess; and the statuettes of Virtues which, if not by them, 
 belong to their school. Its general design is said to have been given 
 by Alessandro Leopardi, the most eminent bronze-caster of his time. ^ 
 Aiessan- Xhc date of his birth is unrecorded, but we know that he lived at 
 
 dro Leo- 
 pardi. Venice in the Contrada of Sta. Maria dell' Orto, that his studio was 
 
 situated in the Piazza del Cavallo adjoining San Giovanni e Paolo,^ 
 and that in the year 1487 he was banished from the Venetian terri- 
 tory for forgery.^ In the following year Andrea Verocchio died at 
 1488 Venice, while working upon the equestrian statue of the great con- 
 dottiere Bartolomeo Coleoni (see Frontispiece), and the Senate 
 Barto-°' knowing no other artist so capable of completing it as Leopardi, 
 co'l'eMii. allowed him to return with a safe-conduct for six months, which it 
 Sept. 18, ig to be supposed they afterwards prolonged indefinitely as there is 
 no record of further exile. 
 
 It is necessary to recapitulate here the facts connected with 
 Andrea Verocchio's residence at Venice that the reader may be 
 able to judge what share each artist had in the production of this 
 the noblest equestrian statue of modern times. ^ Three years after 
 A.D. 1479. the death of Coleoni, Verocchio, who had been for some time occu- 
 pied in modelling the horse, heard that the Signory intended to call 
 in Donatello's scholar Vellano of Padua to make the rider; greatly 
 incensed he broke his model to pieces and fled to Florence, whence 
 he defied the threats of his late employers. After an absence of seven 
 A.n. 1488. or eight years he was induced to return by promises of double pay, 
 
 ' Now in the Vendramin-Calergi palace. 
 
 ^ Zanotti, op. cif. p. 291, say.s perhaps the monument was designed by Leopardi. 
 Temanza and Selvatico consider it probable that he was its author. 
 
 3 ' Elogio di A. Leopardi del Cav. P. Zandomenighi, Atti del Reg. Accad. in 
 Venezia A.D. 1858.' 
 
 * Selvatico, p. 221, says documents prove that Leopardi forged the name of a 
 sailor called Marino Bernardo. The Cav. Zandomenighi in the above-cited 
 eulogium, p. 18, endeavours to explain away the guilt of Leopardi, by representing 
 him as the victim of a dissolute nobleman who employed him to make facsimiles 
 of certain documents withoiit telling him to Avhat use he meant to put them, and 
 who when discovered left him to bear the consequences. 
 
 * See Tuscan ScidjjtorSy cli, i,. for an account of Coleoni and the statue. 
 
VENICE. 
 
 205 
 
 and complete liberty to make the whole group as he should see 
 fit. Hardly had he resumed his labours when he was seized by 
 an illness which proved fatal. In his will he requested that his 
 scholar Lorenzo di Credi should be allowed to finish the horse 
 which he had begun (' opus equi per me principiati'),^ and although 
 the safe-conduct granted to Leopardi states that he may reside in 
 Venice in order to finish the horse and statue already commenced,^ 
 we can hardly suppose that Verocchio had modelled the rider, as 
 the will makes no mention of it. Undoubtedly however he left 
 behind him some small sketches in c]ay of the whole group, and 
 these must have been placed in Leopardi's hands when the Signory 
 commissioned him to complete the work. The general conception 
 then belongs to Verocchio, but various reasons incline us to believe 
 that Leopardi greatly modified it. He signed it as his own upon 
 the surcingle of the saddle, ' A. Leopardi opus V. F.,'^ and he was 
 knoAvn by the surname of ' del Caballo.' Great artist though he 
 was, Verocchio does not show in any of his works that feelmg 
 for the picturesque in art which we find embodied to so remarkable 
 a degree in this noble cavalier with his stern countenance and 
 proud bearing, who sits his horse as if he was made of iron, and 
 would face a thousand foes without flinching. When we come to 
 examine the head closely (see Woodcut) Ave find that it is modelled 
 with a depth of line which gives it almost the appearance of a 
 caricature, and treated with a boldness quite foreign to the dry 
 
 ' Gaye, Carteggio degli Artisti, i. 369. 
 
 * ' Possa il detto Leopardo stare hie Venetiis ut tali modo possit perficere 
 equum et statuam jam cum multa laude cceptam.' — Registri del Consiglio dei 
 Died; Cicognara, Isc. Ven. ii. 297. 
 
 ' Temanza, op. cit. p. 110, thinks the F. means fudit, and thus limits Leo- 
 pardi's share to the casting of Verocchio's model. Sansavino, p. 61, says that 
 Andrea Verocchio sculptured this group. Cicognara, ii. 297, cites the inscription 
 upon Leopardi's tomb at Santa Maria dell' Orto, in which he is only mentioned as 
 having made the base on which the group stands ; and says he considered it 
 doubtful whether Leopardi made a new model or cast that of Verocchio. The 
 Cav. Zandomenighi in his eulogium of Leopardi makes no scruple of assigning to 
 him the honour of the whole work. Selvatico, p. 215, thinks that the horse was 
 cast on Verocchio's model because the Florentine style which he detects in it 
 approaches much nearer to the antique than that of any Venetian sculptor. 
 Sanuto, lib. i. pt. i. p. 68, says : ' II 21 de marzo 1496 fu discoverto el cavalo . . . 
 et e da sapere che il maestro che lo fece e chiamato Alexandro de Leopardis.' 
 Veneto. Beg. del Consiglio dei Died, 27 gen. 1495: 'A. Leopardus . . . ita perfecit 
 statuam ill. Barth. CoUeoui . . . ct equum ut ab omnibus magnis laudibus.' 
 
206 
 
 ITALIAN SCULPTORS, 
 
 StiindarJ 
 bases on 
 the Piazza 
 of St. 
 Mark's. 
 
 A.D. 1501 
 and 1506. 
 
 Cande- 
 labra at 
 the Aca- 
 demy. 
 Archi- 
 tectural 
 works. 
 
 A.D. 1507. 
 
 precise manner of the realistic Verocchio, who carried into sculpture 
 the careful habits of the goldsmith. That the statue might stand 
 at a sufficient height above the pavement to produce its due effect, 
 Leopardi made for it a lofty pedestal, justly admired for the har- 
 mony of its j^roportions and the elegance of its details. It is adorned 
 Avith six Corinthian columns, into whose capitals dolphins are intro- 
 duced as emblems of the Sea-city 
 which reared the statue, and with 
 a very elaborate frieze composed 
 of trophies and marine animals. 
 It was exposed to public view on 
 the 21st of March, 1496, to the 
 great admiration of the whole 
 city. The delighted Signory deli- 
 berated upon commissioning Leo- 
 pardi to model and cast bronze 
 gates for the Porta della Carta, 
 but the project was abandoned, 
 and in its place he was ordered to 
 make three standard bases of 
 bronze for the Piazza of St. 
 Mark's. Each pedestal is sup- 
 ported upon three winged lions, 
 and decorated with figures and emblems typical of the wealth 
 and power of Venice. Here are Nereids and Tritons bearing 
 fruits across the sea, and ships and protecting deities with their 
 attributes. The middle one is further adorned with a highly- 
 finished head in profile of the doge Leonardo Loredano. Leo- 
 pardi's great reputation is sustained by three richly and tastefull}'- 
 ornamented candelabra at the Academy. Like most of the artists 
 of his time he was a practical architect, for we are told that 
 he made a desisrn for the Scuola della Misericordia which was 
 accepted, though never executed, and that he built the church of 
 Santa Giustina at Padua after the plans of Antonio Rizzo. The 
 date of his death is uncertain, but it must have been much later 
 than is generally stated, as he was working at the Zecca in 1522,^ 
 and is spoken of by a Venetian author nineteen years later as 
 
 ' Registri del Con.siglio dei Dicci, 
 
VENICE. 
 
 207 
 
 ' the new glory of our age, who shines like a star in the Venetian 
 waters." Leopardi had several contemporaries who were not 
 destitute of talent, such as Lorenzo Bregno, Zuane Zorzi called 
 Pyrgoteles, Antonio Dentone, and Vittor Caniello or Garabello,^ clmeUo 
 who was sculptor, bronze-caster, and medallist. Gifted with re- ^om 
 
 1 460 (?), 
 
 markable powers of imitation, Camello counterfeited antique coins died 1539. 
 so perfectly that they deceived even the most expert. Sometimes 
 in his portrait medals, as in the two of himself, he adopted the a.d. u9o. 
 antique style ; and then again, as in that of Gentile Bellini, fol- a.d. 1500. 
 lowed, though he never rivalled, the great Italian medaUists.'^ 
 His want of individuality, and tendency to imitate the most 
 opposite styles, is observable in his marbles and bronzes. Thus 
 his statuettes of the Twelve Apostles at San Stefano, and those of 
 the Virgin, St. John the Baptist, and the Apostles at the Frari, are in 
 a quiet simple style resembling that of the Massegne ; while the two 
 battle scenes in relief* at the Academy are violent and exaggerated 
 in action.^ We learn that rhyming was one of his accomplishments 
 from the verses of Cornelio Castaldo, whose extravagant praise 
 may be partially ascribed to gratitude for the medallion portrait 
 which Camello made of him. We give the lines taken from one of 
 Castaldo's sonnets : — 
 
 ' Chi vedi-a di Camelo la scultura, 
 
 E di Camelo le onorate rime, 
 
 Conven-a che fra se tacito stime 
 Che du Cameli aves.se la natura, 
 Perche non cape in una creatura 
 
 Questa e qnella virtu, tan to sublime.''' 
 
 • Pier Contarini in a book entitled Argo Volgar, printed in 1541 ; Cicognara, 
 Isc. Yen. ii. 222, 297. 
 
 * Zani, Enc. Met. vii. 176, says that Camello Avas a Vicentine. 
 
 3 Among the medals of Gambello are those of Galeotto, marzo 1483 ; Pope 
 Sixtus IV., 1484 ; an allegorical subject, 1490 ; the doge Agostino Barbarigo, 
 1486 ; the doge Andrea Gritti, 1523 ; Francesco Fasuolo and Cornelio Castaldo, 
 jurisconsults. 
 
 Made for the tomb of a Captain Briamonte. 
 
 ^ Other works attributed to him are two figures which sustain a chimney-piece 
 in a chamber of the ducal palace, a God the Father with angels and statuettes of 
 SS. Anthony and Francis over the altar of the sacrament at St. Mark's, the 
 Gobbo del Rialto on the Piazzo del Rialto, a statuette of Mars over the great window 
 of the fa9ade of the ducal palace towai-ds the Lagoon, a Justice on the Piazza at 
 Murano, and the Slaves of the Contarini monument at Sant' Antonio di Padua. 
 
 ^ Zani, Enc. Met. vii. 176 ; and Morelli, notes to I'Anonimo, note 153, p. 249. 
 
208 ITALIAN SCULPTORS. 
 
 These verses are mildly laudatory compared with others addressed 
 by Italian poets to artists far less eminent than Camello.^ Those of 
 the poet Guarino for instance upon a group of Venus and Cupid 
 Pyrgo- sculptured by Pyrgoteles, may be taken as a specimen : — 
 
 teles. 
 
 ' Pyrgoteles Veneti signum neque Coos Apelles 
 Nec vincet clari dextera Praxiteles.' 
 
 This Pyrgoteles was in truth an artist of very mediocre talent. 
 The Venus and Cupid celebrated in these swelling lines does not 
 exist, but we may judge that it could not have been a very won- 
 derful work of art from the feeble group of the Madonna and Child 
 
 A.D. 1513. in the lunette over the door of Sta. Maria dei Miracoli, and the in- 
 significant statuette of Sta. Giustina on the holy-water vase in the 
 church of Sant' Antonio at Padua.^ Among the sculptors of some 
 note at the latter end of the fifteenth century was Antonio Dentone, 
 whose group of the Admiral Vittore Cappello kneeling at the feet 
 of Sta. Elena, which originally stood above the door of her now 
 destroyed church, is placed high up against the transept wall of San 
 Giovanni e Paolo, near the door of the sacristy. The figure of the 
 saint is not devoid of grace, nor the head of the admiral of truth to 
 nature. Dentone made the monument to this admiral and that to 
 Orsato Giustiniani at Santa Eufemia, both of which after being 
 removed to the cloisters were broken up.^ The latter consisted of 
 a sarcophagus with statuettes of the Virtues at its four corners, and 
 
 Pieta at a recumbcnt efiigy.* The Pieta in the sacristy of Sta. Maria della 
 ^ * " ^' Salute which is attributed to him, shows complete ignorance of 
 the rudimentary principles of bas-relief. The face of the Virgin 
 is distorted by a grimace which looks as much like laughter as 
 
 1 Camello had a son named Domenico who was the sculptor of a bas-relief, 
 dated 1571, over an altar in the church of San Giuseppe at Venice. 
 
 2 The record of payment for this statue published by Gonzati, op. cit. doc. 130, 
 in which the artist is mentioned as M. Zuane Zorzi ' dicto Pyrgotele,' first revealed 
 his real name. Zanotto, p. 305, note 2, erroneously speaks of him as Gio. Ettore 
 Maria Lascari a sculptor who died of the plague in 1528. 
 
 ^ Both Vittore Capello and Orsato Giustiniani, touched by the grief of the 
 unfortunate doge Francesco Foscari, vainly endeavoured to obtain pardon for his 
 son Jacopo when banished for the second time from Venice. Both distinguished 
 themselves in the conduct of the Venetian fleet against the Turks. Giustiniani 
 after filling many civil and military ofiices with great honour was so cast down by 
 his defeat at Metelino that he retired to Modena where he shortly after died 
 (Romanin, iv. 318). 
 
 * Sansavino, lib. iv. p. 80; Cicogna, Ti^c. Vev. ii. 57. 
 
VENICE. 
 
 209 
 
 grief ; the lines of the figures and draperies are hard and angular, 
 and the rocky landscape background is a specimen of the worst 
 sort of pictorial sculpture.^ With Lorenzo Bregno, who worked Lorenzo 
 at Venice in the early half of the sixteenth century, we close our 
 account of this period of the Renaissance. He perhaps designed the 
 monument to the Admiral Benedetto Pesaro above the door of 
 the sacristy of the Frari, and he sculptured the statue on the top 
 of the sarcophagus which represents him standing with a banner 
 in his hand, as well as the statue of Dionigi Naldo da Briseghella at a d- J5io. 
 San Giovanni e Paolo, and the statuettes of SS. Andrew, Peter and 
 Paul above an altar in the church of Sta. Maria Mater Domini — all 
 figures of little merit. None of these artists had any marked indi- 
 viduality. Some record of pa37ment, or generally credited belief, or 
 mention by a contemporary author, alone connects them with such 
 and such a monument or statuette. 
 
 There was no sculptor at Venice in the beginning of the six- 
 teenth century strong enough to found a school and stamp it with his 
 impress.^ Unfortunately Jacopo Sansavino,^ who came to bind all 
 
 ■ This relief was formerly iu the Cappella Giustiniani at the church of the 
 Certosini (Cicognara, vol. v.). 
 
 ^ Note — containing names and notices of sculptoi's of small repute of the six- 
 teenth century : — 
 
 Bernardino Quatrini, tajapietra, contracted for certain works in the cloister 
 
 of S. Antonio, a.d. 1503 (Cicogna, i. 364). 
 Francesco Quatrini, ditto, a.d. 1548, June 20, agreed to complete the facade of 
 
 this church (ibid.). 
 
 Stefano di Cortero or Cortesi, tagliapietra, in April 14, 1592, buried at 
 S. Margherita (Cicogna, no. 14, p. 284). 
 
 Sebastiano, tajapietra, 1506, contracted for work about the church (ibid.). 
 
 Bernardino Canozio, sculptor and architect, belonged to the Genesini family 
 of Rovigo, 1501 or 1502, contracted to make the stalls of the Duomo di 
 Ferrara adorned with intaglio and intarsia work, died about 1507 (Citta- 
 della, op. cit. p. 58). He was son of Lorenzo Canozzi called ' del Coro ' (see 
 Gonzati, ii. 141-2). 
 
 Daniele di Bernadino Canozzi, D° M° Daniele da Laudinare, ' M" d' intarsia 
 
 e di prospettiva, negli anni 1509-12 e 13,' also worked in choir of duomo 
 
 di Ferrara (ibid. p. 59). 
 Giovanni Giacco or Giachino, sc. Yen. fl. 1537 (Zani, x. 271). 
 Cristoforo del Legname, 1505, sculptured a bust of Matteo Piovano for the 
 
 church of San Gimignano of which he was architect (Cicognara, iii. 110). 
 Niccolo Roccatagliata received 160 ducats for bronze statue of SS. George and 
 
 Stephen (ibid. p. 344). 
 ' For an account of Jacopo Sansaviuo's career in Venice, see T't.scan iSctdfil.ors, 
 vol. i. ch. ix. 
 
 £ E 
 
210 
 
 ITALIAN SCULPTORS. 
 
 Jacopo 
 San- 
 savino's 
 influence 
 at Venice. 
 
 Sculptors 
 of the 
 Baroque 
 style. 
 
 Alessan- 
 dro Vitto- 
 ria, born 
 1525. 
 
 A.D. 1649. 
 
 these scattered forces together, was not an artist of sufficiently fixed 
 principles to keep himself in the right path, or bring them back to it. 
 Born and bred in Tuscany, nourished upon the antique, and having 
 given proof in his early v/orks of its effect upon his mind, his 
 establishment at Venice promised the most beneficial results to art, 
 but instead of stemming the current which was running in the wrong 
 direction, he yielded to it, and by his teachings and example en- 
 couraged license in style and contempt of tradition. For forty years 
 he was the acknowledged head of the Venetian school of architecture 
 and sculpture, and without his sanction nothing Avas undertaken. 
 How deleterious his influence had been was seen before his death, 
 when his scholar Alessandro Vittoria dragged art do-\vn into the mad 
 extravagances of the Baroque. The architects of this style, if style 
 it can be called, declared war against the straight line, erased logic 
 in construction firom their system of art, and overloaded their 
 buildings with meretricious ornament. FolloAving their lead, sculp- 
 tors twisted the limbs of their statuettes into the most impossible 
 positions, hollowed out the folds of their draperies like chance furrows 
 in broken rocks, and aiming altogether at novelty for novelty's sake, 
 indulged in caprices of the chisel, false to nature and to taste. We 
 do not propose to enter at any length into an account of this corrupt 
 period, concerning Avhich enough may be gathered from a sketch of 
 the life of its leader who is the type of his school. 
 
 Alessandro Vittoria was the son of a respectable citizen of Trent, 
 named Vii'gilio Vittoria della Volpe. When a very young man he 
 came to Venice and entered the studio of Jacopo Sansavino, which 
 was well furnished with casts and other materials requisite for study, 
 and greatly frequented by young artists of the day. With a mind 
 quick in its conceptions, extreme facility of hand, and taste unre- 
 strained by correct principles, which alone could have checked the 
 natural lawlessness of his disposition, Vittoria spent the years which 
 he should have devoted to severe study, in modelling ornaments for 
 public and private buildings in stucco, a material which allowed of 
 rapid free handling, and Avas therefore peculiarly adapted to his 
 habits of Avork. E\'en SansaAano was at last so shocked with the 
 license of his pupil that he reproved him severely, in consequence 
 of Avhich Vittoria left Venice for Vicenza, where he remained for 
 four years working for Palladio, who availed himself of his talents 
 as a decorator, although his style must have displeased that rigid 
 
VENICE. 
 
 2^11 
 
 follower of Vitruvius. The friendsliip between Sansavino and Vit- 
 toria became warmer than ever, after the reconciliation which was 
 brought about between them by their mutual friend Pietro Aretino, 
 and which was followed by Vittoria's immediate return to Venice, 
 where he was associated with his master as decorator of the build- 
 ings which he erected. The rich stucco ornaments of leaves, trophies, 
 and grotesques in the ceiling of the library, and those in that of the 
 ' scala d'oro ' at the ducal palace, are examples of their co-operation, 
 but it is to be remarked that Sansavino rarely entrusted any archi- 
 tectural enterprise to Vittoria, as their principles of construction 
 were so opposite. After the death of Sansavino everything fell 
 into the hands of Vittoria, without whose patronage no young 
 artist could hope to succeed at Venice. Among the architectural 
 works which he carried out was the rebuilding of the Cappella del 
 Rosario,^ at San Giovanni e Paolo, which was decided upon in con- a.p. it):!. 
 sequence of a great naval victory gained over the Turks by the 
 Venetian fleet, on the 'festa' of the Madonna of that name. He 
 decorated the spaces between the pilasters disposed against its walls 
 with colossal figures of prophets and sybils, conceived in his extra- 
 vagant style. He also built the Scuola di San Girolamo and decorated 
 it with many sculptures, but one of which, a bas-relief of the Cruci- 
 fixion, has escaped destruction ; and the Palazzo Balbi on the Grand a.ti. i .)82- 
 Canal, whose fagade is covered with vicious detail. The same facility 
 of invention and handling, and the same corrupt taste, are displayed 
 in the gigantic Caryatides which stand on either side of the doorway 
 leading to the old library, and in the Evangelists in the church of San 
 Giorgio Maggiore. The marble statues of St. Jerome at the Frnri 
 and San Giovanni e Paolo remind us of the works of Michel- 
 Angelo's scholars, by their strained attitudes, their want of signi- 
 ficance in expression, the position of their hands, and their 
 exaggerated muscular development. His busts are more satisfactory 
 than his statues. Among them is that which decorates his tomb 
 in the church of San Zaccaria,^ Those of Tomraaso and Gaspare 
 Contarini at Sta. Maria dell' Orto are excellent, they have life and 
 individuality, and are well draped. Vittoria was twice married, and 
 died at the age of eighty-five in his house at San Giovanni in 
 
 ' Lately destroyed by fire. 
 
 ^ ' Qui vivens vivo duxit e marmore vtiUiis.' 
 
 E r. '2 
 
212 
 
 ITALIAN SCULPTORS. 
 
 Tiziano 
 Aspetti, 
 
 Bragora, leaving a large sum of money to the poor, and to the con- 
 vent of San Zaccaria. He had many scholars who without any of 
 his merits aped his defects, and if possible surpassed him in ex- 
 travagance of style ; such for instance as Tiziano Aspetti of Padua, 
 who cast the mannered and defective statues of Moses and St. Paul 
 for the fa9ade of San Francesco della Vigne, and the very faulty 
 colossal figure in the passage-way leading to the Zecca. His busts 
 of Marcantonio and Aojostino Brajyadino, and that of Sebastian 
 I'bii^*^' ^^nerio at the Academy are less objectionable. Nicolo di Conti 
 and Alfonso Alberghetti of Ferrara who made the wells in the cortile 
 of the ducal palace were also scholars of Vittoria, as well as the 
 unknown artists who made the bronze candelabra at Santo Stefano, 
 the Salute, and San Marco.^ 
 
 Venetian sculptors of the sixteenth century not mentioned in the text — 
 
 Domenigo di Bernardino tajapiera worked at San Giovanni in 1582 
 (Cicognara, iii. 88). 
 
 Bartolomeo Ridolfi, flourished last half of sixteenth century. He was the 
 son-in-law of Falconetti the painter, scholar of Melazzo di Forli. His 
 works in Poland, where he long lived and died, obtained great reputa- 
 tion for him in that country. He adorned the Palazzo Chiericato at 
 Verona (built by Palladio 1550-67) with stuccoes (Ricci, op. cit. 
 iii. 328). 
 
VERONA. 
 
 213 
 
 CHAPTER VI. 
 
 VERONA, VICENZA, PADUA, MANTUA, AND BRESCIA. 
 VEKONA. 
 
 THE earliest sculptors mentioned at Verona are Magister Urso, or Early 
 Orso, and his scholars Gioventius and Gioviano, whose names sculptors, 
 were inscribed upon a ciborium in the church of San Giorgio di Val 
 Pulicella.^ They are supposed to have been refugees from the 
 Roman Campagna, who when Alboinus descended with his Lombard 
 followers into Italy, fled with many natives of the invaded provinces 
 to the Isola Comacina, and eventually became members of its famous 
 body of architects.^ In the ninth century we find a Maestro Pacific©, 
 and three hundred years later a little band of sculptors, named 
 Guglielmus, Nicolaus, Briolottus, and Adaminus, who took part in 
 the decoration of the venerable church of San Zeno, which though Sculptures 
 
 .at San 
 
 founded in the sixth century was not completed till after the middle Zeno. 
 of the tenth, by the Emperor Otho I. Guglielmus, who has been a.d. 96i. 
 identified with the Wiligelmus who sculptured the bas-reliefs and 
 portal ornaments about the duomo at Modena,^ and Nicolo, who 
 may perhaps be the Nicolo del Ficarolo who decorated the exterior 
 of the duomo at Ferrara,* made the rude bas-reliefs representing 
 subjects (named in accompanying inscriptions) from the Old and 
 New Testament, fantastic animals, knights on horseback,^ &c., &c. 
 
 ' ' Ursus Magister, cum discipulis suis Juventius et Juvinus, edificavit hanc 
 civorium.' — Carlo Troja, St. del Medio Evo, vol. iii. p. 556. 
 
 2 In note 7, this writer says that these men were Romani Longobardizzati (see 
 also Ricci, op. cit. i. 175). 
 
 3 ' Salvet in ffiternum qui sculpsit ista Guglielmus,' inscription on facade of 
 S. Zeno. (About Wiligelmus see chapter upon Sculpture at Modena and intro- 
 ductory chapter to Tioscan Sculptors, vol. i.) 
 
 ■* See chapter on Ferrara. 
 
 ' One of the knights on horseback going to the chase is supposed to be meant 
 for Theodoric who according to a legend was supplied with men and horses by the 
 infernal powers. 
 
214 
 
 ITALIAN SCULPTORS. 
 
 which cover the walls of the fa9ade on either side of the great 
 portal.^ The forms of the figures in these compositions are short 
 and clumsy, their eyes are marked by round holes bored into the 
 stone, painted black, and the draperies and accessories still bear 
 traces of colour. In the lunette above the portal, San Zeno is 
 represented standing on a dragon, surrounded by a crowd of people 
 and knights on horseback. The doorway is closed by wooden doors 
 covered with metal plates beaten out into reliefs of the very rudest 
 description. They represent scenes from the Bible, and miracles 
 worked by San Zeno. Their date is unknown, but as they are 
 even more barbaric than the reliefs on the fa9ade they are sup- 
 Brioiottus. posed to antedate them.^ Briolottus made the baptismal font within 
 the church, and the beautiful round window above the fa9ade portal. 
 His very original idea of making this window emblematic of Fortune's 
 wheel shows him to have been an artist of thought and imagination. 
 It is covered with little figures, some sitting, some climbing upon it, 
 and some falling from it, and Latin verses are inscribed about it in 
 which the fickle goddess says ' I elevate some mortals and depose 
 others; I give good or evil to all; I clothe the naked and strip the 
 clothed : in me if any one trust he will be turned to derision.' ^ 
 
 ' They are disposed in a double row. 
 represent — 
 
 1. Tantastic animals. 
 
 2. Do. 
 
 3. Creation of Eve. 
 
 4. Disobedience. 
 
 Those to the left beginning at the bottom 
 
 5. Creation of animals. 
 
 6. Creation of Adam. 
 
 7. Men on horseback. 
 
 8. An animal devouring a deer. 
 
 Those to the right represent — 
 
 1 . The Kiss of Judas. 7. Annunciation. 
 
 2. The Crucifixion. 8. Joseph Sleeping. 
 
 3. Flight into Egypt. 9. The Adoration of the Magi. 
 
 4. Baptism of our Lord. 10. Knights on horseback. 
 
 5. The Adoration. 11. Do. 
 
 6. Simeon. 
 
 ' Maffei, Verona Illustrata, 8vo ed. vol. iv. p. Ill, gives no date. Gailhabaud, 
 (Hist, de I' Architecture du v™^ au xvii*"^ siecle) states his belief that they belong 
 to two epochs, the latest having been made after a fire in mclx. 
 ^ ' En ego Fortuna moderor mortalibus, una 
 
 Elevo, depono, bona cunctis vel mala dono ; 
 Induo nudatos, denudo veste paratos : 
 
 In me confidit si quis, deinsus abibit.' — Ricci, vol. i. p. 490, note 75. 
 
 Zani, Enc. Met. vol. iii. (Parma, 1819) says that Briolottus was a Veronese, who 
 lived between 1045 and 1110. 
 
VERONA. 
 
 215 
 
 Adarainus carved his name upon one of the capitals of the double 
 shafts which divide the entrance to the crypt. ^ These shafts support 
 an architrave sculptured with reliefs of a fanciful character represent- 
 ing a centaur hunting a stag, a dead fox hanging on a staflf carried 
 by two cocks, birds sitting upon trees, snails, frogs, and imaginary 
 animals.^ These strange subjects are rendered in a spirited 
 manner though barbarously drawn. We see how much better the 
 Romanesque sculptors succeeded in ornamental work than in figure 
 sculpture, by comparing it with the colossal San Zeno in the choir 
 of this church, whose clumsy form and red painted face gives him 
 the appearance of a huge doll. Nor did they succeed much better 
 in carving figures in alto-relief of a large size, to judge by those 
 about the portal of the duomo, which were probably executed in Sculptures 
 the early part of the twelfth century.^ In allusion to the popular portal of 
 tradition that the church was founded by Pepin, the artist has here '^'^^ 
 introduced the paladins of Charlemagne; Roland with his stout 
 sword Durindarda, and his companion Olivier, short thickset forms 
 ^vith staring eyes and vacant faces, with draperies and outlines 
 marked by furrows dug into the stone. The symbols of the 
 evangelists, the prophets, and some of the Virtues upon the archi- 
 trave; the signs of the zodiac upon the archivolt; and a group of 
 the Madonna and Child with men on horseback to the left, and a 
 crowd of devils, animals, &c., &c., to the right in the lunette over 
 this portal are all equally barbaric. 
 
 Although no other Italian city can boast such a number of 
 pre-Revival sculptors as Verona, no school was developed there from 
 their rude beginnings. Not one Veronese sculptor of the thirteenth 
 century is known to us, and when in the fourteenth the lords of sculpture 
 Verona wished to adorn their family burial-place with those superb isthLd 
 Gothic tombs which make it one of the most striking and interesting i^'hcen- 
 
 o CD tunes. 
 
 cemeteries in Italy, they Avere obliged to send to Milan for Perrino 
 and Bonino da Campione. Various works, such as the tomb of 
 
 ' MafFei, Verona Uhistrata, iv. 123. The inscription is ' Adaminus de San . . . 
 Giorgio me fecit.' The capital is given in Ruskin's Stones of Venice, vol. i. plate 17, 
 and spoken of at pp. 313-14. 
 
 2 See Appendix to Stones of Venice, no. 8, p. 362. 
 
 3 It is not known when the duomo was commenced. It was completed in the 
 year 806. The facade was raised in the year 1115 to which time the style of the 
 sculptures corresponds (Ricci, t>j7. cil. i. 260, and ii. 609). 
 
216 
 
 ITALIAN SCULPTORS. 
 
 A.D. 1380. Santa Agata in the duomo; that of a knight, and another of a 
 member of the Pellegrini family at Sant' Anastasia; and that of 
 Giovanni Scaliger at San Fermo, are in their style, and may 
 have been sculptured by them or after their designs, as the only 
 
 Giovanni Veronese sculptor of the time was Giovanni di Bio-ino, who made a 
 
 di Bigino, ^ . 
 
 fl. 1392. statuette of St. Proculus for a monument in the church of San 
 Fermo. We may then safely say that the first great Veronese 
 neiio, born artist was Victor Pisano, called II Pisanello, who revived the neg- 
 dkd 447. lected art of the medallist, and founded a school, which was illus- 
 trated by the scarcely less famous names of Matteo de' Pasti his 
 compatriot, and Sperandio of Mantua. Both Pisanello ^ and 
 Matteo de' Pasti ^ are mentioned as sculptors, and such they were 
 in a restricted sense. Where indeed can we find more delicate 
 shades of modelling, greater truth to nature, more exquisite taste in 
 the use of costume and arrangement of drapery than in the profile 
 heads upon Pisanello's medals, or bolder foreshortening than in those 
 groups of mounted cavaliers with which he adorned their reverses? 
 but until some marbles or bronzes, whether statues, statuettes or 
 bas-reliefs, can be pointed out as his work he can hardly be classed 
 oniw^^'^'^ as a sculptor. No trace of Pisanello's influence is perceptible upon 
 tury.°*'" those contemporaneous artists who sculptured the tomb of the 
 Died 1432. Cavalicr Cortesia Sarego in the choir of Sant' Anastasia, which con- 
 sists of an equestrian statue placed ' alia veneziana ' upon a sarco- 
 phagus, or the terra-cotta bas-reliefs from the life of our Lord 
 
 ' Tommasini, Vita di L. Pigneria, Amsterdam, 16G9, says : ' Eminent Pisani 
 pictoris et stahiarii maxima torenmata quae vocamus Italice medaglioni ; ' and 
 Mons. Giovio, Letter to Duke Cosimo, November 12, 1551, published in Bottari, Lett. 
 Pitt. V. 82 (ed. Milano, 1822), says that Pisanello was ' prestantissimo nell' opera 
 de" bassirilievi ; ' but in the context his meaning is clear : ' E percio si veggono di 
 sua mano molte lodate medaglie di gran principi,' &c. &c. So also Facio, De Viris 
 lUiistrihus, says : ' Picture adjecit fingendi artem. Ejus opera in plumbo atque sere 
 sunt Alphonsus,' &c. &c. Tito Strozzi in his Elegia (Maffei, vol. iv. ch. vi. p. 298) 
 says he surpassed Lysippus and Phidias, but this is a ' fa^on de parler ' common at the 
 time. Cicognara attributes to Pisanello the bas-reliefs at San Francesco di Rimini 
 (see 8vo ed. vol. v. p. 554, in a note) ; but Alberti began to build that church in 
 1447 and Pisanello died about 1451 (see Comm. alia Vita di V. Pisanello, Vasari, 
 iv. 179). Bernasconi, Sttidii, &c. (Verona, 1859), at pp. 5, 6, shows that he must 
 have died before 1455, and was probably born about 1380. Vasari does not give 
 the date of his death, but says he was ' assai ben vecchio.' About the bas-reliefs 
 at Rimini see Tuscan Sculptors, vol. i. ch. vii. 
 
 ^ MafFei, op. cit. vol. iv. ch. vi. p. 300. Roberto Valturio in his work Be re 
 Militari, printed in 1472, speaks of Matteo de' Pasti as ' singolar nella pittura, ncUa 
 Bcultura e nell' intaglio.' 
 
VERONA. 
 
 217 
 
 upon the walls of the Pellegrini chapel, whose inordinately long- 
 proportioned figures and clinging draperies indicate a Milanese 
 influence ; or the simple, pleasing, and well-draped statues of saints 
 in niches upon the pilasters of a chapel in the left side aisle of Sant' 
 Anastasia, which are adorned with arabesques and cherub heads in 
 an excellent Quattrocento style. 
 
 In the preceding chapter we spoke at length of the most eminent 
 Veronese artist of the fifteenth century, Antonio di Giovanni 
 Bregno, detto Rizzo, we therefore pass on to the Cinquecento 
 sculptors, of whom the most eminent was Girolamo Campagna, an giroiamo 
 able sculptor, but not strikingly individual. We first hear of him bomMVi.' 
 at Venice, employed to sculpture the statue of the doge Loredano, 
 which forms part of a very mediocre monument designed by his a.d. 1542. 
 master Danese Cattaneo da Carrara. At what period he made the 
 bronze statues of the Madonna with the Angel of the Annunciation 
 for the fa9ade of the Palazzo del Consiglio at Verona, and that of 
 the Virgin for that of the Collegio dei Mercatanti is not known. 
 Mannered in style, affected in attitude and Baroque in drapery, 
 they mark a phase of his career of which we have no other example, 
 and lead us to suspect that he had fallen under the influence of 
 Vittoria or some other of Sansavino's scholars, during his residence 
 at Venice. After the death of his master he went to Padua, with a 
 warm letter of recommendation from the painter Salviati to Benavides, 
 a patron of art and artists, who was one of the persons appointed to 
 name some fit sculptor to carry out a commission originally given to 
 Cattaneo for a bas-relief in the Cappella del Santo at Sant' Antonio.' Bas-relief 
 Through his influence Campagna obtained it,^ and worthily fulfilled Antouio. 
 his promise to do all in his power to satisfy his employers, by * 
 endowing them with his masterpiece. The subject given to him 
 was the resuscitation of a murdered man by St. Anthony who, 
 according to the legend, had been miraculously transported from 
 Padua to Lisbon that he might testify to the innocence of his own 
 father who was unjustly accused of the crime. The bas-relief tells a.d. 1577. 
 its story, is well composed, carefully executed, and though somewhat 
 
 1 Gonzati, op. cii. doc. 93, vol. i. p. 166. The letter is dated November 27, 
 1573. For an account of Benavides see Tuscan Sculptors, vol. ii., life of Bart. 
 Ammanati. 
 
 2 Vincenzo de' Grandi, Gian Girolamo detto del Castello, Ant. Gallini and 
 Francesco Segula competed with him for it, 
 
 F F 
 
218 
 
 ITALIAN SCULPTORS. 
 
 conventional in style surpasses the bas-reliefs by the Lombardi, 
 Sansavino, and other sculptors of note, among wliich it is placed.^ 
 After completing it he established himself at Venice and married, but 
 A.B.1580. on the death of his wife he returned to Padua to make the elaborate 
 Other and much overloaded bronze tabernacle which decorates the altar in 
 Vam- '^^ the Chapel of the Holy Sacrament at Sant' Antonio. The remainder 
 pi^gna. Yiis, life was spent at Venice, where he produced many works, among 
 which are small statues of Sta. Chiara (see Tailpiece) and St. Francis 
 A.D. 1591- at Sta. Maria de' Miracoli; a bronze group of God the Father with 
 angels standing on a gilded globc,'^ and a heavy ill-proportioned 
 4..D. 1595. marble group of the Virgin and Child with angels at San Giorgio 
 Maggiore; the figures in relief upon the Ponte del Rialto, of the 
 Virgin and the Angel of the Annunciation and the patron saints of 
 Venice ; a Sta. Giustina over the door of the arsenal ; statuettes of 
 SS. Mark and Francis, and a bronze crucifix in the church of the 
 Redentore ; and the colossal figure of St. Sebastian at the Zecca. 
 The date of Campagna's death is not known, but it has been fixed 
 too late by those who confound him with another artist of his 
 A.B, 1604. name, Girolamo the younger,^ who sculptured the very mediocre 
 statue of Federigo Duke of Urbino on the staircase of the ducal 
 palace at Urbino, and who was still alive in 1623.^ The only other 
 Giuiio sculptors of this period are Giulio di Girolamo della Torre, who 
 and'oti^eT lifter having in his youth read law at Padua with great applause and 
 ofthe°^^ gained some notice as an author, attained distinction as a bronze- 
 16th cen- caster and medallist;^ Giovan Battista, who made a crucifix for 
 
 Uiry. ' ' 
 
 A.n. 1531. the duomo at Mantua which is highly praised by Vasari;^ and 
 A.D. 1584, Alessandro Rossi, who made a statue of San Bernardo Abate for 
 
 * Completed in 1577, and signed ' Hieronymus Campagna, Veronen. sculp.' 
 
 2 Cost 1G50 gold ducats. Girolamo was assisted in casting it by his brother 
 Giuseppe (Cicognara, vol. iii. p. 2G7, and doc. 239, p. 342). 
 
 ^ The suggestion that there were two Campagnas from Verona of the same 
 name was first made by the Abate Zani. Gualandi, oj). cit. serie v. pp. 75-78, 
 gives the contracts which he thinks belong to Girolamo the younger. They are 
 dated May 8 and April 27, a.d. 1604. 
 
 * Temanza, pp. 519-28. 
 
 5 His treatise Be Felicitafe, published in 1531, was dedicated to his sister 
 Paulina. Mafi'ei, op. cif. vol. iii. lib. iv., places him among Veronese authors. In 
 vol. iv. ch. vi. p. 301 he suggests that he may have made the bi-onze bas-reliefs on 
 the Della Torre monument at San Fermo — but this is impossible as they are knoAvn 
 to be by Andrea Riccio. 
 See Vasari, ix. 168. 
 
VICENZA. 
 
 219 
 
 the church of Sta. Maria at Carrara, and sculptured one of the ugly 
 hunchbacks who support the holy-water vases in the church of Sant' 
 Anastasia at Verona.' 
 
 We cannot take leave of Verona without speaking of the beau- Marbio 
 tiful marble candelabra in the duomo, which are first-rate examples i^n'the'^ 
 of Renaissance ornamental work, and belong, judging from the 
 more rounded character given to their salient portions, to the six- 
 teenth rather than to the preceding century. Early Kenaissance 
 sculpture is always flat -surfaced, both in figures and ornaments, and 
 its details, which here rather overcrowd the decorated spaces, are 
 simpler and more delicately modelled. A certain Paolo, detto delle 
 Breze, from Rome is popularly said to have sculptured them, but 
 we are unable to say who this person was. Nothing in the works 
 of the only Paolo Romano known to us indicates such excellence, 
 nor did he ever (as far as we know) practise ornamental sculpture. 
 
 VICENZA. 
 
 An excellent sculptor of ornament from Vicenza, named Girolamo 
 Pironi, who lived in the first half of the fifteenth century, carved an oiroiamo 
 elaborate pilaster lor the Cappella del Santo in the church of Sant' and "!iicr 
 Antonio at Padua.-^ The vines, the birds perched among their sVuiptorL! 
 leaves and pecking at bunches of grapes, the snakes and snails, 
 show loving and careful study of nature. At the foot of the vine 
 lies the boldly foreshortened figure of a sleeping man. Another a.d. 1017. 
 Girolamo da Vicenza,^ who flourished in the sixteenth centuiy, 
 made the tomb of Pope Celestine V. in the church of Sta. Maria 
 Collemaggio, at Aquila in the Abruzzi; and about the same time A.n. 1,15. 
 a Vicentine sculptor, named Rocca, executed certain unknown 
 marble-works for the Collegiata of Sta. Maria Maggiore at Spello."* 
 Vincenzo da Vicenza was a sculptor of ornament who worked at 
 Trent in the church of Sta. Maria Coronata f and Nicolo da Cornedo 
 
 ' Its pendent is said to bo by Gabricllo Caliari the father of Paul Voroncsc. 
 
 Signed, ' Hie P. faciebat.' Gonzati, oj*. cit. vol. i. p. 163, note 3, any a date 
 uncertain. 
 
 3 Leosiui, p. 232. 
 
 Ricci, n^T. cit. iii. 90. 
 " Ibid. iii. 337. 
 
220 ITALIAN SCULPTORS. 
 
 (a town in the territory of Vicenza) made a marble ancona of very 
 little merit for a church at Trissino.^ 
 
 These few are the only sculptors known to us as natives of the 
 city, whose chief artistic glory lies in having given birth to the 
 renowned architect Palladio. 
 
 PADUA. 
 
 Tuscan Many renowned Tuscan artists resided at Padua between the 
 
 pildua. ' thirteenth and the sixteenth centuries, and severally left behind 
 them noble records of their presence. Niccola Pisano, the father of 
 A.D. 1230, Italian sculpture, came in the thirteenth to design the basilica of 
 A.D. 1320. Sant' Antonio; his son Giovanni is said to have sculptured the tomb 
 of one of the Scrovegni, in their family chapel adorned by Giotto 
 with frescoes which still provoke our wonder and admiration ; 
 Donatello in the fifteenth embellished the altars of Sant' Antonio with 
 some of his finest bronzes ; while Jacopo Sansavino and Bartolomeo 
 Ammanati gave sad proof of the decadence of Tuscan art in the 
 sixteenth, the one in the bas-relief which he made for the Cappella 
 del Santo, and the other in the colossal statues for the palace of 
 Marco Benavides. Among these artists Donatello was the only one 
 who had a positive influence upon sculpture, through the young men 
 whom he instructed to assist him in his labours. 
 
 In the days of Niccola Pisano we read of a monk who was both 
 sculptor and architect, and who may perhaps have studied under 
 Fra cla- him. This was F ra Clarello who when the joint army of the pope 
 Padova. and the Venetians marched towards Padua to put down the iniquitous 
 Juno 12, Ezzelino, took his place as standard-bearer in their ranks, and inspired 
 them by his earnest exhortations. He is referred to in the annals of 
 A.D. 1292. his convent as one of the architects of Sant' Antonio,'"^ and again in 
 the will of a certain Donato di Salomon e as the sculptor of his 
 A.u. 1290. monument,^ but we have no means of judging of his capacity, as his 
 works have all perished with so many early marbles which once 
 
 ' Cicognara, ii. 159. Faccioli, Mm. Lap. Vic. in. 147, mentions a statue at 
 Priabone by this sculptor. 
 
 2 Gonzati, vol. i. part xvi. pp. 23 and 26. 
 
 ^ To be made by Fra Clarello or by such other monk of the convent of Sant' 
 Antonio as shall be dejuited for the purpose (doc. 15, Appendix to vol. i. p. xiv. 
 Gonzati). 
 
PADUA. 
 
 221 
 
 adorned the walls and cloisters of the Paduan Pantheon. Among 
 the most interesting of those which remain is a sarcophagus under the 
 altar of the Cappella dei Conti/ in which, according to tradition, the 
 body of St. Anthony was deposited when, after a five days' fight, the 
 Paduans took it from the Convent of Arceria where the saint died, June 13. 
 
 1231 
 
 and brought it in triumph to the old church of Sta. Maria, which then 
 stood on the site of the present basilica. Another sarcophagus of 
 this time, adorned with the early Christian symbol of the vine, exists 
 in the cloister of the Capitolo. It contains the bodies of Costanza Oct. 24, 
 
 1 295 
 
 d'Este,'"^ and her husband Count Guido da Lozzo who, after having 
 aided in the overthrow of Ezzelino, was exiled when his great popu- 
 larity gave rise to suspicions that he aimed at putting himself in 
 the tyrant's place. The earliest fourteenth-century sarcophagus at xombs 
 Sant' Antonio is that of the eminent jurisconsult Rolando da Piaz- nth een- 
 zola, through whose influence Jacopo da Carrara was made Lord of ^Idu^. 
 Padua, and the city for a time saved from falling under the rule of i^io. 
 the Scaligers of Verona.^ It has a conical roof, like the late Roman 
 sarcophagi, and is adorned with masks and mourning genii. Bar- 
 tolomea degli Scrovegni,^ who is said to have been poisoned by her 
 husband Masilio da Carrara shortly after their marriage, lies buried Nov. 1333. 
 in a sarcophagus behind the altar of the Cappella di San Felice. 
 Upon it are carved two awkwardly-posed angels supporting a throne 
 chair, upon which the Madonna sits holding the infant Saviour in 
 her lap.^ The large red marble sarcophagus in the chapel of the 
 Madonna Mora, sculptured with two angels supporting the en- 
 throned Christ, and with a man on horseback dressed in a long robe 
 with a cap upon his head, is the burial-place of the Rogati, an a.d. 1340. 
 ancient Paduan family. The stone efiigy of a woman lying with 
 her hands crossed upon her breast in the cloister of the Capitolo, 
 represents the learned Bettina di San Giorgio, 'che fu di scienza un a.d. 1355. 
 cliiaro fonte,' being deeply versed in ecclesiastical jurisprudence, 
 
 * So called from Naimiero and Manfredino dei Conti who built it at the end of 
 the fourteenth century (Gonzati, i. 234). 
 
 ^ Daughter of the Marquis Obizzo d' Este. 
 
 ' As it did under Masilio da Carrara, Jacopo's successor. He however 
 regained the free signory of Padua, thanks to the league formed between the 
 Venetians and Florentines against the Scaligers. 
 
 * Sister of Enrico Scrovegno who built the Arena chapel. His sepulchral 
 effigy is set into the wall of the sacristy. 
 
 * Eng. at p. 35, vol. i. of Gonzati's work. 
 
222 
 
 ITALIAN SCULPTORS. 
 
 which she professed before crowds of students in the Archigymna- 
 siura at Padua. Rainerio degli Assendi, another renowned juris- 
 in 1368. consult, lies buried in the same cloister, in a sarcophagus enriched 
 with heavy foliated cornices, spiral columns, corner niches sur- 
 mounted by projecting hood-like gables, and a rude relief of the 
 Madonna and Child. One of the tombs in the passage way leading 
 from this cloister to that of the Noviziato was erected to the memory 
 of Manno Donato, a Florentine Guelph who fought for Francesco da 
 A.D. 1373. Carrara, and died at Padua. His effigy clothed in armour lies u})on 
 the sarcophagus under a Gothic gable. Near it are buried the 
 A.D. 1382- brothers Gerardo, Alberto and Giovanni Bolj^aro, in a sarcophagus 
 inT373 peculiar form. The best of these tombs is that of Federigo da 
 Lavalongo, in the portico of the southern door of the church. The 
 deceased with clasped hands, and feet resting upon two small lions, 
 lies dressed in armour upon the sarcophagus, whose front is divided 
 into six compartments containing small figures in a good and simple 
 style, which represent him in the costumes belonging to the different 
 offices he filled during his lifetime. In a fresco within the canopied 
 recess he is seen kneeling before the Madonna.^ The Gothic tombs 
 at Padua differ from those at Venice in that there are no curtain- 
 drawing angels or statuettes of the Virtues about them, and in 
 certain architectural details. The bas-reliefs and statuettes are for 
 the most part rather coarsely handled, with little sentiment. 
 
 The first Paduan sculptor known to us by name after Fra 
 Veiiano Clarcllo, is Bartolomco Bellano or Vellano,^ the pupil of Donatello, 
 bom'uso.' and the master of Andrea Riccio, to which position rather than to his 
 individual merits he owes his reputation ; his compositions are 
 confused and pictorial to excess, and his bronzes very inferior to 
 those of his master and of his pupil. Greatly overrated by Vasari, 
 and as much belied by Gaurico,^ who calls him ' ineptus artifex,' he 
 was a clever bronze-caster and excellent in architectural ornament, 
 but he wanted clearness and style, that subtle quality which is to 
 art what perfume is to the flower. 
 
 ' He was a Brescian condottiere who entered the service of Francesco da 
 Cari'ara, fought bravely in many battles, and was several times elected podcstii of 
 Padua. 
 
 2 The annotators of Vasari, vol. iv. p. 108, note 1, say he was born about 1430. 
 The date 1408 given by some writers would make him too old to have begun to 
 study under Donatello. 
 
 ^ De Scitljjtum. 
 
PADUA. ■ 223 
 
 We first hear of Bellaiio as an independent artist at Rome, 
 working for Pope Panl 11. at the Palazzo di San Marco, where 
 nothing by him now exists save the mutilated bust of the pontifi 
 in a roundel over a door which opens from the great staircase upon 
 the Loggia. We next find him employed at Perugia, in casting the 
 bronze statue of this pope for a niche on the outside of the duomo.^ a.d. i467. 
 As he is called ]3ellanus de Florentia in the contract for this statue, 
 we may either suppose that he had been presented with the citizenship 
 of Florence, or that he was so named in honour of his master.^ He 
 also made a medal of Pope Paul, who was very vain of his personal 
 appearance. Among his medals is one of Platina the papal his- 
 torian, and another of Antonio Rosello,'^ a learned jurisprudent who lu ugg. 
 was kno^Ti by the pompous title of ' II Monarca della Sapienza.' 
 His monument in the basilica of Sant' Antonio, which has been 
 ascribed to Bellano,^ is a mass of columns, panels, festoons and 
 multiple details, amidst which the sepulchral etfigy is almost lost 
 sight of. Nothing in it reminds us of Donatello's school, but this 
 is not the case with the tomb of RafFaele Folgoso, another famous 
 doctor of laws, as it is an almost exact reproduction of that erected 
 by Donatello and Michelozzo in the baptistry at Florence to Pope 
 John XXIII. It differs from it and from any other that we 1427. 
 know, in one respect, that it has a double front and two recumbent 
 efligies placed slopingly upon inclined planes. Although Bellano 
 was not born when Folgoso died, it is possible that he made this 
 monument, which has been attributed to him. After his visit to 
 Perugia we lose sight of him for the space of seventeen years, and 
 then find him successfully competing at Padua for the commission 
 offered for certain bronze bas-reliefs intended to decorate the choir 
 of the basilica.^ In the course of four years he modelled and cast Bas-reliefs 
 
 hy Vel- 
 
 ten compositions ^ for this purpose representing the Murder of Abel ; lano at 
 
 Padua. 
 
 ' Grateful for the wise laws enacted by this pope for the remuneration to be 
 given to public officers, and the election of city magistrates, the Perugians decreed 
 the erection of this statue, November 4, 1466. It cost 1000 florins of gold. 
 
 2 Vide Lett. Pitt. Perugine, pp. 112-15, quoted in vol. iv. p. Ill, note 2 of Vasari. 
 
 3 Born at Arezzo in 1381. He was pontifical legato under Martin V. and 
 Eugenius IV. 
 
 * Gonzati, op. cit. ii. 138. 
 
 5 They cost forty ducats apiece— contract dated November 29, 1484 (doc. 12, 
 vol. i. p. xc. Gonzati). 
 
 The other two are by Riccio. 
 
224 
 
 ITALIAN SCULPTORS. 
 
 A^»-^i484- the Sacrifice of Isaac; Joseph sold by his brethren; Pharaoh and 
 his hosts overthrown in the Red Sea; the Adoration of the Golden 
 Calf ; the Serpent of Bronze ; Samson pulling down the Temple ; 
 David overthrowing Goliath ; the Judgment of Solomon ; and J onah 
 being thrown into the Sea. A description of the last of these 
 bronze pictures will suffice to give the reader an idea of their 
 treatment.^ Nearly the whole of the panel is filled by a clumsy 
 galley labouring heavily in the sea, and covered with a crowd of 
 small figures, some clinging to the shrouds, some climbing up the 
 broken masts, and some leaning over the side of the ship to watch 
 the fall of Jonah into the sea. In another part of the composition 
 the prophet is seen kneeling in prayer upon the sea-coast at the 
 foot of some towering rocks, while the whale with his mouth still 
 open, disports himself in the curling waves. The defects of this 
 relief, which it shares in common with the others, are ultra-pictorial 
 treatment, want of concentration of interest, faulty perspective, and 
 an absence of repose so total, that the eye wanders helplessly 
 through a maze of diminutive forms of almost equal insignificance. 
 Compared with the bronzes of Donatello and Riccio these are wanting 
 in smoothness and firmness of texture, and in the delicate modula- 
 tions of surface which alone can give richness and delicacy of effect. 
 We much prefer Bellano's larger bronzes, such as the two panels made 
 
 In 1491. for the monument of Pietro Roccabonella, a Venetian professor of 
 philosophy and medicine,^ which are set against the wall to the right 
 and left of the high altar in the church of San Francesco. One of these 
 represents the professor seated at a desk with a book in his hand. 
 The two small ffenii holdino; shields which fill the niches outside 
 the panel, are excellent in style, recalling that of Donatello. The 
 other large relief represents the Madonna and Child, seated under 
 a Cfinopy, with SS. Francis and Peter on either hand.^ Here the 
 heads are extremely small and the bodies disproportionately long, 
 and the draperies are hard in line and cling in square patches and 
 strips as in the first relief. An unimportant monument in the 
 church of the Padri Serviti, erected to the memory of Paolo di 
 
 ' A Florentine sculptor named Bertoldo di Giovanni was first commissioned to 
 make tlie Jonali and the Pharaoh hut he failed to give satisfaction (Gonzati, vol. i. 
 }3. xc. note 1). 
 
 2 See Morelli, p. Ill, note 26. 
 
 3 Said to have been finished by Riccio. 
 
PADUA. 
 
 225 
 
 Castro and liis son Angelo, is the only work by Bellano which a.d. 1492. 
 remains to be mentioned. He died at Padua in the very beginning J^^i or 
 of the sixteenth century and was buried at Sant' Antonio.' 
 
 After Bellano we come to his famous pupil Andrea Briosco, Audrea 
 called Riccio or Crispo from his closely curling hair, who, though bom 
 a Paduan by birth, was the son of a Milanese goldsmith named ^70.'' 
 Anibrogio.^ By his father he was doubtless taught the goldsmith's 
 art, and by Bellano he was instructed in bronze-casting,^ but whence 
 he drew that love of classical ornament which marks his elaborate 
 style we are unable to say. His earliest works, the two bas-reliefs ^^^'g^^^r^' 
 in the choir of Sant' Antonio at once place him on a far higher Antonio, 
 level than his master.^ One represents the Translation of the Ark 1507. 
 from the house of Abinadab : — 
 
 The cart and oxen, drawing the holy ark, 
 
 Wherefore one dreads an office not appointed. 
 
 People appeared in front, and all of them 
 
 In seven choirs divided, of two senses 
 
 Made one say ' No,' the other ' Yes,' they sing. . . . 
 
 Preceded there the vessel benedight, 
 
 Dancing with girded loins, the humble Psalmist, 
 
 And more and less than king was he in this.''' 
 
 These lines describe Riccio's composition to the letter. King David 
 dances before the Ark of the Covenant, amidst a crowd of singers 
 and players upon musical instruments. Ahio, with a Avreath upon 
 his head and a Roman toga upon his person, turns with an ex- 
 pression of horror to look at the lifeless body of his brother Uzzah, 
 who died because his sacrilegious hand had touched the sacred ark. 
 Among the many persons who follow it, showing by their gestures 
 the fear and wonder with which they are inspired, is Riccio himself, 
 distinguishable by the crisp curls which escape from beneath the 
 
 • It will not be forgotten that the rumoured appointment by the Venetian 
 senate of Bellano to make the rider in the equestrian group of Bartolomeo Colleoni 
 caused Verocchio to break up his model and leave Venice. 
 
 2 Mentioned as M. Ambrogio Briosco. M. Piero Briosco, who worked about 
 1442 at Bologna with other sculptors employed to finish the uncompleted bas- 
 reliefs by Giacomo della Quercia, may have been his grandfather. 
 
 3 Bellano is spoken of as the master of Riccio by Gaurico, De Sculptwa ; by 
 Morelli, p. 94, note 70 ; by Vasari's annotators, vol. iv. p. 112, note 4; by Gonzati, 
 i. 319 ; as well as by Piacenza and Cicognara. 
 
 ^ Gonzati gives the contract made with Riccio (doc. 83, vol. ii.). He was to 
 receive forty gold ducats apiece for them. 
 
 * Dante, Purgainrio, x. 55-66, Longfellow's translation. 
 
 G G 
 
22G 
 
 ITALIAN SCULPTORS. 
 
 round cap upon his head. The mountains, trees, and distant city, 
 as well as the little figures on foot and on horseback, are treated 
 with great skill. The second relief, which represents the story of 
 Judith, reminds us of Ghiberti, in the triple action carried on. 
 We see the battle between the Bethulians and their enemies; the 
 death of Holophernes, and Judith showing her victim's head to the 
 exultant people. Although it cannot be said that Riccio has attained 
 the clearness or grace of line of his prototype, it cannot be denied 
 that he here approaches Ghiberti more nearly than any of his imi- 
 tators, and deserves to be regarded as the best follower of a school 
 which, however admirable, was based upon false principles. 
 
 But it was not by these bas-reliefs, which, says an eminent 
 modern artist, 'contain lessons sufficient to form a sculptor,'^ that 
 Riccio established his great reputation, so much as by the magnificent 
 Eronze brouze Paschal candlestick^ at Sant' Antonio. (See Plate XXYI.) 
 brum at ' Well may the city be proud of a work so admirable in its every part, 
 touio.^"' so beautiful in form, and so perfect in execution,' says the document 
 written on behalf of the commissioners by Riccio's friend and patron 
 Gian Battista Leon soon after it had been set uj) in its appointed 
 place on the vigil of the Epiphany a.d. 1516. ' Let the Paduans 
 give thanks to God and St. Anthony that their great sculptor 
 Maestro Andrea has been able to complete it despite the disturb- 
 ances of war.^ Thanks be to the omnipotent God who alone can 
 give peace in our time.' This noble work of art is divided by rich 
 cornices into several parts, which gradually diminish in size, and is 
 crowned by a rich vase. Four sphinxes sit at the angles of the base 
 as if guarding the secret meaning of its ornaments, some of which 
 Oedipus himself would find it difficult to penetrate. The lowest bas- 
 reliefs upon the sides of this base represent Music, symbolised by 
 many women seated upon tritons' backs, and marine deities playing 
 upon musical instruments ; History, a most complicated and obscure 
 
 1 M. Ic Baron H. de Triqueti. 
 
 2 Riccio's contract is dated June 19, 1507. The pi-ico agreed upon was 3270 
 lire, or 600 golden ducats. It is given by Gonzati, op. cit. vol. i. doc. 84, p. 91. A 
 full conventual council ratified tlic contract in 1508. 
 
 3 The war here alluded to was that which followed the league of Cambray. 
 The same document states that Riccio was allowed the sum of twenty-nine lire and 
 eighteen soldi for expenses incurred for transportation of the candlestick several 
 times with a guard of soldiers from and to his own house which was filled with 
 troops every time they entered Padua. 
 
PLANCHE XXVI. 
 
PADUA. 
 
 227 
 
 composition, in which Time is seen writing the names of the illus- 
 trious dead upon a shield ; Fame, a winged woman to whom a genius 
 offers a crown, blowing upon a trumpet despite the efforts of certain 
 horned monsters who seize upon her streaming locks ; Envy, de- 
 vouring a serpent, and Hatred mounted upon a chained monster 
 whose eyes she strives to bandage; Cosmography, symbolised by 
 an old man carrying a globe ; the earth typified by an amphora 
 of wine and a basket of fruits and flowers, and the sea by an oar 
 and an anchor. The fourth relief, which may signify the influence 
 of the celestial bodies upon the earth, represents Jupiter drawn in 
 a triumphal car upon the ocean by two female figures, and met 
 by others bearing the symbols of the elements ; under the wheels of 
 the car lie marine monsters struck by his thunderbolt. Above these 
 allegorical reliefs are others representing the Adoration of the Magi, 
 the Entombment,^ the Sacrifice of the Paschal Lamb, and Christ's 
 descent into Limbo. The first is simple in composition and quiet 
 in spirit; the second is very dramatic in feeling, and approaches 
 more nearly to Donatello than any other work by Riccio ; the 
 third is an admirable composition which represents a Pagan rite 
 under a Christian name — there is the festooned altar at ^vhose foot 
 the innocent victim is sacrificed, there are the men and maidens 
 with their offerings, and the musicians with their pipes and tim- 
 brels, and to complete the resemblance the dresses, the arrangement 
 of the hair, the vases and torches, are all of antique fashion and form. 
 The fourth relief shows us the Liberator, followed by Adam bearing 
 the cross, by Eve, Noah, and others whom he comes to set free. 
 A richly-ornamented frieze runs round the upper part of this base, 
 intercepted at the angles by masks with goats' horns from which 
 depend rich festoons. Li the next story or division of the candle- 
 stick are an equal number of reliefs, two on each side. The lower 
 series, ornamented -with wreaths, tablets, &c., &c., represent centaurs 
 mounted by children, and the upper, four noble, classically-draped 
 female figures of Temperance, Courage, Justice, and Prudence. 
 At the angles of the lower series are crouching satyrs, and at 
 those of the upper, grifiins; around the top runs a rich cornice, 
 from which hang classical festoons. The next division has also 
 
 ' The artist's wcU-kuown Lead appears among the heads of the persons grouped 
 about the tomb. 
 
 G G 2 
 
228 
 
 ITALIAN SUULl'TOKS. 
 
 double panels, tlie lower, which are oblong, contain festoons and 
 ox-skulls in relief, and the upper, compositions emblematic of 
 Theology, Philosophy, History, and Poetry. At the four angles 
 are seated winged genii holding masks, lyres, &c., &c. The division 
 aljove this which is curved in its lines and enriched with centaurs, 
 rams' heads, ' putti,' medallions, leaves and festoons, supports the 
 crowning vase, enriched with female figures, eagles, festoons, and 
 mouldings, and standing on a circular base adorned with figures 
 in relief. 
 
 Every portion of this most elaborate work is wrought out with 
 the utmost care, not a detail is neglected, nor is any part of its 
 surface left unadorned. The execution is free, clear, and energetic, 
 the taste displayed exquisite, and the richness of fancy surprising. 
 In one respect it is open to blame, and that is in the unfitness of 
 much of its detail for the decoration of a Paschal candlestick. 
 That Riccio here introduced fauns, satyrs (see Plate XXVII. ), 
 sphinxes, marine deities, and centaurs, only to produce richness of 
 effect is evident. In doing so he gave satisfaction to the eye, but 
 not to the mind, which demands perfect harmony between the pur- 
 pose to which a work of art is to be applied, and its component 
 parts. Saluted as a modern Lysippus and an Italian Polycletus, 
 Riccio, though with perhaps a less exalted estimate of his genius, 
 had a right to look upon his candelabrum as a masterpiece, and 
 Avhen he struck a portrait medal of himself mentioned it in the 
 accompanying legend with his name, as if it had been the one 
 work by which he wished that name to be remembered, and figured 
 it in the one green shoot upon the broken and withered laurel 
 branch with which he decorated its reverse.^ It alone is mentioned 
 in the epitaph which was set up in his honour at San Giovanni di 
 Verdara,. but in a manuscript epitaph in the archives of Sant' 
 Monu- Antonio, the monuments of Girolamo and Antonio della Torre 
 Crirolamo in their family chapel in the church of San Fermo at Verona, are 
 tonio^deiia iilso spokcu of.'"^ Eight bas-rclicfs Avhich belonged to that of 
 Torre. Qirolamo were carried to Paris at the end of the last century, and 
 now adorn the Porte des Caryatides in the Galerie des Antiques at 
 the Louvre.^ The subjects are treated in so classical a form that 
 
 ' 'Andreas Crispiis Patavinns {^neum D. Ant. candelabrum F.' 
 - L'Anouimo, p. note o. 
 
 ^ Yasari, vol. iv. p. 11"2, note 4; Clarac, Mu^ec ch Sculjritarc, i. 467. 
 
PADUA. 
 
 220 
 
 they were long supposed to relate to King Mausolus, a mistake 
 which shows how obscure Riccio's passion for clothing modern 
 events in an antique garb made his meaning. The studies, the 
 illness, the last moments, and the obsequies of Girolarno della Torre 
 are set forth in five of these compositions, and in the others are 
 represented a Sacrifice, the bark of Charon, the Elysian Fields, 
 and Fame proclaiming the titles of the deceased to remembrance. 
 We can form an idea of the arrangement of the monument of which 
 they formed part by that of Antonio della Torre, which still exists 
 at San Fermo. It consists of a sarcophagus adorned with eight 
 bas-reliefs in bronze representing a Sacrifice, an Entombment, St. 
 Paul preaching (?) before an audience which contains such strange 
 listeners as Apollo, a River God and other Pagan deities; Pegasus, 
 Death, and Fame standing on a globe and bloAving a trumpet ; a 
 dance of youths, maidens, and 'amorini' ; Charon ferrying souls over 
 the Styx ; the burial of Antonio della Torre ; and lastly a crowd of 
 people before a heathen altar, with a group of two children, one of 
 whom frightens the other by holding a tragic mask before his face. 
 This sarcophagus is supported by bronze griffins sitting upon a 
 marble slab sustained upon pilasters adorned with arabesques. 
 Above it is a bronze mask of the deceased, and a frieze sculptured 
 with arabesques and adorned with circular slabs of porphyry and 
 verde-antique. In the reliefs we find the same mixture of Pagan 
 and Christian forms, costumes, and ornaments ; the same ex- 
 uberance of fancy and richness of detail ; the same tendency to 
 overcrowd, and the same admirable execution which distinguishes 
 the candelabrum. 
 
 The dead Christ of life-size, and two half-figures of the Madonna works 
 and St. John in terra-cotta in the church of San Cansiano at Padua t^Rl'cdo'^ 
 are attributed to Riccio ; and four elaborate but overcrowded bas- ^ 1^^*^- 
 reliefs in bronze relating to the history of Constantine and his 
 mother St. Helena in the Academy at Venice bear all the marks of 
 his style. Although he had some reputation as an architect, the 
 church of Sta. Giustina at Padua, which was completed after his 
 design, is the only building known to us in connexion with his a.d. i,-,i6. 
 name. He died at Padua, and was buried in the cemetery of San July 8, 
 Giovanni di Yerdara. 
 
 Riccio founded no school, but some signs of his influence 
 may be detected in the works of the clever ornamentalists who 
 
230 
 
 ITALIAN SCULrTORS. 
 
 infl^'cnco covered the pilasters of the Cappella del Santo with arabesques and 
 upon graceful designs. Among these was the Francesco di Nicola da 
 at Padua. Colla who made a marble pedestal for Riccio's Paschal candlestick, 
 with panels adorned with the emblems of the Passion, the palm, 
 the olive, and the instruments of a sacrifice. This artist, with 
 Antonio Minello, Alessandro da Saronno, Francesco da Porlezza, 
 and Mastino di Giovanni da Bergamo, worked at Sant' Antonio 
 In 1482, under the superintendence of Maestro Giovanni Minello da Bardi, 
 yfi^Q for the first twenty-one years of the sixteenth century presided 
 over the marble-work executed for the Cappella del Santo. This 
 artist sculptured statuettes of saints, seraph heads, and arabesques 
 in flat relief about the choir parapet, as well as the busts of the 
 Evangelists which stand between the arches of the fa9ade of this 
 chapel. He was a poor figure-sculptor but a very clever orna- 
 mentalist.^ 
 
 Paduan Otlicr Paduau artists of this time were Giovanni Carino, who 
 
 of the cast the busts of Andrea Navagno and Fracastoro for the municipal 
 tury. palace;^ Tiziano Minio di M° Guido Lazaro, who was employed 
 fis^'^^^^^^ with his friend Danese Cattaneo da Carrara to cast bronze gratings 
 to fill the arches in front of the Cappella del Santo ;^ Tiziano 
 Aspetti, already mentioned as the scholar of Alessandro Vittoria ; 
 A.u. 1520. Giovanni Maria Mosca, an excellent medallist who went to Poland 
 to make the tomb of King Sigismund II.; and Vincenzo de' 
 Grandi, who was to have sculptured a bas-relief for the Cappella del 
 Santo, but the design which he made for it so shocked the com- 
 missioners by its ultra- Paganism that they dismissed him.^ He is 
 said to have assisted the Paduan Giovanni Dentone, and a Floren- 
 A.D. 1521. tine sculptor named Giuliano in sculpturing the second bas-relief in 
 this chapel, which represents a jealous cavaliere killing his wife; the 
 dying woman's face and attitude are expressive, but the murderer 
 is clumsy and Baroque. 
 
 ' 'Era valente in ogni genere d'ornato.' He received thirty- eight ducats for 
 the pedestal and signed the receipt in these words : ' lo Francescho de Cola taia- 
 picra son contento ' (Gonzati, vol. i. p. 142, nota 1, and docs. 80-88, also p. 60). 
 
 2 Cicogna, Isc. Ven. fasc. 22, art. v. ; ibid. pp. 209, 302, 320, art. ' Ramusio.' 
 
 3 Three vfere cast ; two of which were afterwards melted down to make a bell 
 (Gonzati, vol. i. ch. xxii. p. 8-i, doc. C2 ; App. p. 04), a.d. 1508. 
 
 Gonzati, i. lO'J. 
 
 Ibid. vol. i. doc. 80, p. 101. 
 
MANTUA. 
 
 231 
 
 MANTUA. 
 
 Proud of having given birth to Virgil, Mantua elected him to virgii, 
 be her prince, painted his likeness upon her banners and engraved Mantua, 
 it upon her coins, and when in the beginning of the thirteenth a.d. 1220. 
 century her citizens had raised the siege of the castle of Gonzaga 
 and repulsed the Cremonese, the magistrates decreed that to com- 
 memorate the event a statue of the threat poet should be placed in statue of 
 
 , . . . tlie poet. 
 
 a niche above the Piazza, whence it might look down as if taking 
 part in the joys and sorrows of his compatriots. As it was un- 
 doubtedly made by their best sculptor we are justified in taking it 
 as proof that his art was then in a rude state. Virgil is seated 
 before a reading-desk upon which lies a book, wearing the cap of a 
 rector of the people, and a long robe. His identity is not marked 
 otherwise than by the well-known epitaph ' Mantua me genuit,' &c., 
 and by the words ' Virgilius Mantuanus poetarum clarissimus ' 
 engraved upon the foot of the desk. Some twenty years later a a.d. 1242. 
 marble alto-relief was made of the poet which is somewhat better 
 sculptured. Being without inscription, it might well be taken for 
 a scribe holding a pen in one hand and an ink-horn in the other, did 
 it not accord with the common type adopted by the Mantuans 
 for their representations of Virgil upon banners, coins, and in 
 manuscripts.^ 
 
 About the middle of the fourteenth century the church of Sant' a.d. 1350. 
 Antonio was rebuilt by the merchants of Mantua, and Guido Gonzaga 
 imperial vicar and captain of the people,'^ perpetuated the re- Anonym- 
 membrance of their generosity by a bas-relief which represents scuiptm-cs 
 him in the act of presenting the 'massaro' or chief of their guild to '^'^ 
 the Madonna, who sits with the Infant Saviour standing upon her 
 knee, and giving his benediction. The outlines of the figures are 
 hard and their faces without expression, and their gradation in size 
 
 1 Notizie delle ArtL e dcgli Artcfici di Mantova, by the Coute Carlo d'Ai-co. 
 This relief -which was formerly in the Palazzo della Ragione is now in the Musco 
 Patrio. 
 
 ^ In 1348 Luigi Gonzaga having killed Bonacolsi under pretence of saving the 
 country from a tyrant, was elected captain of the people, and in 1349 obtained from 
 the Emperor Charles TV. the title of Imperial Vicar. Guido who succeeded him 
 became a sovereign ' de facto.' 
 
2:32 
 
 ITALI.VN SCULPTORS. 
 
 according to rank, from the Madonna down to the pigmy ' massaro ' 
 1368 ^^^' kneeling at her feet, is most singular. The contemporary sarco- 
 phagus of Bishop Ruffini dei Landi in the Museo Patrio is equally 
 second-rate in style and execution. At the angles are sculptured 
 the Virgin and the Angel; in the middle of the front a God the 
 Father giving his benediction, and on either side the bishop in little, 
 kneeling ^vithin a Gothic niche at the feet of SS. Peter and Ruffinus. 
 The statue of the Archangel Michael above the entrance to a chapel in 
 the duomo which belongs to the same time, has quite lost its character 
 A.D. 1440. through injudicious restoration. Towards the middle of the fifteenth 
 century the Milanese sculptor Jacopino da Tradate^ was invited to 
 Mantua by the duke Giovanni Francesco Gonzaga; and his son 
 Lodovico, a far more enlightened patron of art, called the eminent 
 architects Leon Battista Alberti and Luca Fancelii to his court, to- 
 
 Before gcthcr with the illustrious Andrea Mantegna, to whom he gave a 
 1468. . t. ' & 
 
 salary of seventy-five lire a month and a piece of land near the 
 
 1476. church of San Sebastiano, upon which the great artist built himself 
 Andrea a house.^ Though Mautua vainly disputes with Padua the honour 
 born 143V, of having given birth to him, she certainly gave him burial in a 
 died 1506. ^i^g^pgj dedicated to San Giovanni, which he had himself built and 
 endowed in the church of Sant' Andrea. An admirable bronze 
 Bronze bust of the great man is set in a richly-adorned roundel against the 
 Mantegna. wall above the grave slab (see Plate XXVIII.). The expression 
 of the face is grave, earnest and searching, the modelling bold, 
 vigorous and true to nature, and the treatment of the hair which 
 falls in lono; curlino; locks on either side of the laurel-wreathed head 
 is most masterly. This consummate work of art, which is perhaps 
 the finest of modern bronze busts, has been attributed to Mantegna, 
 who is mentioned by several authors as being not only painter and 
 engraver, but also sculptor and bronze caster,^ but as he did not 
 
 1 See Milanese chapter. 
 
 ^ Registri deW Archivio Secreto di Mantova ; Vasari, v. 168. 
 
 ^ Vide Testimonianze int. alia imtria di Andrea Mantegna, by P. Brandolesi, 
 Padova, 1805 ; and Notizie, by the Abbate Gennasi ; Vasari, voh v. p. 158, says, 
 ' nacque nel contado di Mantova.' In note 1 to this passage his commentators 
 give their reasons for believing that although he wrote Mantua, he intended to 
 write Padua. 
 
 * ' Oltre la pittura e 1' incisione trattava la plastica e fondava in bronzo ' 
 (Selvatico, p. 180, nota 1; Vasai-i, vol. v.; G. B. Spagnuoli, lib. i., Be Sylcif, 
 fol. clxvi. Parisiis, 151"; so also Teofilo Folongo, Opvs Macaronintni, Arastelodami, 
 17G8, torn. ii. p. 18). 
 
MANTUA. 
 
 2.3.3 
 
 mention it in his will, which contains directions for the disposition of 
 his tomb/ it is more than probable that it was cast after his death 
 by order of the Duke Lodovico,^ and that the tradition is correct 
 which assigns it to the famous medallist Sperandio Maglioli. 
 
 Whether Mantegna the painter, Alberti the architect, or Sperandio 
 the medallist ever worked as sculptors is not certain, but their 
 influence is manifest in several anonymous marbles at Mantua, 
 whose flat surfaces, delicate modelling, clear outlines, and perfect 
 taste stamp them as belonging to the best period of the Quat- 
 trocento. Among these is a marble slab in the Museo Patrio (see Bas-idiof 
 Plate XX VIII.) adorned with the Gonzaga arms surrounded by a milco 
 wreath of oak and olive leaves supported by flying genii, and with 
 profile heads of the Marquis Lodovico and his wife Barbara of 
 Brandenburg, and of his son Federigo with his wife Margaret of 
 Bavaria. For some time after the arrival of the Princess Margaret 
 Prince Frederic, influenced by calumnies circulated against her by 
 those who desired to prevent his union with a foreigner, refused 
 to fulfil his engagements with her, and the word ' Amumoc ' 
 (supposed to stand for the Greek a/xtO|W,o$-, immaculate) inscribed 
 upon a portion of her head-dress was adopted by him as a devise 
 when he made her his wife. We again find it with the family 
 emblems, the dog and the mountain crest, upon the door-posts and 
 richly -adorned chimney piece of the Palazzo Marchionale di Revere, 
 where Federigo and Margaret resided Avhen the pest broke out at A.n. i t64 
 Mantua.^ The wuiged genii sustaining a wreathed coat-of-arms 
 upon the outer loggia of San Sebastiano have been attributed to 
 Leon Battista Alberti who built the church,^ but as we said above, 
 there is no proof that this great pioneer of the Renaissance ever 
 worked as a sculptor. 
 
 Other excellent works of the time are the terra- cotta busts of Various 
 
 works of 
 
 Francesco Gonzaga and the poet Teofilo Folengo in the Public t^'s po- 
 
 riod. 
 
 ' Mantegna's will dated March 1, 1504, published by ]\Ioschini, VIcende, &c. 
 p. 50 (Gaye, Carteggio, iii. 365; Vasari, vol. v. p. 179, nota 3; see also Conte Carlo 
 d'Arco, op. cit. vol. ii. p. 50, no. 63). 
 
 * According to the Mantnan chronicler Amadei, the marquis caused a bronze 
 bust, with the head encircled by a laurel wreath and with two diamonds set in the 
 pupils of the eyes, to be set up at Sant' Andrea in honour of Mantegna (Conto 
 d'Arco, op. cit. i. 73). 
 
 ^ Conte d'Ai'co, oj). cit. pp. 70-1. 
 
 * By Valery, Voyages Hid. ct Litteraires en Italic, p. 233, Brussels, 1835. 
 
 H II 
 
234 
 
 ITALIAN SCULPTORS. 
 
 Library, and those of Virgil, Battista Spagnuoli, and Francesco 
 Gonzaga in the Museo Patrio, but none of them are signed and it is 
 impossible to assign them to any of the Mantiian sculptors of the 
 fifteenth century as they are known to us only by name. The priest 
 A.D. 1444. Guido Gonzaga di Aloisio modelled and cast a very ornate bell for the 
 church of Sant' Andrea;^ a Gabriele dei Frisoni^ worked principally 
 at Ferrara with the Mantuan goldsmiths and sculptors Albertino and 
 1470^- Giacomo Rusconi, sons of a certain Giovanni, a citizen of Ferrara;^ 
 1494. and Cristoforus and Lysippus, uncle and nephew, made medallion 
 portraits of popes Paul II. and Sixtus IV.'^ Antonio and Paolo 
 Mola, sons of the sculptor Vincenzo, were noted for their skill in 
 ornamental sculpture and intarsia both at Venice, where they 
 executed some highly-praised intarsia work for the sacristy of St. 
 A.u. 1485. Mark's, and at Mantua, where they decorated the doors of the 
 A.Ti. 1492. Carmine Church, St. Andrea, and San Lorenzo,^ Their contem- 
 porary, the sculptor Piero Giacomo Illario, is only known to us by a 
 i'ei). 5, letter signed 'I'Antiquo,' which he addressed from Rome to the 
 
 1497. n . . . , . 
 
 Marquis Francesco Gonzaga to thank him for an introduction to 
 Monsignor Lodovico Agnelli ' gloria e splendore del nome latino.' ^ 
 After his day Mantuan sculptors are few, and are generally ornamen- 
 talists in marble or stucco. Among them were Alfonso di Mantova, 
 A.D. 1509- whose bronze statue of Pietro Pomponazzo at San Francesco was 
 highly praised by writers who saw it before its destruction at the 
 end of the last century;'' Lorenzo di Silvio di Bernardi (1575); 
 
 • It was pierced with eight apertures large enough to allow a man to pass 
 through them ; adorned with various well-understood ornaments and figures of 
 Atlas, Hercules, Pallas and Adam. 
 
 Perhaps a descendant of Marco da Campione whose family name was Frixonus 
 or dei Prisoni. 
 
 ^ They assisted Meo di Checco at Ferrara and Bologna. Cicognara, i. 247 ; 
 Conte d' Arco, p. 37 ; and Cittadella, op. cit. pp. 49, 95, 98-100, who gives various 
 records of payments to the brothers for work at Ferrara. 
 
 * The women of this family were also skilled in the plastic arts (vide II 
 Vollen-ano, Comm. Urh. p. 1506, ed. Rom.). 
 
 ^ Doc. no. 151, order for payment, February 22, 1532 ; no. 178, and vol. ii. p. 274, 
 Conte d'Arco. 
 
 ^ He was governor of Perugia, papal vice-legate, made Archbishop of Cosenza 
 by Alexander VII. a.d. 1497, and papal nuncio by Sixtus V. (Conte d' Arco, op. cit. 
 ii. 40), died of the pest or poisoned by Caesar Borgia at Viterbo in 1499. Vide 
 Gaye, Carlegrjio, vol. i. p. 338, uo. 166; also d'Arco, vol. ii. p. 40, letter no. 50. 
 
 ^ II Conte d'Arco says he was born in 1509 and died in 1509. Gualandi, 
 seric iv. p. 4, says, born 1519, died 1599. 
 
BRESCIA. 
 
 Sebastiano detto di Magistro Giovanni Fontanella ( 1577) ; and Messer 
 Carlo Palazzo (1598). Their contemporary, Bernardino, sculptor and 
 painter, who worked chiefly at Venice, is mentioned as ' a great phi- 
 losopher and investigator of beautiful things, and the discoverer of 
 a method of making silver look like the purest gold.' ^ Another 
 Bernardino and a Domenico carved some intaglios and grotesques 
 about the Giant's Staircase at Venice. This Bernardino is perhaps 
 identical with the Bernardino del Buono, who worked at the Palazzo a.d. 1530. 
 del Te under Giulio Romano. As Mantegna had elevated the 
 standard of art in all its branches, so did Giulio Romano degrade it ; 
 while the one Christianised Paganism, the other Paganised Chris- 
 tianity. 
 
 BRESCIA. 
 
 No Brescian sculptors are known to us before the latter half Brescinii 
 of the fifteenth century, Avhen we meet with a Giacomo Filippo of the 
 Conforti, author of the tomb of Giovanni Buccellano, Bishop of tury. 
 Grisopoli; and an Anzolino da Brescia who made a terra-cotta a.d. i ics. 
 ancona formerly in the church of the Eremitani at Milan,'' and who 
 is probably identical with the Anzolino ' tajapreda ' who assisted Mo. 
 Antonio da Mortegno in making the monument of Francesco Maria 
 Rangoni for the church of Sant' Agostino at Parma, and that of his a h. 1512. 
 wife Lucia Rusca for San Francesco at Mantua.'* The only name 
 belonging to the sixteenth century is that of Prospero Antichi, com- Flourished 
 monly known as Prospero Bresciano, whose unenviable distinction 
 it is to be remembered as the sculptor of perhaps the worst colossal 
 statue in the world — the Moses of the Foimtain de' Termini at 
 Rome.^ None of these artists can have sculptured the two or three 
 excellent monuments which fix the attention at Brescia, the best 
 of which is that of Nicola Orsini, Count of Pitigliano,^ who com- 
 
 ' De Secrdis Medicin. lib. iii. p. 170, ed. 1561 ; d'Arco, i. 86. 
 
 * ' Jacobiis Philippus de Coiifortis de Brixia sculpsit, 1468.' — Zani, Enc. Me). 
 215 bis, vol. vii. p. 170. 
 
 ' Ricci, oj). c.it. ii. 405. 
 Campori, oji. cit. p. 325. 
 
 ■' A sculptor named Lioiiai*do da Sarzana endeavonrpd to make this figiire pre- 
 sentable after Prospero had proved his incapacity to deal with it, but with little 
 success (id. op. cit. p. 13). 
 
 * Romanin, Storia Doc. di Venezia, says that his hody was taken to Venice and 
 buried at San Giovanni e Paolo. 
 
 H H 2 
 
23G 
 
 ITALIAN SCULPTORS. 
 
 mandecl the Venetian forces daring the war which followed the 
 League of Cambray, and died in consequence of the vigils and 
 
 AD. 1610. fatigues which he underwent while defending Padua against the 
 imperial troops. The sarcophagus, which was originally in his 
 castle at Ghedi near Brescia and is now in the Museo Patrio, 
 bears a very noble and dignified recumbent effigy of this heroic 
 soldier, and is adorned in front with a bas-relief of the Madonna 
 . and Child with SS. Anthony and George, not unlike Cima da 
 Conegliano in style, and enriched with a frieze of delicate ara- 
 
 A.D. 1526. besques. The tomb of another Venetian captain named Martinengo, 
 who was slain in a skirmish with the Spaniards, may be seen in the 
 church of San Corpo di Cristo. Three bronze bas-reliefs are set into 
 the front of the sarcophagus, there are arabesques carved upon its 
 pilasters, and it has a rich frieze. The bas-reliefs upon the shrine 
 
 Circa of SS. AjDollouius and Philasterius in the Duomo Nuovo are treated 
 in the pictorial style of Ghiberti's school. 
 
BOLOGNA. 
 
 237 
 
 CHAPTER VII. 
 
 BOLOGNA, FERRARA, MODENA, REGGIO, PARMA, PIACENZA, 
 GENOA, AND CARRARA. 
 
 WE purpose to group together in this chapter some of the cities 
 of Central Italy, not because their schools of sculpture have 
 the bond of a common style between them, but simply for the pur- 
 pose of classification. Two of these cities hold a high place in the 
 history of painting, Bologna, through Francia and the Caracci; 
 and Parma, through Correggio. Though this is not the case in that 
 of sculpture, each, Avith the exception of Piacenza, boasts some 
 one or more artists of real talent ; Bologna her Properzia de' Rossi; 
 Ferrara her Alfonso Lombardi; Modena her Guido Mazzoni and 
 his scholar Antonio Begarelli ; Reggio her two dementi's ; and 
 Parma her Benedetto di Antelamo. 
 
 BOLOGNA 
 
 presents but little early sculpture, and scant records of early sculp- 
 tors. A curious old terra-cotta pulpit at S. Stefano, adorned with 
 rude symbols of the evangelists, and four stone crosses in the 
 basilica of St. Petronius are the only marbles anterior to the four- 
 teenth century which we find there. The date of the pulpit is Early 
 unknown, and that of the crosses uncertain. Two of them are stone^ 
 probably of the eighth or ninth century, and the others posterior 
 to it though tradition says that they were erected near the old gates 
 of the city by St. Petronius, Bishop of Bologna, in the fifth century.^ 
 
 ' Such crosses were set up at the junction of two or three roads (bivia and 
 trivia) as early as the days of Constantine, to purify them from the jiollution of 
 their pagan consecration to the Lares Compitales and the triple-headed Hecate. 
 This custom is referred to by St. Ephrem, Omf. de Invent. Reliq. ; St. Chrysostom, 
 Oral, quod Christus sit Deus ; Eusebius. See also a decree of the CEcumenic Council 
 at Nice a.d. 787; Labbe, Sacr. Concil. vol. viii. col. 1526, quoted by the Count 
 Gozzadini in his work DeUe. Groci Momimentali che erann veUe ric di Bolngva 
 nel scroJo XTii". 
 
 crosse.«. 
 
238 
 
 ITALIAN SCULPTORS. 
 
 Petrus 
 Albericus. 
 
 Early 
 
 Bolognese 
 
 sculptors. 
 
 A.n. 524. 
 
 A.D. 1110. 
 
 A.D. 1285. 
 
 A.i>. 1301. 
 
 One of them is particularly interesting on account of its sculptures, 
 and because the names of Petrus Albericus and his father who made 
 it are recorded in one of its inscriptions.^ At the back of this cross 
 Christ is represented in a mandorla, supported by the three Arch- 
 angels, Michael, Gabriel, and Raphael, holding the book of the new- 
 law open upon his knee, and giving the benediction with his right 
 hand. Upon the front, Christ crucified holds this simple and touching 
 dialogue with his mother : ' My son,' she says to him ; and he, 
 'What, mother?'— Q. 'Are you God?'— ^. 'I am.'— Q. 'Why 
 do you hang (upon the Cross)?' — A. 'That mankind may not 
 perish.''-^ A few other names of early Bolognese sculptors are 
 known, such as those of Daniele, surnamed II Sarcofagaio ;^ Rin- 
 ghieri or Ringhiero, who worked in the Holy Land ; * Ventura dei 
 Lamberti, both architect and sculptor, who flourished between 1197 
 and 1230;^ and Alberto or Albertini who also belongs to the thir- 
 teenth century. The museum of the university at Bologna contains 
 a very curious colossal statue of Pope Boniface VIII. made out 
 of beaten plates of metal fastened together with nails. It is the 
 work of a native goldsmith and painter'' named Manno, and was 
 erected to the pope during his lifetime by the Bolognese, out of 
 gratitude for the decision he had given against the Modenese in a 
 dispute between them concerning the castles of Bazzano and Sari- 
 
 ' ' Petrus Alberici me fecit cum patre.' 
 
 2 'Mater. Filii. 
 
 Filius. Quid, mater ? 
 Mater. Deus es ? 
 Filius. Sum. 
 Mater. Cur ita pendes ? 
 
 Filiiis. Ne genus humanorum vergat in interitum.' 
 
 3 The Daniele da Ravenna mentioned by Zani, Eiic. Met., is pei-liaps the same 
 person. 
 
 * ' Renghero fu quello che di scultura dilettandosi all' istanza di Balduino 
 intaglio le lettere sopra 1' altare del SS. Sepolcro che e di marmo cio e, Prfepotena 
 Genuensium presidium.' — Ghirardacci, DeZZa Historia cU Bologna (Bologna, 159(j), 
 vol. i. lib. ii. p. 63. See also Zani, Euc. Met. xv. 331, and xvi. 72, 182. 
 
 ^ ' Henrico Vescovo di Bologna fece fare la porta della chiesa verso quella me- 
 desima parte (al mezzogiorno) di prczioso marmo e la orno di varie e belle figure 
 fatte da Ventura scultore in quel tempo, architetto e scultore famosissimo.' — 
 Ghirardacci, op. cit. vol. i. lib. v. p. 132. 
 
 ^ Baldi cited in the FeUina Pittrice, i. 25, says that a picture of the Madonna 
 and Child by Manno dated 1260 existed in the old Palazzo della Binda, and that 
 he himself had a capricioi^s and diligentlj^-drawn Massacre of the Innocents by 
 Manno in his possession. 
 
PLAN CHE XXVli 
 
BOLOGNA. 
 
 239 
 
 gnano.^ The eyes are staring and inexpressive ; the head is covered 
 with a plain mitre ; and the stiff figure is robed in a long vestment, 
 with a short cape falling over the shoulders ; one hand rests upon 
 the breast, and the fingers of the other are bent in sign of benedic- 
 tion. Giovanni Bindo, detto delle Massegne; Bittino, who made a a.d. i3o-5. 
 monument at Iinola : and Sibilius Guarnieri da Capravia all flou- * H'^l' 
 
 ' '■ A.D. 1352. 
 
 rished during the first half of the fourteenth century. The latter 
 sculptor made the sarcophagus of Manfredo Pio in the Oratorio della 
 Sagra at Carpi. ^ Its front reliefs represent Manfredo Pio kneeling 
 between St. John the Baptist and St. Catherine, the Madonna and 
 Child with angels, and St. George with St. Margaret who is holding 
 the dragon in leash. Christ and the two Marys, and a knight 
 leaping his horse over a river, are represented at each end of the 
 sarcophagus, which has statuettes of SS. Januarius and Posidonius 
 at its angles. The sculpture is dryer in style than that of the 
 Pisan school, and the outlines are clearer and more sharply cut out. 
 Jacopo detto Rosetto, Parto da Bologna, Fra Michele Carmelitano, a.d. 1390. 
 Giovanni d' Enricuccio, and Jacopo d' Antonio who assisted Ghiberti 
 in casting the gates of the baptistry at Florence, lived during the 
 end of the fourteenth and beginning of the fifteenth centuries; while a d. 1440. 
 Bologna il Vecchio, Bartolomeo, Giovanni degli Accurri (1450), 
 Anchise, Giovanni Francesco (1485) and the two Baroni (1490) a.d. 1470. 
 Avho are praised by a contemporary poet as ' de' rari al mondo ' 
 flourished in the second half of the fifteenth century. These men 
 were probably little more than stone cutters. 
 
 There was indeed but one sculptor of mark born at Bologna Properzia 
 in their day, the celebrated Properzia de' Rossi, a woman famous born 1490. 
 for her beauty as well as for her talents for sculpture and 
 music.^ Her father Girolamo de' Rossi came back to Bologna 
 
 ' This statue was originally placed over the Ringliiera del Palazzo della Biada 
 with the inscription : ' Bonifacio VIII. Pont. Max. ob exinaia erga se merita, 
 S. P. Q. B. anno mccci.' In 1381 it was removed to the Pdnghiera degli Anziani 
 and in 1777 to the museum of the university (see Cicoguara, i. 448-9, ed. Ven. 
 St. della Scultura). In 1865 when the great festival in honour of Dante was held 
 at Florence his triumph was graced by this portrait- statue of his old enemy. The 
 following significant inscription was placed upon the pedestal : ' Qui fui tratto ad 
 onorar il trionfo di colui che cacciai dalla patria.' 
 
 Eng. in Litta, Fwm. Cel. art. ' Fam. Pio da Carpi,' fasc. xii. 1824. 
 
 3 ' Suono e canto ne' suoi tempi meglio che femniina della sua cittii ' (Vasari, 
 ix. 2 ; and Gualandi's Memorie iiitorno Propcry.ia nell' Osscrvatorio di Bologna, 
 nos. 33-35). 
 
240 
 
 ITALIAN SCULPTORS. 
 
 about a year before her birth after spending eighteen years of his 
 life in the galleys, to which he had been condemned for man- 
 
 A.D. U72. slaughter.^ Properzia would seem to have inherited from him a 
 troublesome temper, for she was twice summoned to appear in 
 
 Oct. 1520. court J the first time at the suit of her neighbour, Francesco da 
 Milano, who accused her of having caused the trunk of a tree and 
 twenty-four feet of vine to be thrown into his garden,^ and the 
 
 A.D. 1525. second time at the suit of a painter named Miola, who charged her 
 with assault and battery, and bore in his face marks which attested 
 the truth of his accusation. These are facts, but the romantic story 
 told by Vasari^ of her unrequited passion for a handsome youth 
 appears to be without foundation, for we know that Antonio Galeazzo 
 Malvasia de' Bottigari was her devoted lover for many years, that 
 he survived her, and did not marry until some time after her 
 
 A.D. 1538. death. 
 
 All we know of Properzia's education is that she was instructed 
 in drawing by the celebrated engraver Marc-Antonio Raimondi. 
 Early Her early works were intaglios of the most minute kind, requiring 
 Properzfa. infinite patience and delicacy of hand, such as the glory of saints 
 upon a cherry-stone, now in the cabinet of gems at the Uffizi, in 
 which upwards of sixty minute heads can be counted ; and the 
 busts of virgins and apostles carved upon either side of eleven 
 peach nuts for Count Camillo Grassi.^ These microscopic works 
 of art, set ' a giorno ' in the body of a double-headed eagle made 
 of silver filagree, and a cross carved on one side with heads of 
 The Ma- our Lord and St. Paul, and on the other with those of the Madonna 
 Barracano. and Santa Dorotea, are preserved by the count's descendants in 
 the Palazzo Manili. From this comparatively low branch of art 
 Properzia turned to arabesques and marble ornaments, and sculp- 
 tured lions, griffins, birds, censers, vases, eagles, heads, and 
 
 • Gualandi, Meniorie delh Belle Arti, quotes an act of the year 1518, in which 
 Properzia is mentioned as the daughter of quondam Hieronymi de Rubeis Bononiae 
 civis (serie ii. p. 7, no. 39 ; see also Tre rogiti from the Grande Archivio Notarile 
 di Bologna, ibid. p. 171, a.d. 1514, 1516). 
 
 2 The accusation was made against Malvasia and his concubine Properzia de' 
 Rossi. Malvasia declared the name applied to her to be a libel, and showed that 
 he lived in another part of the city. 
 
 3 Vol. ix. p. 4 
 
 * Count Manili inherited them from his father-in-law Count Grassi. For an 
 account in detail of these intaglios see Descrizioni di alcuni mhmtissimi Intagli di 
 mano di ProjKr^ia dc Rossi, C. Bianconi, Bologna, 18-40. 
 
BOLOGNA, 
 
 241 
 
 scroll work, upon the flat spaces of the arch over the high altar 
 in the church of the Madonna del Barracano. She also modelled 
 the bust of Count Guido Pepoli now in the sacristy of the basilica 
 of St. Petronius, and obtamed permission to enrol herself among the 
 artists employed there to finish the series of reliefs about the portal 
 left incomplete by Giacomo della Querela. II Tribolo soon after ^^ ^^ i-''25. 
 took the direction of the works, whose progress had been greatly 
 hindered by the violent quarrels of these artists, and commissioned 
 from Properzia two bas-reliefs, now in the sacristy, representing Bns-rtiiefs 
 Joseph and Potiphar's wife,^ and Solomon recei\dng the Queen of duomo. 
 Sheba. It must be allowed that the artist succeeded less well 
 in these compositions than in carving peach-nuts and arabesques. 
 Though fairly modelled, they are cold and uninteresting, and evi- 
 dently made under Tribolo's influence, which was not of an inspiring 
 nature. Still they interest us as the works of the one Italian 
 sculptress. The statue of an adoring angel, in a chapel at San 
 Petronius, attributed to Properzia, looks so much like Tribolo's 
 work that we are led to suppose that he at least designed it ; if it 
 be by her it is certainly her masterpiece. In the year 1530 Bologna 
 received within her walls the Emperor Charles V. and his unwilling 
 ally Pope Clement YIL, who came to crown him in the basilica of 
 St. Petronius. The pope had heard of Properzia de' Rossi, and 
 requested that she should be presented to him, but his wish could 
 not be gratified, as only a few days before she had breathed her last, 
 and was already buried in the ' Spedalc della Morte,' A.n. 1530. 
 
 There is. little more to be said about Bologncse sculpture during Divprs 
 the sixteenth century. Sculptors there were, but all second rate, 
 Buch as Lazzaro Casari,^ who made a clumsy ill-proportioned figiu'e n. 1542, 
 of St. Proculus for the Volta monument at San 1 )omenico, and the 
 late Renaissance tomb of Viannesio Albergati, apostolic protonotary ^-'^s. 
 to Pope Leo X. in the public cemetery. The monument of Fran- 
 cesco Ranuzzi at San Domenico, which has been attributed to Casari, 
 is more probably by his contemporary Girolamo Coltellini, wlio 
 
 ' This bas-relief is engraved in Cicognara's work, vol. ii. tav. lii., and in the 
 
 ScuUure clelle Porte di San Petronio illustrate dal MarcJiese Vtrgilio Davia. 
 
 2 Casari, Casario or Cassari. In an inventory of his property dated March 23, 
 1593, he is mentioned as dead. See Gualandi's Meinorie, &c. 3rd series, p. 181, 
 and the Giiida di Bnlnriva, by the same anther, pp. 30 and 53 ; also Eletta dei 
 Monumevii dfil Campo Saufo di Polnrina, vol. ii. 
 
 I I 
 
242 
 
 ITALIAN SCULPTORS. 
 
 A.D. 1508- made the statuette of St. John the Baptist, which stands ui^on one 
 
 1545 
 
 of the volutes above the Area di S. Domenico, and the bust of 
 Lodovico Bolofrnese also at San Domenico. Tiberio Meneganti and 
 Flourished his soH Alessaiiclro were both sculptors, the latter, who was also a 
 
 1588 
 
 goldsmith, was known by the apparently satirical names of ' Michel- 
 Angelo incognito ' or ' riformato.' ^ Domenico Aimo, detto Vari- 
 M. 1 537. gnana di Bologna, worked at Loreto,^ and was especially recommended 
 A.D. 1514. to Alberico, Marchese di Massa, by the Roman conservator!^ Avhen he 
 went to Carrara to procure marble for the statue of Pope Leo X., 
 which he sculptured for the Capitol at Rome. At Bologna he 
 sculptured the statues of the four patron saints of the city for the 
 basilica of St. Petronius. Francesco Dozza assisted Mo. Melchiore 
 da Faenza to adorn the fa9ade of the church of Corpus Domini,'^ and 
 Giacomo Nava worked under Amadeo upon the fa§ade of the Certosa 
 at Pa via. 
 
 FEERARA. 
 
 Eiliiy The earliest works mentioned as existing at Ferrara, where we 
 
 .sculi'tnrs 
 
 at ivrrara,. find many uamcs of second-rate sculptors, and but few important 
 works, are a bas-relief called the Madonna di Costantinopoli which 
 was set up in Fondo Vado at the end of the tenth century,^ and a 
 statue of San Romano on horseback upon the facade of the duomo ; 
 both were very possibly made by some of those Greek artists 
 
 A.D. 978. who were brought from Constantinople by the Doge Pietro Orseolo 
 
 A.D. 1135. to rebuild St. Mark's. The duomo was rebuilt in the twelfth 
 century, and decorated with sculptures by an artist named Nicolo., 
 
 Niooio da surnained da Ficarolo, either from Vico Ariolo a town in the Ferra- 
 
 Fiearoli). 
 
 rese district,^ or as some say from the branch of a fig-tree which he 
 
 ' Gualandi, 3rd series, p. 182, and 4th series, p. 158, quotes Meneganti's will 
 under dates of January 27 and June 7, 1594. 
 2 Orlandi, Abccedario, p. 242. 
 
 ^ Campori, Artlsti Estensi, p. 4, and Frediani, Eagionameiiti Storici, p. 71. 
 
 Ricci, op. cit. ii. 559. 
 5 Baruffaldi, Vite de" Pittori e SciiUori Ferraresi, pp. 1-2, Ferrara, 1846. 
 ^ Ficarolo fifteen miles from Fei-rara on the left bank of tlie Po, is mentioned 
 as Vicus Arii and Vicus Atrioli in documents of the tenth and eleventh centuries 
 (Frizzi, Memorie per la Storia di Ferrara, i. 21G). Nicolo's name occurs in an 
 inscription upon the arch of a door of the duomo — 
 
 ' Anno milleno centeno ter quoque deno 
 Quinqne super latis struitur Domus hec pietatis 
 Artificem quarum q sculpserit hac [s?V] Nicolaum 
 Hoc concurrcntcs laudent per saecula gentes ' 
 
FERKARA. 
 
 243 
 
 sculptured above tlie right hand door of the diioino at Ferrara. 
 This artist, who is supposed to be identical with the Nicolo who 
 sculptured the bas-reliefs upon the fa9ade of San Zeno at Verona, 
 carved subjects illustrating the agricultural labours of each month 
 of the year upon the arch and architrave of a side door of the 
 Ferrarese duomo, which was thence called the ' Porta de' Mesi.' 
 
 In the latter part of the fourteenth century we find mention of 
 Antonio di Ferrara who is supposed to have sculptured a crucifix 
 in the duomo over an altar near the chapel of St. George;^ and of 
 Giovanni, and Camino or Comino ^ both of whom were put to death 
 for their share in the conspiracy organised hy the citizens against 
 their podesta Tommaso da Tortona, who had rendered himself 
 extremely obnoxious by inducing the Marquis Nicolo (detto lo 
 Zoppo) to impose new and unjust taxes upon them. Instigated to 
 sedition by Franceschino di Montelini, more than a thousand a.d. i38.). 
 persons attacked the Cancelleria, broke down the doors, and rushed 
 in to seize the podesta who had taken refuge there. Foiled in 
 their purpose by his timely escape, they sacked his house, S(;ized 
 and burnt the tax books, and then marched to the palace, bearing 
 
 His name was also repeated upon a scroll held in the hand of a prophet in an 
 ancient mosaic of the duomo — 
 
 ' II millc trentacinque nato 
 Fo questo tempio a Zorzi consecrate. 
 Fo Nicolao scultore 
 E Glielmo fo lo autore.' 
 
 At San Zeno di Verona the names of Nicolo and Gnglielmo are also associated 
 (see Baruffaldi, op. cit. p. 4, note 1). Zani, Enc. Met. ix. 214, expresses his belief 
 in the identity of the two Nicolo's (see also vii. 401). MafFei, Verona lUmfrata, 
 vol. iv. p. 290, ed. in-8vo, from the obscure inscription at San Zeno thinks he was 
 perhaps a native of Zara : ' Hie exempla trahi possunt lads Nicolai — fu forse di 
 Zara, ed a dispetto del verso va letto ladarensis.' Barufi'aldi, op. cit. i. 13, who 
 derives Ficarolo from the fig-tree branch calls him a Lapo, an ancestor of Brunel- 
 leschi whose family originated in Vice Ariolo. By Lapo, Vasari (from whom 
 Baruffaldi took this idea) means Arnolfo del Cambio now known not to have been 
 a Lapo. The arms of the Lapo family were leaves of the fig-tree — some of which, 
 Lapo, the ancestor of Brunelleschi (says Vasari) carved about the doors of Sta. Maria 
 del Fiore at Florence. Hence the idea that Brunelleschi was descended from 
 Nicolo del Ficarolo. Cicognara, ii. 195 (ed. Ven.), remarks that such leaves are 
 too commonly used as an architectiiral ornament to call for any special intei-pre- 
 tation. See Cittadella, Nut. liel. a Ferrara, p. 89. 
 
 • Quadro Chronologico at end of vol. ii. of Baruffaldi, p. 584', notice extracted 
 from Le Chlese di Ferrara, di Scalabrini, p. 18. Sec also Cittadella, op. cit. p. 48. 
 
 2 Cittadella, op. cit. p. 658. 
 
 Ii2 
 
244 
 
 ITALIAN SCULPTORS. 
 
 with them one of the marquis's sons whom they swore to kill 
 unless the object of their hatred was given up to them. Finding 
 resistance impossible the marquis ordered the unhappy man to be 
 surrendered, when he was instantly torn in pieces by the rioters, 
 who threw his mangled remains upon the still smoking bonfire. The 
 ringleaders were subsequently arrested and either put to death or 
 banished.^ 
 
 Statue of An interestino; statue of the Marquis Alberto d'Este, who suc- 
 
 Albprto . . . , 
 
 d'Esto. ceeded the Marquis Nicolo, may be seen m a niche of the fa9ade 
 A.D. 1389. ^£ ^i^g duomo to the right of the great portal. It is a stiff ungainly 
 figure dressed in the habit of a pilgrim,''^ in commemoration of his 
 journey to Rome, when Pope Boniface IX. conceded the indul- 
 A.D. 1391. gences of the jubilee year to all who should visit the shrines of the 
 apostles. He travelled thither with a suite of four hundred per- 
 sons, all like himself in penitential habits, escorted by a guard of 
 soldiers bearing black lances, banners, and pennons, and after having 
 been presented with the golden rose by the pope, and authorised to 
 open a university of arts and sciences in his capital, returned home 
 A.D. 1393. to be received with great rejoicings, and honoured with the statue 
 of which we have been speaking. More than half a century later 
 great preparations were made at Ferrara for the fitting reception of 
 The Prin- the Princcss Eleonora of Aragon, daughter of King Ferdinand of 
 nora o/ Naplcs, and future spouse of Duke Hercules I. The duke had sent 
 Aragon. -^[^ brother Sio;ismond and Albert with a numerous train to Naples, 
 
 A.D. 1473. o ^ _ 1 ' 
 
 whence after being magnificently entertained for several days, they 
 set out on their return with the princess. At Rome, which they 
 reached after a journey of thirteen days the bride was lodged in 
 a temporary palace of wood containing fourteen rooms splendidly 
 adorned with tapestries and rich furniture, which the Cardinal of 
 San Sisto nepliew of Pope vSixtus IV. had erected for her recep- 
 tion in the cortile of his palace. The next day the princess went 
 on horseback in great state to visit the pope, and two days later 
 resumed her journey, which occupied nearly four weeks. An in- 
 numerable crowd of people, singing, playing, and dancing, went 
 
 ' Mcmorie per la Stoda dl Ferrara, raccolte da Antonio Frizzi, 5 vols. Ferrara, 
 1791, iii. 332-5. 
 
 2 Ibid. ii. 344. See also Gio. Battista Pigna, Hisioria de' Priitcipi d'Este 
 (Ferrara, 1580), lib. v. pp. 324-7 ; and the work entitled Belle Antichita Estensi ed 
 Italiane, pt. ii. cb. vi. p. 158 ; and Cittadella, op. cit. p. 415. 
 
FERRARA. 245 
 
 out to meet her on her approach, and escorted her into Ferrara, 
 where the pavements were covered with rich carpets, and the 
 houses decollated with superb tapestries and green boughs. 
 Dressed in a suit of cloth of gold cut after the Neapolitan fashion, 
 wearing a crown of gold adorned with pearls upon her head, 
 and many jewels upon her person, the fair bride rode forward 
 upon a noble steed until she met her future lord, when she dis- 
 mounted and proceeded to the palace under a baldacchino made 
 of cloth of gold.^ On the following day the marriage ceremony took 
 place in the duomo, and the event was celebrated by tournaments, 
 games, and splendid banquets.^ Among the payments recorded 
 for expenses incurred for the arrival of the ' Illustrissima nostra 
 Madonna' is one to Lodovico Castellani for ornaments which he Lodovico 
 had made for the royal carriages.^ This artist, who was skilful as 
 a sculptor and worker in terra-cotta, made a mortorio or group of the 
 dead Christ, with Joseph of Arimathea, the Mary's, and St. John, a.d. 1458. 
 for the duomo at Ferrara, whence it was removed to the choir of the 
 church of S. Antonio Abate in Polesine. The life-size figures 
 painted and robed in coloured draperies are conceived in the same 
 exaggerated style which marks the many groups of the same subject 
 by Guido Mazzoni of Modena.^ 
 
 Among the contemporaries of Castellani were Alessandro Contem- 
 Angeli, sculptor and bronze-caster; Antonio Marescotti, Avho was artists. 
 esT)ecially renowned as a medallist;^ and Alfonso Cittadella alias Alfonso 
 
 ^ ' Cittadella, 
 
 Lombardi, by far the most renowned of Ferrarese sculptors.'' His 
 
 ^ 1488 (?). 
 
 * Frizzi, op. cit. iv. 84. 
 
 2 The duchess died October 11, 1493, much regretted by her subjects who loved 
 her for her humanity, wisdom, aud piety. — Dclle Antkhita Esteusi, pp. 231-45, 
 and 258. 
 
 ^ ' I)e havcro facto et fabrica alcune cosse a bellezza de li caroci.' 
 
 * This group is in the Glaus ura dclle Monache and cannot be seen without 
 special licence from the archbishop. 
 
 ^ One of the many artists who have been erroneously mentioned as having cast 
 the five bronze statues by the Baroncelli in the duomo, and the statue of Duke 
 Borso d' Este (Cittadella, op. cit. p. 40 ; and Sardi, Storia di Ferrara, lib. 7, quoted by 
 BarufFaldi, i. 98). Marescotti's medals are greatly inferior to those by Pisanello, 
 Sperandio and Matteo de' Pasti. The best are those of S. Bernardino da Siena 
 (1450), the Beato Giovanni da Tosignano bishop of Ferrara (1446), Borso d'Este, 
 Galeazzo Sforza, Paolo Albei'tini and Galeazzo Marescotti (see Litta, Famujlie 
 Celebri, art. ' Marescotti,' fasc. xliii. (1838) ; and plates xiv. pt. i. and xiii. pt. ii. 
 (Tresor de Numismaiique ct de Gli/ptique). 
 
 « Vasari, vol. ix. and Tav. Al/abdka, p. 22, give the date of Alfonso's birth as 
 
246 
 
 ITALIAN SCULPTORS. 
 
 father Nicolo Cittadella, a Lucchese settled at Ferrara, there mar- 
 ried a lady named Lombardo, one of the family of the Venetian 
 sculptors of that name, whose head, Pietro, is said to have directed 
 our sculptor's early studies.^ As this however seems hardly pos- 
 sible, since Pietro, so far as we know, never visited Ferrara, we 
 are inclined to believe that if he studied under any of the Lombardi, 
 
 A.D. 1505- it was under Antonio who resided there for several years in the 
 " " employ of the duke.^ A terra-cotta mortorio in the confession of 
 
 A.D. 1506. San Pietro at Bologna is pointed out as the Avork of Cittadella when 
 but sixteen years old.^ This group, if it be really the production 
 of so young an artist justifies Michel- Angelo in applying to him 
 the epithet of ' II Dio della Terra,' ^ and in taking so promising 
 a youth to assist him in casting the statue of Pope Julius II. at 
 
 A.D. 1506- Bologna. We find proof of Buonarroti's influence upon Cittadella 
 in the ' Mortorio della Madonna,' a composition of colossal terra-cotta 
 figures grouped around the dead body of the Virgin which he made 
 
 A.D. 1619. for the oratorio of Santa Maria della Vite at Bologna.^ Its obscu- 
 rity of meaning is its gravest defect. The figure starting back in 
 a theatrical attitude behind the low couch upon which the body is 
 laid out, appears to be Christ with the book of the New Dispensation 
 in his left hand, stretching out his right arm to hold back the Jewish 
 law typified by a bearded figure holding above his head the tables 
 of the Covenant. The overthrow of the Old Dispensation seems 
 further symbolised in a recumbent figure vainly endeavouring to 
 rise, wliich fills up the foreground, and more than half conceals the 
 Madonna from the sj^ectator. To the right and left of the central 
 group are the Apostles, reading, meditating, reasoning, while one 
 kneels with clasped hands by the side of the couch. Draj)ed in 
 a somewhat academical style, and grouped with too apparent 
 
 1488. Petrucci, vol. i. p. 198, note 1 to Baruffakli, says 1463. The Cavaliere 
 Cittadella claims liim as a Ferrarese, as does Petrucci; and Gualandi, Mem. dclle 
 Belle Arti, serie ii. p. 50 : ' Dominus Alplionsus quondam Nicolai de Lucca, alias 
 do Lombardis, sculptor Bononiae liabitator.' — Procura di A. Lnmlardi., a.d. 1536. 
 
 ' Mem. St. int. aW Area di 8. Domenico, p. 94. Cicognara, iii. 365, says that 
 he was the pupil of Nicola dell' Ai'ca II Dalmata. 
 
 ^ See chapter on Venice in this volume. 
 
 3 Baniffaldi, op. eit. i. 200, ascribes it to him. 
 
 * Cittadella, ojh cit. p. 178. 
 
 ^ Gualandi, ojt. cit., gives a document from the ArcJiivio deW Opera di 8ta. Maria 
 della Vite, and doc. signed A, foglio 232, group commissioned in December 1519, 
 completed and paid for June 30, 1522. 
 
FERRARA. 
 
 247 
 
 artifice, the figures resemble actors in a tableau-vivant set up to 
 look parts which they do not feel. 
 
 Other works by Cittadella at Bologna are the group of Hercules a.d. 1520. 
 and the Hydra in the Palazzo Pubblico ; ^ four figures in terra-cotta 
 of the patron saints of the city, in niches upon the pilasters which 
 support the arches under the Torre dell' Arengo;^ a group of the a.d. 1525. 
 Resurrection of our Lord in the lunette over one of the side doors a.d. i,')2g. 
 of St. Petronius, and figures of Adam and Eve inside the church ; 
 and the terra-cotta busts of the Apostles in the church of San 
 Giovanni in Monte. ^ He also received a commission from the 
 famous condottiere Armaciotto de' Ramazzotti to erect his monu- Eorni464, 
 ment in a chapel of San Michele in Bosco which he had built 
 and caused to be adorned with frescoes by Bagnacavallo. This 
 free captain had performed many daring feats of arms in the service 
 of the Medici and the Bentivoglios, of popes Julius II. and Leo X. 
 by whom he was knighted; he had taken part in the battles of 
 Ravenna and Montemorlo, had tasted abject poverty and immense a.d. 1512. 
 wealth; in short his life abounded in incidents which ofi'ered abun- a.d. iss?. 
 dant material for the decoration of his monument with statuettes 
 and bas-reliefs.^ But Cittadella who lived at a time when artists 
 no longer availed themselves of such opportunities, neglected them, 
 and sculptured a weak, ill-drawn figure of the knight dressed in 
 armour on the top of a plain sarcophagus, leaning upon his elbow 
 in a position awkward in sleep and impossible in death. When 
 Charles V. was to be crowned at St. Petronius our artist decorated 
 its portal, and a triumphal arch, with statuettes, and after the a.d. 1529. 
 coronation gained favourable notice by a wax medallion of the 
 emperor which he is said to have secretly modelled while sitting in 
 the room where Titian was painting his famous portrait. Some a.d. 1534. 
 years later while waiting at Rome in hopes of obtaining the com- 
 mission for the monuments of popes Clement VII. and Leo X. 
 Cittadella sculptured a bust of the emperor which was bouglit 
 by Cardinal Gonzaga. A duplicate of this bust, which the Duke 
 
 * Made in competition with Zaccaria da Volierra (Baruffaldi, i. 207). 
 
 ^ Vasari, vol. ix. p. 12, nota 2 ; and Ghirardacci, St. di Bologna, vol. i. lib. vii. 
 p. 215, and index, letter Q. 
 
 ^ Gualandi, Guida di Bolocjna, p. 77. 
 Memorio Storklie intorno alia Vila di Armnciottn de Bamaz'/.oUi, in-folio, 
 Firenze, 1835. 
 
248 
 
 ITALIAN SCULPTORS. 
 
 Alessandro de' Medici gave to Cardinal Cibo, procured him the 
 A.D.1533, patronage of that prelate, with whom he visited Carrara,^ where 
 he made a statue of the Bolognese poet Giraldi.^ His best works 
 A.D. 1532. are the bas-reliefs upon the predella of the Area di San Domenico 
 at Bologna, delicately-sculptured but somewhat overcrowded com- 
 positions. These represent several incidents in the life of St. 
 Domenic, and the Adoration of the Magi. He died at I)ologna 
 Giroiamo about the vcar 1537.^ Girolamo Usanza, called like himself, 
 
 Usauza, 
 
 II Ferrarese, and his reputed brother, though in no wise related 
 to him, is not to be confounded, as he has often been, with 
 Girolamo Lombardi the son of Antonio di Pietro, who worked at 
 Loreto with his brothers Aurelio and Lodovico upon some of the 
 mannered and ill-proportioned prophet statues, which fill the niches 
 of the marble parapet around the Santa Casa. The identity of this 
 artist is difficult to determine. He is said to have assisted the 
 scholars of Jacopo Sansavino in sculpturing the bas-reliefs upon the 
 
 A.n. 1534- loggietta of the Campanile at Venice,"^ to have lived for many years 
 at Loreto and Recanati, at which latter place he established a bronze 
 foundery where he is said to have cast a font for the cathedral of 
 
 A.n. 1553. Prague, adorned with bas-reliefs whose subjects were taken from 
 the Old and New Testament,^ but no such work exists in Bohemia, 
 nor are there any documents known connected with it. The statue 
 of St. Andrew over an altar in the church of S. Andrea at Ferrara 
 is the one work in that city attributed to this sculptor whose exist- 
 ence even has been called in question by a competent authority." 
 
 Equestrian In the year 1494 the commune of Ferrara decreed that an 
 
 statue of , /.T-\iTTiii-»i 1 ' 
 
 Duke equestrian statue of Duke Hercules should be made m commemoration 
 i-VEate. of the enlargement of the city walls. The model Avas completed by 
 an unknown artist, but it was never cast; a sculptor named Antonio 
 
 ' Marchese Campori, Artist i Esfensi, p. 154. 
 
 2 Identified by Petrucci (vol. i. p. 226, note 1, of Baruffaldi) with that in the 
 nniversity at Bologna. There is a bust of Pope Clement VII.' in the Riccardi 
 palace at Florence by Cittadella (Vasari, vol. ix. p. 15, nota 1). 
 
 3 Vasari tells us that Alfonso having declared his love at a ball to a ' gran 
 dama' in the words of Petrarch's sonnet (no. 101), 'So amor non e, che dnnqne 
 e qnel ch' io sento? ' she answered, ' E sara qnalelie pidocchio.' The repartee went 
 the rounds at Bologna and tni-ncd the laugh against the presuming lover. 
 
 Sclvatico, op. cit. pp. 309-10. 
 ^ ' Opus Hieronymi Uxaiiza da Fcrraria, muliii.' 
 G Cav. L. N. Cittadella. 
 
REGGIO. 
 
 249 
 
 di Gregorio purchased the marble columns for its pedestal at Verona, Antonio 
 and returned to Ferrara where he and his assistants Domenico and gorio^^ 
 Bernardino da Milano spent the next three years in carving orna- a.d. 1500. 
 ments for the frieze and base.^ 
 
 Several sculptors, but of little importance, flourished at Ferrara 
 in the fifteenth and sixteenth centuries,^ Avhere many foreign artists 
 were also employed by the princes of the house of Este. Belri- 
 guardo, which is described as richer in statues, bas-reliefs and 
 pictures than any other building of the kind in Europe,'^ and the 
 splendid ducal residences of Belvidere and Belfiore, would perhaps 
 have revealed to us many treasures of art noAV lost or dispersed had 
 they not been wantonly destroyed. 
 
 REGGIO. 
 
 The only Reggian sculptors of note are Bartolomeo di Clementi Barto-^ 
 Spani (son of Giovanni da Cremona), and his grandson Prospero. ciementi 
 Bartolomeo had three sons, Bernardino, the father of Prospero; 
 Giovanni Andrea, who was a goldsmith ; and Girolamo, who was 
 like his father goldsmith, sculptor, and architect. We first hear of a.d. 1494. 
 Bartolomeo as a goldsmith working upon a silver cup for the canon 
 Bernardino Nigoni, upon two silver statues of saints for the duomo 
 at Reggio,^ and busts of SS. Prosdocimo and Giustina in the same 
 material, whose bases were adorned with minute bas-reliefs, for a 
 church in Padua. Some years later we find him employed as an a.d. 1518. 
 architect, upon the fa9ade of the church of San Giacomo and the door 
 of the Palazzo Donelli at Reggio, and as a sculptor, upon the marble a.d. 1513. 
 columns of the cloister of San Pietro, the Malegazzi and Arlotti 
 
 1 These columns were never used, as one of tliem wkicli had been brought up 
 the river to Ferrara fell overboard and could not be recovered ; the other which 
 had been safely dragged to the Piazza, was eventually set up to support a bronze 
 
 statue of Pope Alexander VII. (Vide Cittadella, Mem. &c. pp. 422-3.) a-i>. 167-j. 
 
 2 M. Arma da Regenta, 1554; M. Giovanni, 1554; Ippolito d'Arento, 1574-77 ; 
 M. Maffeo, 1503; Ercole Azzolino, 1574; Martino Burzoni, 1548; Alessandro Ca- 
 gnone and Bart. Calabroso, 1554; Ottaviano, 1552 ; Alessandro and Giorgio Cariboni, 
 1585 ; Gio. Ant. di Giacomo, 1552 ; M. Giulio. Lodovico Ranzi made many statues 
 for the Palazzo Pubblico at Brescia (see Cicognara, ii. 350) ; Alfonso Alberghetti, 
 1572 (ibid. vol. iii. p. 343, nota 2) ; Cristoforo da Ferrara (Cicogna, Isc. Yen. vol. iii. 
 p. 361, no. 2). 
 
 3 ' Ut nulla alia esset in Europa cuncta, que cum hac sua confcrri posset.' 
 * Assisted by his son Giovanni Andrea (Vasavi, vol. vi. p. lOtx nolii 1). 
 
 K K 
 
ITALIAN SCULrTOES. 
 
 Prospero 
 Clemenli, 
 born (?), 
 died 
 May 26, 
 1584. 
 
 Tomb of 
 
 Bishop 
 
 Raugoni. 
 
 Tomb of 
 
 Cherubino 
 
 Sfortiano. 
 
 monuments in the duomo, and the tomb of Rufino Gahbinata in the 
 church of San Prospero, which consists of a sarcophagus with 
 sepulchral effigy, supported upon a sculptured base, and placed in 
 a recess, the architrave of which is adorned with arabesques, and 
 the lunette with a bas-relief of God the Father. The general design 
 is good, and the style sober and in good taste, but the effect is 
 marred by details which are smgularly out of keeping with the 
 monument of a Christian prelate, such as the sphinxes supporting 
 the roundel, and Neptune with trident, chariot and sea-horses, in 
 the bas-relief uj^on the base. Such errors in taste, common in the 
 monumental art of the time, are manifest signs of a decadence which 
 the works of Bartolomeo's grandson and pupil Prospero show most 
 fully. When a very young man this artist studied at Rome, and 
 thinking to attaui Michel- Angelo's grandeur of style by throwing 
 his statues into strained attitudes, and giving an unnatural de- 
 velopment to their limbs and muscles, modelled such monstrous 
 creatures as the colossal Lepidus and Hercules which stand before 
 the Ducal Palace at Modena, and the clumsy statue of Bishop Ugo 
 Rangoni in the duomo at Reggio. As this monument is considered 
 Prospero's masterpiece, it may be taken as a fair example of his 
 manner. The white marble sarcophagus stands upon a red marble 
 base, at each end of which are life-size genii, the one holding a 
 crosier, the other a sword and helmet. Above it, and out of all 
 proportion with it, sits the gigantic bishop, within a square recess 
 crowned by a broken pediment, whose ends are connected by a 
 shield sculptured with the arms of the prelate. These arms are 
 again introduced in black marble shields upon the base of the monu- 
 ment, which is adorned with two small seated figures in relief of 
 Innocence emblematised by a dove, and Self-Devotion by a pelican.^ 
 Bad as it is in style, ugly in combination of colour, and faulty in the 
 relative proportion of its parts, it is if possible surpassed in bad taste 
 by Prospero's monument to the canon Cherubino Sfortiano^ in the 
 same church, which consists of a huge white marble hour-glass, 
 supported on a base of red marble, flanked by figures of two Virtues, 
 and crowned by a statuette of Christ. We will not trespass upon 
 
 ' This tomb cost 12-50 golden scudi (Fontanesi, Disc. Accademico sopra Clemenfl, 
 Reggio, 1826). 
 
 * Who was ti-aveUing -with Cellini when he killed the j)ORtmas(ei' nenr Siena 
 (see Cellini's Anlohingvnjihy). 
 
:k[Ol)EXA. 
 
 251 
 
 the reader's patience by describing any more of this sculptor's 
 works, but we cannot refrain from quoting a passage from a dis- 
 course delivered before the Academy at Reggio as an example of 
 the excess to which panegyric can be pushed. In the two statues 
 of weeping women which form part of a monument to the juris- 
 consult Bartolomeo Prati in the crypt of the duomo at Parma, ' We a.d. 1542, 
 see combined,' says the enthusiastic speaker, ' the sutFerhig of the 
 Laocoon, the " morbidezza " of the Venus de' Medici, and the grace 
 of the Flora, any one of which excellences would entitle Prosper© to 
 be considered as the equal of Glycon and Praxiteles.' ^ 
 
 MODENA. 
 
 The bas-reliefs upon the fa§ade of the duomo at Modena,''^ the a.d. 1099. 
 leaves, birds, and arabesques about the side-posts of its great portal, and of ^{fe*""^^' 
 those about its smaller doors were sculptured in the twelfth century f»sade of 
 
 '■ '' the uuomo 
 
 by Wiligelmus. The figures are clumsily proportioned, with staring 
 eyes and dangling feet, but the ornaments, though coarsely executed, 
 are skilfully combined and effective. Much has been written about 
 the nationality of Wiligelmus, who has been called a Modenese, a Lom- 
 bard, and a German.^ Those who incline to the last opinion identify 
 him with that Willielm von Innspruck, who assisted Bonanno of Pisa 
 to build the famous leaning tower. Some support for his foreign a.d. 1155. 
 origin has been supposed to be found in the subject of the sculptures 
 which illustrate King Arthur's victories over the Visigoths,^ but we 
 cannot consider this any proof that Wiligelmus was not an Italian,^ 
 
 ' Fontanesi, o}). cit. p. 23, nota 13. Gabriele Bombasio or Bainbace (a dramatic 
 author whose tragedy of L'Alidoro was performed with stage decorations by 
 Prospero, when Barbara of Austi-ia, Duchess of Ferrara, visited Reggio) was so dis- a.d. IftttS. 
 satisfied with Vasari's mention of his favoitrite sculptor that he wrote him a letter 
 in which he corrected his mistakes and supplied his omissions. Could he have a. p. 1572. 
 known that Prospero would have found so warm an advocate neai'ly three centuries 
 after his death, he would have rejoiced indeed. 
 
 2 Founded in 1099. For a notice of the sculptures by the Campioncsi within 
 the church, see Lombard chapter in this volume. 
 
 3 See Introduction to Tuscan Sctiljjtors, p. 49. Cicognara, vol. iii. ch. ii., calls 
 him a Lombard, Tiraboschi an Italian. Kreuser, Die christliche Kirchenhau, i. 468, 
 says he came from Nuremberg. The bas-relief of the Creation of Eve is engraved 
 in Cicognara, tav. 7, and Agincourt, tav. 21. 
 
 ■* They are inscribed with the names of King Ai'thur and his knights. 
 * Ricci, ojh cif. vol. i. p. 528, and p. 610, note 39, mentions such choice of sub- 
 ject as a proof of foreign influence upon Tiidian art. 
 
 K K 2 
 
252 
 
 ITALIAN SCULPTOIiS. 
 
 as King Arthur was looked upon as the model of a Christian knight 
 in the south as well as in the north of Europe. Between his time 
 and that of Giovanni Guerra da Modena,^ who assisted in carving 
 
 About ornaments about the pilasters of the choir parapet in the duorao at 
 Milan, Modena produced no sculptor, nor is it till we come to the 
 latter part of the fifteenth century that our attention is arrested by 
 
 Guido the works of Guido Mazzoni, called II Modanino from his birthplace, 
 and II Paganino after liis grandfather.^ This artist should rather 
 be called a ' plasticatore ' than a sculptor, as he worked altogether in 
 clay. His works which are vulgar in type, intensely realistic, full of 
 exaggerated expression, and monotonous through their unvarying 
 repetition of the same subject, owe their effect to earnestness and truth 
 to homely nature. When we have seen one of his groups we have 
 seen all, and know the capabilities of the man thoroughly. Let us 
 take as an example the ' mortorio ' in the church of San Giovanni 
 Decollato^ at Modena. (See Plate XXIX.) The dead body of our 
 Lord lies upon the ground ; the Madonna, a weeping old woman, 
 who kneels on one knee at the foot of the cross behind the body of 
 her son, is supported by the beloved disciple, and by the Magdalen, 
 who leans forward with dishevelled hair and distorted features, as 
 if screaming in an agony of grief. St. Joseph sits at the head of 
 the body stretching out his hands towards it, and several of the 
 disciples are grouped around. The startling effect of these coloured 
 life-size figures, robed in heavy but carefully-arranged draperies, 
 modelled with no small skill, can easily be imagined. This 'mortorio' 
 differs very little from that by the same artist at Santa Maria della 
 Rosa at Ferrara,"^ or that at Monte Ohveto at Naples, which he made 
 A.D. 1490. for King Alphonso 11. of Aragon.^ The group of the Nativity in 
 
 ' Ricci, ii. 386. 
 
 2 His great-grandfather Guido il Veccliio came from a castle in tlie mountains 
 of Modena called Montecuccolo. His father's name was Antonio (vide Le Oj>ere 
 cK G. Mazzoni e di Antonio Begarelli, dis. ed incise da Guizzardi e Tomba Bolognesi, 
 Modena, 1823 ; Tiraboschi, Bih. Mod. vol. vi. pt. ii. p. 467 ; and Vedriani, Baccolte 
 de' P'dtori e Scultori Modonesi, p. 26 ; also Vasari, iv. 6). 
 
 3 This mortorio was originally in the Cappella della Confraternita of the hospital 
 of San Giovanni della Mortc, then in the public prison. It was repaired and 
 repainted by M. Francesco di Bianco Frare. 
 
 This group is often attributed to Alfonso Cittadella 11 Ferrarese, but to our 
 eyes it is unmistakeably by Guido Mazzoni. 
 
 It loses much of its effect by being coloured to resemble bronze. It is how- 
 ever very interesting historically as some of the figures are said to be portraits; 
 
MOUENA. 
 
 253 
 
 the crypt of the duomo at Modena is of little interest,' as the 
 subject allowed of no dramatic display, but some of the heads are 
 extremely living in their expression.^ Of the now-destroyed mor- 
 torio which Mazzoni made for the monastery of Sant' Antonio Abbate a.d. i489. 
 at Venice we have no other record than that furnished by the con- 
 tract, which is curious for the stipulation made by the artist, that in 
 consideration of his having relinquished to the monastery a part of 
 the money promised him in payment for it, his name and his coat 
 of arms should be placed upon it, and mention of his gift made in 
 the inscription. King Charles VIII., whom 11 Modanino accom- 
 panied to France after the conquest of Naples, made him cavaliere a.h. 1495. 
 and allowed him to enrich his coat of arms with the royal fleur de 
 lys. After the king's death our sculptor was commissioned to make a.d. hos. 
 his tomb at St. Denis. According to Felibiens' description^ it was 
 of black marble, with ornaments and figures in gilded bronze. Its 
 four sides were adorned with niches containing statuettes of the 
 Virtues, divided from each other by flat spaces decorated with 
 swords wreathed with laurel in memory of the royal conquests, 
 and upon the top was placed the effigy of the king kneeling before 
 a prie-dieu, with four angels bearing shields engraved with the 
 arms of France and Jerusalem.^ "Whether he modified his style in 
 dealing with a subject so foreign to his habits, and what was the 
 character of the many other works Avhich he is said to have executed 
 during a residence of more than twenty years in France, we can- 
 not judge. Certain it is that he must have been well paid, as he • 
 
 the St. John of King Alfonso ; the St. Joseph of Sannazzaro the poet ; the Nicodemus 
 of Gioviano Pontano ; and one of the other figures of the king's sou J^errandino 
 (G-uida degli Scienziati, i. 387-390 ; Celano, Notizie di Napoli, ii. 30). 
 
 1 Belonged to the Porrini family at Modena. According to the Crunaca Male- 
 gazzi they refused to part with it for 500 golden scudi. It was long in the Palazzo 
 Livezzani (see Vedriani, op. cit. pp. 31-2). The second shepherd to the right 
 and the head of the first to the left are by an unknown sculptor. A sculptor 
 named Righi made the sheep and shepherd in the background about 1527. 
 
 2 Estratto dal Catastico di Costello in Venezia (Cicogna, Isc. Ven. i. 360 ; and 
 Sansavino, Venezia Descritta, p. 32). The monastery and the group have both been 
 destroyed. 
 
 3 Histoire de VAhhcuje Eoyale de St. Deals, p. 550 ; at p. 550 a small outline of 
 the tomb is given. 
 
 * A brass- gilt plate on the pillar nearest to the monument was inscribed with 
 two epitaphs and the words ' Vixit auuos 28. Obiit auuo a Natali Domini 1-198. 
 Opus Pagauini Mantovicusis.' 
 
254 _ ITALIAN SCliLI'TOItS. 
 
 returned to Modeiia ^ a rich man, and purchased many houses and 
 much land before his death which took place two years later. His 
 first wife Pellegrina Discalzi,^ and his daughter both accompanied 
 him to France, and assisted him in his labours, proving by their 
 skill in sculpture the truth of Ariosto's lines : 
 
 Le donne son venute in eccellenza 
 Di ciascun' arte ov' hanno posto cura. 
 
 During the absence of II Modanino from his native city a 
 formidable rival had arisen in the person of the ' plasticatore ' 
 Autonio Antonio Begarelli,^ who though a less original was a far better 
 born 1479. cducatcd artist. He was the son of a baker named Giuliano, and 
 is by some persons said to have studied under 11 Modanino after his 
 return from France, which is improbable as he was then thirty-seven 
 years old, and by others under Alfonso Cittadella, which is still 
 less credible as that artist was his junior by nine 3'ears. The 
 pictorial character of Begarelli's style bespeaks quite another in- 
 fluence, and corroborates the story of his intimacy with Correggio 
 from whom he may have borrowed something of his flow of line and 
 almost morbid grace, but if so the influence was not a happy one, as it 
 is easy to paint great masses of drapery, and so lighten them with 
 magic eff'ects of chiaroscuro and artifices of colour that they become 
 light and airy, and impossible to model them in a material like 
 clay as it admits of no such handling. Disregarding this truth 
 Begarelli arranged his draperies into forms which colour only could 
 have rendered acceptable, and grouped his figures in a manner quite 
 opposed to the requirements of plastic art.^ With the exception of a 
 few years' residence at Parma Begarelli lived and worked altogether 
 at Modena, so that it is only there that we can become acquainted 
 Avith him. His most important work is the Taking down from the 
 
 ' Cronaca Belleardi MS. says he returned to Modena June 10, 1-51G (see 
 Tirabosclii, Bih. Mod. i. 192). 
 
 2 Vasari, vol. iv. p. 6, nota 1. Vedriani, o^). cit. p. 33, says that Isabella Discalzi 
 Mazzoni's second wife was the sculptress. 
 
 3 Vasari calls him II Modana (see xi. 243). 
 
 The famous dictum of Michel- Angelo upon his tcrra-cotta groups, ' Se questa 
 terra diventasse marmo, guai alle statue antiche,' has a very apocryphal sound, for 
 he must have felt that if Begarelli's system of dealing with sculpture was right 
 then that of the Greeks was fundamentally wrong (see Vasari, vol. xii., and 
 Campori, ojj. cit. p. 103). Michcl-Angelo saw Begarelli's groups at Modena when 
 he was on his way buck to Florence from Venice A.v. 1-32D. 
 
 June 19, 
 1516. 
 Sept. 12, 
 1618. 
 
xMODENA. 
 
 Cross/ in the church of San Francesco. Nicodemus and Joseph of 
 Arimathea with two other persons are represented in the act of 
 detaching the body of our Lord from the cross, at whose base the 
 Virgin swoons hi the arms of the three Marys. SS. Anthony of 
 Padua and Jerome stand at the foot of the two side crosses, and 
 SS. Francis and John the Baptist kneel near them in ecstatic con- 
 templation. By far the most striking feature in the composition is 
 the central group of women, one of whom supports the head, while 
 the other two hold up the drooping hands of the Virgin, whose 
 attitude is one of complete abandonment, and whose face wears that 
 expression of suffering which the features sometimes retain while 
 consciousness is suspended. Had this group been painted by Cor- 
 reggio, it would have ranked as a masterpiece, but owing to its 
 fluttering and complicated draperies, and the hasty action of the 
 women who seem to have turned from the Crucified just in time 
 to receive the fainting form of His mother, it is bad in sculpture. 
 The work has the great fault of want of connection between the cross 
 and the figures in the foreground, as the space is so very great, and 
 the two actions so separated, that they form two distinct compositions. 
 The Pieta by Begarelli at San Pietro has much greater unity of 
 design, and is much more sculptural.^ The Madonna is sustained 
 by St. John as she kneels by tlie dead body of our Lord, whose head 
 rests upon the lap of Nicodemus. The mourners are absorbed by 
 one feeling, their draperies are Avell managed, and the head of 
 St. John is especially full of sentiment. Other works by Begarelli 
 of inferior quality, are the Magdalen lying at our Lord's feet, with 
 SS. Peter and Paul and two attendants, in a corridor leading from 
 San Domenico to the academy; the Pieta at Sant' Agostino, which 
 is chiefly interesting because the Joseph of Arimathea is said to be a.d. i52g. 
 the portrait of its sculptor; the statue of St. Mary JMagdalen in the 
 Belleardi chapel at Sta. Maria del Carmine; and the Madonna and a.d. 1531. 
 Child with St. John in the sacristy of the Chiesa Votiva. In the A.n. 1528. 
 
 ' The monks of Santa Cecilia ordered this work and paid more than 300 gold 
 scudi for it. Vedriani, Mengs and Lanzi say that the St. Jerome and the St. John 
 were modelled by Correggio. Pungileoni, 1st. del Gotreggio, ii. 195, doubts it. 
 
 ^ An altar group of the Madonna with angels and saints in this church, a very 
 poor work, was begun by Begarelli in 1553 and finished by his son Ludovico. 
 The five statues of saints on either side of the nave have l)Ocn sadly disfigured 
 by coats of paint. 
 
2oG 
 
 ITALIAN SCULPTORS. 
 
 A.D.1558- academy at Parma, where Begarelli resided for three years in the 
 latter part of his life, there are two groups, one of the Madonna 
 and Child to whom St. John presents a flower, with SS. Benedict, 
 
 A.D. 1561. John the Evangelist, Felicity, and Vitale; the other a group of the 
 Madonna and three saints. 
 
 Vasari tells us^ that Begarelli, who is supposed to have died at 
 
 A.D. 1559. Modena about the year 1565, contracted with the monks of the 
 convent of San Benedetto at Mantua to model many life-size figures 
 for their church, for which he was to be paid ten gold scudi apiece, 
 but no statues of the sort exist at Mantua, nor is there any further 
 mention made of them. 
 
 PARMA. 
 
 Early Parma seems to have revived under the Lombards from the 
 
 and sculp- state of decadence into which it had lapsed since the downfall of the 
 Parma. Romau Empire, as it had become the seat of a court of jurisdiction 
 (curia), and was governed by a Lombard duke. Its cathedral and 
 bishop's palace ^ were doubtless edifices in the Romanesque style, 
 decorated with sculptured animals, monsters, and capricious forms, 
 of which the capitals carved with fantastic figures at Sta. Croce, and 
 the bas-reliefs of the font at Vicofertile are probably examples.^ 
 
 Charlemagne visited Parma and conceded to it the right of 
 coining money, and under his immediate successors it was adorned 
 A.D. 833. with several new churches, among which was the Basilica of San 
 Quintino, one of whose original doorways furnishes us with an 
 example of the rude sculpture of that time in the heads carved 
 about its arch, and in the leaves and figures (perhaps symbolic of 
 the four seasons) about the capitals of its supporting columns."^ 
 To the same period belong some wood-carvings from the church 
 A.D. 835. of Sant' Alessandro representing birds, quadrupeds, and monsters 
 feeding upon the leaves and bunches of a vine.^ If we compare 
 
 ' Vasari, xi. 244. 
 
 2 Carlo Troya, Codlce Diplom. p. 111. 
 
 3 Sig. Lopez in the Introduction to his work entitled II Battistoro di Parma, at 
 p. 9 declares himself uncertain whether these bas-reliefs and capitals belong to 
 Lombard times or are posterior. 
 
 * Lopez, op. cit. p. 13. 
 
 ^ Ibid. These works commonly called ' dalla porta di S. Bertoldo ' arc presorvod 
 in the choir of the church. 
 
PARMA. 
 
 257 
 
 these works with those of two hundred years later, we see that 
 art had remamed in almost the same low state, the only progress 
 being in the power to grasp a wider range of subject. Thus 
 in the capitals of the columns of the Loggia which runs round 
 the interior of the duomo,^ we find some sculptures purely orna- 
 mental, others symbolical, such as the Sacrifice of Abraham, and 
 others satirical, such as the figures of a monk with a wolfs head, 
 and a wolf dressed as a monk with the inscription ' Est monachus 
 factus lupus, hie sub dogmate thracius (tractus?).' ^ 
 
 In the twelfth century we at last find decided improvement 
 in the works of Benedetto di Antelamo, generally called Antelami, Benedetto 
 who built the famous baptistry, and adorned it and the duomo teiamo. 
 with his sculptures. We have elsewhere referred to him as the * 
 son of a notary at Parma named Antelmus,^ but this conjecture has 
 been overthrown by the discovery that the ' Mao;istri Antelami ' The Ma- 
 
 . . . . . . . K'st" 
 
 were a body of builders or architects like the ' Magistri Comacini,' Antelami. 
 and that consequently the name as applied to Benedetto merely 
 denotes his profession.^ These men are elsewhere mentioned as 
 workers in wood from the valley of Antelamo. It is possible that 
 our Benedetto was descended from a native of Antelamo settled at 
 Parma, and that he adopted his ancestor's patronymic like the Campi- 
 onesi, many of whom, as we remarked in our chapter upon sculpture 
 in Lombardy, are thus styled even when their family names are 
 known. The Crucifixion of our Lord from the Cappella Bajardi in 
 
 ' Founded in 1058, and consecrated about 1100 by Bishop Cadalo afterwards 
 antipope under the name of Houorius II. (Ricci, St. dclV Arch. i. 442). 
 
 2 Probably this representation was intended to signify that a monk in aban- 
 doning the pure doctrine of the Church changed his appearance to that of a wolf 
 (ibid. p. 445, and p. 489, note 65). 
 
 ^ Introduction to Tuscan Sculpfom. 
 
 * Sig. Lopez, who first suggested, in the Saggiatore, vi. 173, that Benedetto 
 was the son of Antelamo, a notary of the Sacro Palazzo, has arrived at a different 
 conclusion after a perusal of the fragments of the Civil Statutes of Genoa, lib. vi. 
 p. 13, published by Ducauge, in Avhicli the title ' magistri antelami' is sj^oken of 
 as identical with that of ' fabri murarii ' (see pp. 79-80, note 36, Lopez, // Baf- 
 tistero di Parma). At pp. 125-6 he quotes from Carlo Troya, Lombard Code, vol. iii. 
 pt. iii. op. cit., two diplomas given in 989 and 1033 by Otho III. and Conrad I. 
 in favour of the monastery of S. Pietro in Cielo d' Oro in Avhich the ' valley called 
 Antelamo ' is mentioned as the home of certain carpenters or workers in wood. As 
 the Antelamo valley is mentioned together with Besozolo (the modern Besozzo) it 
 may have been near it, between the Lago Maggiore and the Lago Varese in the 
 province of Como. 
 
258 
 
 ITALIAN SCULPTORS. 
 
 Rt^iiefiii the duomo at Parma, described in the introductory chapter to the 
 at Parma, first portion of this work, was one of the three reliefs which he 
 ' ' sculptured with the mysteries of Christ's Passion for a pulpit in 
 the duorao. Although in many respects stamped with the rude 
 character of sculptures of the time, it is far superior to them by 
 virtue of the expression thrown into the different figures, and the 
 direct part which each of them takes in the sad scene. ^ Benedetto 
 is also supposed to have made the bishop's throne in this duomo, 
 and the four small lions grouped about the side doors of its fa9ade, 
 as well as the bas-reliefs upon the red marble sarcophagus under 
 the high altar, which represent the martyrdom of four saints and 
 The bap- Christ with the symbols of the Evangelists.^ Eighteen years after 
 A.D. 1196. making the pulpit he began to build the octagonal baptistry, which 
 is one of the most interesting edifices in Italy, from the variety 
 and importance of the sculptures with which it is decorated within 
 and without.^ We shall not undertake to explain them fully, as 
 such a course does not lie in the scope of a general history like the 
 present, but content ourselves with describing them sufficiently to 
 enable the reader to understand their general scheme.^ 
 
 The external sculptures of the three portals are intended to 
 illustrate the first and second coming of Christ, and to symbolise 
 human life. Upon the side posts of the north portal are Jacob and 
 the twelve patriarchs with Moses, who freed the children of Israel 
 from slavery as Christ did mankind from the thraldom of sin, and 
 
 ' Sig. Lopez, op. cit. p. 21, mentions that a friend of his possesses throe capitals 
 carved in high relief with subjects taken from the lives of Adam, David and 
 Solomon which from their style he thinks to be by Benedetto and to have belonged 
 to the above mentioned ambo. The Cappella Bajardi bas-relief is inscribed — 
 
 ' Anno milleno centeno septuageno 
 Octavo scultor patravit mense secundo : 
 Antelami dictus sculptor fait hie Benedictus.' 
 
 * Tlie statuettes are earlier, and the ' area ' is supposed to be the only existing 
 relic of the old cathedral which was destroyed in 1037. Da Erba thinks it was 
 executed under Bishop Lanfranco between 1139 and 11 01. The same author 
 attributes to Benedetto Antelamo the great lions of the central porch, but this is 
 an error as shown by Pezzana, 8t. di Parma, vol. i. p. 43, note 41. 
 
 ^ The following inscription upon the architrave of the north door tells the date 
 of the foundation of the edifice — 
 
 ' Bis binis deroptis . annis de mille ducentis 
 Incepit dictus. opus hoc scultor Benedictus.' 
 
 * 11 Battistero di Panna, ch. iii. pp. 1C7-95. 
 
PARMA. 
 
 259 
 
 Jesse, with the twelve kings and the Madonna. These figures are 
 seated one above the other upon the leaves of a vine, whose branches 
 intertwine to enframe them. Around its archivolt sit the prophets 
 who foretold the coming of Christ, holding medallions, upon which 
 half figures of the apostles are carved in relief. The bas-reliefs 
 upon the frieze illustrate the history of our Lord and of St. John 
 the Baptist. Upon the side posts of the western portal are sculp- 
 tured the deeds of charity, which the Judge will enumerate as 
 the titles of those on his right hand ' to inherit the kingdom pre- 
 pared for them from the beginning of the world,' and the parable 
 of the Labourers of the Vineyard, divided into twelve parts to 
 represent the hours of the day. In the lunette sits Christ the 
 Judge, surrounded by angels bearing the instruments of the Passion, 
 and upon the architrave are other angels blowing trumpets to call 
 the dead to life. The principal decoration of the southern portal 
 is a bas-relief in the lunette, Avhich represents a youth seated in the 
 branches of a tree, gathering honey from a honeycomb.' Two small 
 animals are gnawing at its roots, and a dragon, with flames issuing 
 
 ' Many learned explanations have been given of this relief. Seo for example 
 the Revue Arclieologlque, Paris, t. x. p. 289 ; Letter written by Sig. Lopez to M, 
 Isabelle ; Hammer, Antulogia di Firenze, 1827, p. 84; Valery, Vmjage en Italic, t. ii, 
 p. 210; Sacchi, Antichita Eomantiche d' Italia, epoca i. p. 117 ; M. le Dr. Duchalais, 
 Lettre a M. Lopez du 5 juin 1854, imprime dans le xxii^ vol. p. 307, des Memoires 
 de la Societe Imperiale des Antiquaires de France, 1865, in which he suggests that the 
 subject of the bas-relief was drawn from the legend of S. Barlaani ; Didron, Annates 
 Arclieologiques, vol. xv. p. 413, 1855. Sig. Lopez, op. cit. p. 180, quotes the explana- 
 tion given by Sig. Ab. Luigi Barbieri and printed in the Efemeride delta Pahblica 
 Istruzione (anno ii. no. 28, April 1, 1861, p. 473), as the most satisfactory. Sig. 
 Barbieri says that the bas-relief expresses human life in its beginning, its com-se 
 and its end ; and that it is truly symbolical in that it has a triple significance, 
 in relation to the physical, the moral, and the religious attributes of human 
 nature: of these he explains the first only, in the following manner: — 1. The 
 sun and moon at rest typify the active and passive principles of generation. 
 
 2. The same celestial bodies in motion represent time as measure of human life. 
 
 3. In the tree with its eight apples, at whose roots two animals are gnawing, is 
 expressed the transformation of matter or the perennial mutability of forms in rela- 
 tion to the generation and corruption of things wliich serve for man's sustenance. 
 
 4. The man seated in the tree signifies the mastery of man over matter and the 
 irrational animals. 5. The dragon casting fire from his mouth, with open jaws 
 ready to devour the man, having his wings extended, a fish's or serpent's tail 
 raised aloft, and lion's claws fixed upon the earth, symbolises the four elements 
 fire, air, water, and earth, of which the human body is composed, by reason of 
 whose contrai-y tendencies the necessity of dissolution or death comes to the 
 corporeal part of man. 
 
260 
 
 ITALIAN SCULPTORS. 
 
 from his extended jaws, sits watching till they shall have done their 
 work and given him his prey. Here we have an allegory of 
 human life, for in like manner with this youth, man if absorbed 
 in worldly enjoyments forgets his inevitable doom. Perhaps the 
 sculptor intended this work and the sculptures upon the other 
 doors as a preface to his whole scheme of decoration, typifying in 
 it by the dragon, the devil who devours souls, and by them, the re- 
 demption from eternal death assured to mankind by the coming of 
 Christ. Reliefs in red Verona marble, consisting of those symbolic 
 human figures, heads, busts, animals, and fantastic monsters so 
 frequently seen about early churches, whose explanation is to be 
 found in the Bestiaries and other manuals of Mediaeval symbolism, 
 are disposed about the eight sides of the building; and near the 
 doors are seated female figures of Faith, Justice, and Peace ; Hope, 
 Prudence, and Modesty; Charity and Piety; Chastity, Patience, 
 and Humility. 
 
 Inside the building, the lunettes of the three doors are filled 
 with reliefs representing the Flight into Egypt, the Presentation of 
 Christ in the Temple, and the Regions of the Blessed. In a fourth 
 relief upon the high altar Christ is seated within a mandorla, 
 ('vesica piscis,') giving his blessing with his right hand and resting 
 his left upon an open book. On either side of the Redeemer 
 are the symbols of the evangelists, and upon the foot of the 
 altar are sculptured three figures in red marble of St. John, 
 a Priest, and a Levite. Fifteen bas-reliefs, probably of a later 
 date, which are let into the intercolumnar spaces on one side of 
 the church, represent the course of the astronomical year by 
 figures employed in agricultural labours suited to the different 
 seasons, each of which is accompanied with an appropriate zodiacal 
 sign.^ To judge these works fairly we must remember that they 
 were sculptured fifty years before the first known work of Niccola 
 
 * Ricci, Storia dell' Architettura in Italia, i. 562, argues tliat the Mediaeval 
 zodiacs were perhaps used iu the Roman sense, to point out the precise epoch of the 
 foundation of a building, or some memorable fact connected with it, or some glorious 
 enterprise. This applies to the accompanying figures combined with the signs 
 which are always the same. The baptistry at Parma furnishes a solitary example 
 of these zodiacal signs placed within the building ; and it is this which induces 
 Sig. Lopez to believe that they were not sculptured for it, but for the fii^ade of 
 some other edifice from which they were removed to their present place. The 
 zodiac was invented Iiy the Jjgyptians and used by them B.C. 2500. 
 
PARMA. 
 
 261 
 
 Pisano and were contemporaneous with the bas-reliefs of such 
 Tuscan pre-Revivalists as Rudolfinus and Gruamente, who could 
 carve a font or an architrave, but who never could have exe- 
 cuted a series of sculptures embracing the vast scheme of human 
 redemption. If the intention of the sculptor is regarded without 
 reference to the broken language in which want of education has 
 forced him to express his ideas, we feel that Benedetto di Antelamo 
 was the most remarkable artist who appeared in Italy before Niccola 
 Pisano. It is not known that he worked elsewhere than at Parma, 
 but it is j)ossible that some of the sculptures upon the fa9ade of the 
 cathedral at Borgo San Donnino are by him, such as the bas-reliefs, 
 and the prophet statues in the niches lateral to its great door- 
 way, and the group of the Madonna and Child on the wall of the 
 Campanile. The architects Albertino da Terenzo and Albertino Scholars 
 da Taneto, who flourished about the year 1200, were perhaps his detto. 
 scholars, as well as the anonymous sculptors of the ruder reliefs 
 about the baptistry, which belong to the early part of the thirteenth 
 century. In its latter half Giovanni Buono da Bissone, who was 
 called to decorate the great doorway of the cathedral, sculptured a.d. i28i. 
 the great lions which support the columns of its porch, and the 
 signs of the zodiac in a hard and lifeless style. ^ 
 
 During the fourteenth century there seems to have been a dearth Few sculp- 
 of sculptors at Parma, for Aldighiero della Senazza was obliged to Parma 
 invite an artist named Jacopo to come from Pistoja and work for uth cen- 
 him ; and shortly after a certain Francesco Frio-eri, wishinof to 
 
 1 A.D. 1344. 
 
 decorate the sepulchre of his family in the duomo, had to send to a.d. i358. 
 Cremona to purchase a poorly- sculptured mortorio of wood. No 
 certain works of this period exist, save the rude and much injured 
 
 monument erected to Guido Pallavicino in the Abbey of Fontevivo; a.d. laoi. 
 
 the tomb of Ugolotti Lupi in the oratorio of Casa Melilui>i in a.d. 1351. 
 Saragna, sculptured by a second-rate artist with coats-of-ai'ms and 
 figures; and a sarcophagus under the porch of the church of San 
 Vitale 6 Agricola at Bologna, which was made by Maestro Rosa da 
 
 Parma, and used as the burial-place of Mondino de' Liucci a celebrated Died 1318. 
 anatomist. It is adorned with a bas-relief representing the professor 
 
 ' ' In millo ducto octuago pmo indioionc nona facti fuore Leones, P. Magistnim 
 Bonum, d. Bixouo, efc tpore fvatruni ghidi Nicolay B'rardini et Bevenuti di labo- 
 reris.' — Ricci, o^h cit. vol. i. p. 480, nota 6i. 
 
262 
 
 ITALIAN SCULPTOKS. 
 
 expounding a book, which lies before him, to six disciples seated 
 at low reading-desks, some listening and some following the text 
 in the books which they hold in their hands. Their attitudes are 
 agreeably varied, and the expression of attention in their faces is 
 well rendered. All are dressed in long gowns, with round caps 
 upon their heads. ^ 
 
 Civil discords and the tyrannical rule of the Visconti paralysed 
 the arts at Parma during the fourteenth century, and the same 
 
 Sculptors political conditions weighed upon them during much of the fif- 
 
 15th cen- tccuth which produccd some few architects, but no sculptors of 
 repute. The only existing monuments of this time are the rude 
 
 A.D. 1416. bas-reliefs upon the sarcophagus of Biagio Palacani on the fa9ade 
 of the duomo; the sepulchral slabs of Giovanni Lalatta and his 
 
 A.D. 1421. wife; and those of Giovanni degli Ardemani (1422), Antonello 
 Arcimboldo (1439), and Antonio Bernieri bishop of Lodi (145G); 
 
 A.D. 1476. the bas-reliefs of the Beato Simone della Canna, and those upon the 
 
 A.D. 1484. sarcophagus of Girolamo Berniesi in the duomo. Giacomo, Filippo 
 and Damiano, sons of Filippo de' Gonzati of Parma, who were dis- 
 tinguished as bronze-casters in the fifteenth century, made the 
 statues of the four evangelists in bronze upon the balustrade 
 around the ciborium in the duomo, which are creditable examples 
 
 Born 1434. of their skill.'^ A celebrated wood-carver and ' intarsiatore ' named 
 Liichino Bianchini, the supposed scholar of Cristoforo da Lendmara, 
 
 A.D. 1469- who with his son Bernardino worked at Parma for a period of twenty 
 
 1489. ^ . 
 
 years, helped them to carve the presses for the sacristy of the 
 A.D. 1494. duomo, and himself made the woodwork about its great portal, as 
 well as the intaglios and intarsiature of the choir at San Lodovico. 
 His son Gian Francesco, who followed the paternal profession Avith 
 success, married the daughter of Marcantonio Zucchi the clever ' in- 
 tagliatore ' of the choir stalls in the church of S. Giovanni Evano-elista. 
 This same church contains some excellently-sculptured capitals signed 
 A.T). 1510. by a Maestro Antonio,^ who was employed by the Conte di Cajazzo 
 A.D. 1488. several years earlier to adorn the portal of his palace with orna- 
 ments and figures. Two workers in terra-cotta are mentioned 
 with praise at this time — one being a Maestro Francesco, who also 
 
 ' ' S. Magro. 22. leu. cii Mondini cle Luciis, et es 22 heredum.' 
 
 2 The ciborium wa.s made by Alberto da Carrara 1488 (see Lopez, op. cif. p. 46). 
 
 ^ ' Amio salutis jipx. Autoiiius Parmensis faciebat.' — Lopez, oji. cif. p. 46. 
 
PIACENZA.— GENOA AND CARRARA, 
 
 263 
 
 worked at the Palazzo Cajazzo, and the other a Maestro Giovanni, a.u. i488. 
 who made a terra-cotta frieze for the hospital. These are the last 
 sculptors we know of at Parma. 
 
 PIACENZA. 
 
 Piacenza offers us still less matter for consideration. The 
 fa9ade of the duomo, which was erected in the early part of the a.d. 1122. 
 twelfth century, is decorated with the signs of the zodiac, and has 
 clumsily-executed bas-reliefs by unknown sculptors about its northern 
 and southern portals. The brothers Pietro and Ubertino, who cast ad. ii96. 
 two bronze doors for the Lateran basilica at Rome during the pon- 
 tificate of Celestine III., were probably from Piacenza.^ Only one 
 other Piacentine sculptor, Livio de' Cornaschi, is known to us. 
 This artist carved a frieze for the church of San Giorgio Maggiore 
 at Venice towards the end of the sixteenth century. a.d. 1596. 
 
 GENOA AND CARRARA. 
 
 The most ancient sculptures at Genoa are those upon the exterior Early 
 
 ■ sell 1 pturss 
 
 of the duomo, which was founded about the middle of the eleventh 
 
 at Genoa. 
 
 century, and planned on a vast scale, being intended not only for 
 sacred but for such profane uses as the meeting of popular 
 assemblies, the reading of decrees, the contraction of alliances, the 
 celebration of victories, and other public acts.'^ The oldest of its 
 sculptures are probably the fantastic animals, sirens, and monsters 
 upon the side-posts of the small door on the left, carved in relief 
 obtained by cutting away the surfice around their clumsy forms, and 
 indicating their outlines by furrows. As this system of working 
 Avas that of the sculptors of the Lombard period, it is possible that 
 
 ' One of these doors now in the baptistry of Constantino has a few simple 
 figures in relief upon the middle of its left valve. Rumohr, Ifalienische Forsclnaigen, 
 i. 268, thinks that the words ' Fratres Placentini ' in the inscription upon this door 
 proves the origin of these artists from Piacenza, though he declares himself unable 
 to interpret the word ' Latusenan ' which follows the name of Hubert. This word 
 has been interpreted to mean ' Lausanne ' (see also Platner, Beschreihung Boms, 
 iii. 543). 
 
 2 Lopez, oj). cit. pp. 63-4. Ricci, i. 356-7, says this was one of the first build- 
 ings erected in Italy with this double end in view. The old cathedral of San 
 Siro which stood outside the walls was in constant danger of plunder by the 
 Saracens. 
 
2G4 
 
 ITALIAN SCULPTORS. 
 
 these reliefs and ornaments originally belonged to the small church 
 of San Lorenzo, which was pulled down to make room for the 
 new duomo. The little tabernacle on one side of this door which 
 Dated contaius a relief of the Madonna and Child with ano;els is certainly 
 
 Aug. 15, . 
 
 1342. a work of the fourteenth century/ while the Martyrdom of San 
 Lorenzo in the lunette above the great portal, the Byzantine- 
 looking Christ above it; and the series of Biblical reliefs upon 
 the fa9ade, which are executed in a stiiF hard style, and com- 
 posed of many small figures confusedly ranged one above the 
 other with but little attempt at composition, probabl}'' belong to 
 the thirteenth. That to the left represents the Stem of Jesse, and 
 those to the right the Annunciation, the Meeting of Elisabeth 
 and Mary, the Nativity, the Adoration, the Flight into Egypt, and 
 the Massacre of the Innocents. 
 
 None of the Genoese tombs and bas-reliefs within the edifice are 
 
 M. 1336. of remarkable merit. The monument to Cardinal Luca Fieschi, 
 above a door in the right aisle, consists of a sarcophagus decorated 
 with a bas-relief of our Lord and the Twelve Apostles, upon which 
 lies the effigy of the cardinal, watched over by two clumsy angels, 
 
 M. 1469. whose action is unusually vehement.^ Another Fieschi, Cardmal 
 Giorgio, who lived a century later is buried in a chapel on the opposite 
 side of the church. His monument is alike Pisan in tyyie^ but more 
 complicated in design. The sarcophagus stands under a tent- 
 like canopy surmounted by a statuette. Four seated statuettes of 
 Virtues decorate its front; two figures, which look like monks, 
 stand at the head and feet of the recumbent effigy, and behind 
 it are angels, two of whom are praying, and one holding a scroll. 
 The statuettes are short and thick-set, and the sculpture is coarse 
 and wanting in refinement and feeling. The bas-relief of the 
 
 A.D. 1443. Crucifixion above the altar in the Chapel of the Holy Crucifix, 
 Avhich belongs to the same period, is crowded with small stiff 
 figures formally ranged one above the other, and equally inex- 
 pressive. Another Quattrocento relief of the same subject in 
 one of the sacristies is scarcely better in point of execution, but 
 decidedly so in feeling. In vain do we search for some native 
 
 • Insc. : ' 1342, Die Angusti . S . Johs . q . galli . d . bosolo . faber . fratrum et 
 heredum.' The relief belonged to the tomb of the brothers Bozoli. 
 
 2 Banchero, II Duomo di Geneva, p. 166, ascribes this moni;mcnt to Balduccio 
 Pisano, but we find no trace of his style in it. 
 
GENOA. 
 
 2G5 
 
 sculptor of eminence among the many who flourished at Genoa 
 between the middle of the fifteenth and the end of the sixteenth 
 century.^ That this was not owing to the want of good foreign 
 examples, the works of Matteo Civitali in the duomo, and those of 
 Montorsoli at San Matteo attest.^ Two Quattrocento tabernacles in 
 the church of San Teodoro, which are too good to belong to any of 
 the native sculptors known to us, are the only scul2)tures in the 
 city which can pretend to any delicacy or refinement of st}de, 
 expression, or elegance of ornament. A bas-relief in the centre of 
 that on the left represents the Infant Christ supported by an angel, 
 and adored by the Madonna, St. Joseph and a monk. The four 
 Virtues sculptured upon the side pilasters, the groups of angels in 
 the base, and the prophets in flat-relief within roundels below the 
 pilasters are excellent. Though delicately sculptured, the figures 
 in the bas-relief of the Resurrection in the upper part of the other 
 tabernacle are much more violent in action. Among the names 
 of Genoese sculptors which have come down to us are those of 
 Daniele Lercaro, who is mentioned as having sculptured three a.u. lus. 
 saints upon a cherry-stone; Lionardo da Sarzana, who was em- 
 ployed to finish the Moses of the Fountain de' Termini at Rome, 
 after it had been hopelessly spoiled by Prospero Bresciano, and who 
 made the monument of Pope Nicholas V. at Sta. Maria jMaggiore, a.d. i58o. 
 as well as a Triton for one of the fountains in the Piazza Navona; 
 Lionardo and Giovanni Antonio Sormanni, who worked at Rome 
 about the same period upon the statues of SS. Peter and Paul 
 for San Pietro in Montorio, the base of the statue of Marcus 
 Aurelius, the fountain in the Piazza of the Pantheon, and a 
 Venus which the Cardmal of Montepulciano sent as a present to 
 Philip II. King of Spain. The second of these artists was employed 
 by King Philip at the Escurial, and at Madrid, and received from 
 him a salary of 700 scudi a year with a house. 
 
 None of the great Italian cities has been so artistically sterile as Causes 
 Genoa, and that this arose from a want of capacity in the Genoese poverty 
 nature and not from any accidental circumstances is evident, since tuiv^at^' 
 Pisa and Venice whose site, form of government, and commercial 
 
 ' The Cav. Santo Varni an eminent Genoese sculptor has published a list of 
 sculptors' names in his Elenco dei Docuinenti. Many names are also given in the 
 work of Soprani and Ratti upon the Genoese architects, sculptors and painters. 
 
 ^ See Tuscan Scnljytors, i. 215; ii. 101. 
 
 M M 
 
266 
 
 ITALIAN SCULPTORS. 
 
 relations Avere identical with hers, added so much to the glory of 
 Italian art in one or all of its branches. Having o[)en and easy com- 
 munication with Carrara either by land or sea, Genoa cannot plead 
 want of material as an obstacle to her success in the art of sculpture, 
 but that abundance of marble does not necessarily create good sculp- 
 tors is proved by Carrara, for though her streets are lined with studios 
 and she has trafficked in marble ever since the quarries of Luni were 
 first worked by the Romans under Julius Ca3sar, she has never pro- 
 duced a really eminent sculptor. There are indeed but two Carrarese 
 
 CaiTarese sculptors worthy of rccord, Alberto Maffiolo dei Maffioli or Muffioli, 
 
 fccuiptors. ^j^^ worked principally at the Certosa of Pavia in the latter part of 
 the fifteenth century, and Danese Cattaneo. In our account of the 
 
 Alberto artists employed at the Certosa we mentioned that Maffioli was 
 allowed to occupy the studio vacated by the brothers Mantegazza 
 after the death of Cristoforo, and that he there sculptured a bas- 
 
 A.D. 1489. relief now in the Lavatojo dei Monaci,^ whose long-proportioned 
 figures, cartaceous draperies and exaggerated action show him to 
 have been bred in their school. It represents our Lord washing the 
 apostles' feet, the kiss of Judas, and the Agony in the Garden. The 
 medallion portrait of Giovanni Galeazzo Visconti above the door of 
 
 A.D. 111)0. the Sagrestia Vecchia is also by this sculptor, who probably worked 
 under the Mantegazza and Omodeo upon some of the bas-reliefs of 
 the Certosa fa9adc. ]\Iaffiolo's design for the completion of the 
 fagade of the duomo at Cremona^ having been accepted by the Duke 
 
 A.D. U91. Lodovico, he was appointed its capo-maestro, but he held the office 
 for too short a time to carry out his projects. He also resided for 
 
 June 13, some time at Parma, where he was honoured with the citizenship,^ 
 and sculptured heads of the Virgin, St. John the Baptist, and S. Ilario 
 in roundels, separated by garlands sustained by angels' heads, upon 
 the marble parapet of the cathedral organ-loft.'^ 
 
 Danese Daucsc Cattaiieo, the second Carrarese sculptor of note, was born 
 
 ( attdueo. ^Q^yg^p^g (^jj J Qf ^jjg fifteenth century. His father Michele was an 
 
 ' He was paid 1294 lire and 18 soldi (.see tlie Convenzione of July 15, 1489, from 
 the Arcliivio Notarilc di Pavia, published by Calvi, op. cit. pt. ii. p. 161). 
 
 2 Ricci, oj]. cit. i. 612, nota 48. 
 Sig. Lopez, II Battistcvo dl Tarma, p. 4G, Preliminari (vide Pezzana, Storia 
 (li Fauna, t. v. p. 38). 
 
 ■* Tlie contract for this parapet, which was made by Maffioli, is given by 
 Lopez, oji. cil. ch. i. p. Ill) ; and ji. 1:38, note 56. It is dated June 13, a.d. 1488. 
 
CARRARA. 
 
 267 
 
 honest tradesman, who with his wife Donna Gentile degli Alberti 
 removed to Carrara from a small Alpine village called Colonnata.^ 
 While yet a mere boy Danese studied sculpture under Jacopo a.d. 1527. 
 Sansavino at Rome, and after the disastrous siege of that city by 
 the Constable Bourbon, during which he suffered greatly and was 
 thrice taken prisoner by the Spanish troops, followed his master 
 to Venice, and with his other pupils assisted in decorating the 
 fa9ade of the library, the Zecca, and the loggietta of the Campanile. 
 The disgrace and imprisonment of Sansavino^ especially dismayed a.d. 15-15. 
 Cattaneo and Pictro Aretino, and it was mainly through their 
 exertions that Sansavino was liberated and placed in a position to 
 redeem his reputation. Although Cattaneo lived to be an old man 
 he left behind him very few works. Temanza tells us that he 
 practised sculpture rather as a means of gaining a livelihood than 
 for love of the art, and that his real talent was for poetry ; his great 
 contemporary and intimate friend Torquato Tasso speaks of him in 
 his ' Rinaldo' as equally illustrious both as poet and sculptor;^ and 
 Bernardo Tasso in the 'Armadigi' places him upon the mountain 
 of Glory, and calls him 
 
 Spirto alto ed cgi'egio, 
 
 E poeta, e scultor di sommo pregio.''' 
 
 His literary works, which are much more considerable than his Litcrai-j- 
 sculptural, consist of several long heroic poems, as well as tragedies, 
 comedies, and sonnets, the greater part of which are still unedited.^ 
 Some of the sonnets are graceful and pleasing, and show a gentle 
 spirit, alive to natural beauties and tinged with melancholy. His 
 marbles are of the same quahty as his poems, with little individuality 
 and no power. Take for instance the statue of Christ above the CMnneos 
 Fregpso altar in Sant' Anastasia at Verona,^ a weak timid figure, rolfiT 
 
 ' Vasari, vol. xiii. p. 10 i, nota u. 
 
 Tuscan Sculjjtors, vol. i. cli. ix. p. 251. 
 ' Rinaldo, iii. 88. 
 4 Canto 100. 
 
 ^ See Appendix to this Chapter. 
 Inscribed : ' Absolutum opus Danesio Cattaneo Carraricnsi sculptor ed avchi- 
 tetto.' 
 
 *MM 2 
 
268 
 
 ITALIAN SCULPTORS. 
 
 cortile of the Zecca, a mannered figure of St. Jerome for the church 
 of San Salvatore, and busts of Andrea Delfin and his wife Benedetta 
 A.D. 1552. Pisani. At Padua he assisted Tiziano Minio in casting bronze gates 
 for the Cappella del Santo which were partially completed and after- 
 wards melted down ; and cast the bust of Cardinal Bembo, which he 
 had modelled at Rome under the eyes of Titian and Sansavino.^ 
 Shortly before his death he received a commission to sculpture 
 a bas-relief for the Cappella del Santo, and came to Padua for the 
 purpose, but probably did little towards it, as it was afterwards 
 given to his scholar Girolamo Campagna, and is signed with his 
 name.^ He died at Padua in the year 1673. 
 
 ' Gonzati, 027. cit. i. 84. ^ Ibid. ii. 172. 
 
 STATUE OF JACOrO DI SAN SEVERING BY GIOVANNI DA NOl.A. 
 (Sec Chapter III.) 
 
APPENDICES. 
 
 APPENDIX TO CHAPTEPv I. 
 
 Notice of several churches in Apulia and the Abruzzi, extracted from 
 Schultz, op. cit. 
 
 I. MoLFETTA, stigmatised by Frederic II. as ' Mophetica Melphicta, 
 stercore pleno et raaledicta,' a town on the coast between Bari and Trani. 
 The duomo was probably erected about the middle of the twelfth century. 
 The leaf-work, animals, and heads about the fagadc, and the lions on each side 
 of the great windows, arc inferior in Avorkmanship to the sculptures about 
 the duomo at Bari. Some of the ornaments are quite Arabic in character. 
 
 Within the church is a bas-relief of Christ with apostles and saints. 
 Our Lord is larger than the other figures. He has long hair, large eyes, 
 and a broad nose, and holds a book. The apostles and saints are Byzantine, 
 and in a rude style of sculpture. 
 
 II. Altamura, south of the Terra di Bari, on a mountain which 
 divides it from the Basilicata. The church of Sta. Maria Assunta was 
 founded by Frederic II. in 1232. One of his decrees dated from Melfi in 
 1232 refers to it as founded by him, as does a bull of Innocent IV., dated 
 Aug. 9, A.D. 1248. The chief portal, which is of great elegance, was 
 erected during the reign of King Robert, 1309-1343. The sculptures 
 inside and outside this church are of great interest. A portion of the build- 
 ing was added by Don Pedro di Toledo. 
 
 III. BoviNO, between Troja and Ascoli. The duomo is of the thir- 
 teenth century. There are some sculptures about the entrance of the chapel 
 of St. Marcus Africanus. 
 
 IV. Eapolla, south of Melfi. The duomo Avas founded in the first 
 half of the eleventh century. On the west side of the campanile are two 
 bas-reliefs representing the Temptation and the Annunciation. 
 
 V. San Tomaso del Monte or di Paterno, at Caramanico near 
 Monte Majello. The sculptures about the three round arched doors are 
 still more Byzantine than those at San Clemente. 
 
 VI. Carsoli. The sculptures about the duomo apparently belong to 
 the early part of the thirteenth century. 
 
270 
 
 ITALIAN SCULPTORS. 
 
 VII. Beneventum. The bronze doors of the duomo are greatly 
 inferior to those at Trani and Ravello in execution and ornament. They 
 date from the middle of the twelfth century, and show a peculiar mixture of 
 antique Byzantine and Latin elements. There are two puljwts decorated 
 with sculpture and mosaic-work, and a paschal candlestick, all made about 
 1311, within the church. 
 
 VIII. Monte Vergine near Beneventum. The cloister was founded 
 in 1119; the church dedicated Nov. 11, 1182. The present building is 
 Gothic and of a later date. The antique sarcophagus in the right transept 
 was intended by Manfred for his own burial-place. The tabernacle in the 
 Chapel of the Sacrament was given by Charles Martel (son of Charles II. of 
 Naples), King of Hungary, between 1290-1301. There are five momi- 
 ments in this chapel, two of which belong to the fourteenth century ; one of 
 them, that of Berterardus de Sangro, is dated 1335. 
 
 APPENDIX TO CHAPTER HI. 
 
 GENEALOGY OF THE COSMATI. 
 
 After Prom is. 
 
 Lorenzo, 1140. 
 I 
 
 Jacopo, 1175-1235. 
 
 Cosma, 1210-1277. 
 
 \ 
 
 .laclpo IT., 1210-1213-1203. Cosma II., 1218 
 
 Jacopo III. Giovanni, 1296-1303. 
 
 After Gayc. 
 
 Cosma, 1226-1231-1235. 
 
 I 
 
 I I 
 Luca, 1231-1235. Jacopo, 1205-1210-1231-1235. 
 
 Coima II., 1210-1277. 
 
 I 
 
 I I 
 Giovanni, 1296-1299-1303. Adeodatus, 1310. 
 
 After Boiio. 
 
 Lorenzo, 1140. Jacopo II., 1213-1293. 
 
 Jacopo, 1165-1235. Adeodatus, end of the thirteenth century, 
 
 Cosimo, 1190-1280. Giovanni, 1290-1303. 
 
 Luca, 1212-1235. 
 
 Luca, 1231-1235. 
 Adeodatus, 1310. 
 
APPENDICES. 
 
 271 
 
 APPENDIX TO CHAPTER IV. 
 
 (1) Page 128. Church of the Beato Lanfranco. 
 
 The beautiful terra-cotta ornaments upon the arcade of the small cloister 
 of San Lanfranco near Pavia which belong to the fifteenth century, are 
 executed with great freedom. The rich entablature above the arches is made 
 up of classical elements. Tlie archivolts are adorned with draped ' putti ' and 
 leaf-work. The figures are much less conventional than those about the arcade 
 of the great cloister at the Certosa, but are not like them varied in design, 
 
 (2) Page 151. Cappella dell' Albero. 
 
 The bronze candelabrum in the Duomo at Milan, whose tree-like shape 
 has caused the chapel in which it stands to be called ' della Madonna dell' 
 Albero,' is one of the most elaborate works of its kind in the world. No 
 mention is made of it eitlier by Cicognara or Agincourt, but Franchetti in 
 his Duomo di Milano, p. 104, tells us that it Avas given to the church by 
 Giovanni Battista Trividzio, ' Arciprete della Metropolitana,' and cites this 
 inscription to that effect upon the marble base on which it stands — 
 
 lo Bapt 
 Trivultius 
 Hu. Eccl. 
 
 Archipbr 
 D. D. 
 
 PriEfecti 
 Fabrica; 
 Perfcc[crunt] 
 et hie po[suit] 
 VUL C. Apr. 
 MD.LVII. 
 
 This date 1557, being that of its collocation, is tlie only one given in con- 
 nection with this magnificent work of art. When it was made is unknown, 
 and some critics have even assigned it to the twelfth century, but we cannot 
 concur in their opinion, as it was not until the fourteenth that sculpture 
 began to flourish at Milan throvigh Balduccio da Pisa, and neither he nor his 
 scludars the Campioncsi have elsewhere shown themselves capable of making 
 so skilful and elaborate a work. The Mantegazza and Omodeo, and the 
 artists who worked under them were extremely skilful, as their works about 
 the Duomo and the Certosa abundantly show. It is then to their time that 
 Ave should assign the Trivulzi candelabrum, for although Ave are unable to 
 point out any individual among the Cinquecento sculptors as its possible 
 author, Ave knoAv at least that as fixr as Avorkmanship Avas concerned, many 
 among them Avcre callable of making it. It seems to us that the general 
 character of ornament in an elaborate work of this kind is not ahvays a per- 
 fectly safe guide to a right conclusion as to date, for as in classic art Ave 
 find many bas-reliefs and statues in an archaic style Avhich are Avell knoAvn 
 to have been executed long after archaism had ceased to be, so also in 
 modern art Ave noAv and then find an isolated Avork in AvhIch the taste of a 
 bygone period may have been adopted to form the puzzle of future genera- 
 tions. Singularly enough the candelabrum at INIilan, and the so-called 
 Gloucester candlestick from tiie Soltikoff collection in the Kensington 
 
272 
 
 ITALIAN SCULPTORS. 
 
 Museum, have a certain resemblance in general design. The latter, which 
 is an English work of the early part of the twelfth century, was given 
 to the abbey church of St. Peter at Gloucester by Peter, who became 
 abbot in the year 1104. The resemblance is such as may well exist between 
 a really early work, and one in which early forms were adopted at a late 
 period. The upper part of the Trivulzi candelabrum is like a tree, with sym- 
 metrically arranged branches. The shaft or trunk below the point whence 
 those branches spring is adorned Avith bosses and projecting leaves. One of 
 these bosses is plain ; the other richly carved with intertwined stems and buds, 
 and adorned with little equestrian figures of the three kings riding round the 
 boss towards a small group of the Madonna and Child. The tails of four 
 Avinged dragons, whose heads rest upon the ground to support the candela- 
 brum, meet at the foot of the shaft, and curling over form circular spaces filled 
 with open work, and with figures of Fortune blindfold. Architecture holding 
 a pair of compasses, Music with a harp, &c. &c. Fantastic figures of sirens, 
 dragons, &c. are placed below on either side of the heads of the four great 
 dragons. The spaces between their bodies are filled with open-work like 
 that upon the upper boss, interspersed with many little groups. At the top 
 of one of these spaces are two figures, below them a goat (Capi-icornus), and 
 a bull ( Taurus) ; further down are two saints, and at the bottom two com- 
 positions of a larger size — the one being the Temptation of Adam and Eve, 
 the other their Expulsion from Paradise. 
 
 TRE LETTERB DI CARADOSSO SCRITTE A LODOVICO IL MORO.— 
 UNA DI LODOVICO A CARADOSSO.— UNA DELLO STESSO A . . . 
 
 (^Copiate dagli Autografi che si conservano neW Archivio di S. Fedele.^ 
 
 1. 
 
 Ill'"" et Ecc™" S. Lodovico Dux Mii In Mlo. 
 
 111™° S. niio, II 28 del presente givmsi in Fiorenza, e subito andai al Mco 
 Ambassador, e a sua M'-* li e parso abi presentata una al Mag-° Lorenzino ' 
 qual me a ditto metteva ordine che vedero tutte le cose li sono, e secundo 
 la commissione di quella subito veduto dai'o avviso a Ecc'^* ; et anchora 
 ho parlato a Givan Marcho qual me dice avere perle de 7 carati da 30 in 
 suxo, e me ne ha niostrato una de 22 carati ch' e una bella cosa, et anchora 
 dice averne due altre che sono di piu peso. Dimani le vedero e sendo cosa 
 per V""" Exz** quella sara avvisato a la qual me raccommando. 
 
 V. s. 
 
 Cakadosso del Mundo. 
 
 Die 29 Januarii, 1495, in Tircnze. 
 
 ' Lorenzo cle' Medici, son of Piero Francesco, was descended from a brother 
 of Cosmo Pater Patrinp ; banished by Piero dei Medici he returned to Florence in 
 the suite of King Charles VIII. of France. 
 
APrENDICES. 
 
 273 
 
 II. 
 
 Ill""' Sig. mio. Sono giunto a Viterbo e ho visitado nro S*"^ E,"" V""" 
 fratello e sua S''" mi dimada che andava faciando. Li dissi esser stato in 
 Fiorenza per veder le cose di Piero de' Medici, e che avra veduto quello si 
 trovava in Fiorenza, e '1 meglio era stato levato. Uno di quili de suo R"" 
 disse essere quelle cose manchano zoe a Fiorenza, sono in Roma ad istanza 
 de Piero, e che lui avra amicizia con quello che li a servate e con una tra 
 sua me lo faria vedere. E cosi me a fata tra dito servitore del Il™° S""® si 
 giama Torito, El balasso qual dete p nostra El 11"° iiro Signiore dice la 
 veduta in Roma. Credo trovarlo. Ogi me parto per Roma e veduto avero 
 subito daro aviso, &c. &c. 
 
 Caradosso del Mundo. 
 
 Die 21 Feb. 1495. 
 
 III. 
 
 111™° S. mio, io sono stato en quisti et sono sopra le cose de Piero de' 
 Medici, me ano mostrato quelle cose li sono. A questi di vide la sardella, et 
 un' altra volta melano mostrato in compagnia de le altre cose li sono, el melio 
 non si trova, cioe el suggiello di Nerone, el caro de' fetonte el oalzidonio. 
 Medali d' oro lie ne milo ; de argento da tre mile. 
 
 El balasso che fu del M'^ de Mantoa tavola e V"^ Ex"* el vide, vi fu 
 mandato da uno gne e quella el chi gniole et ancora me ano mostrato dieci 
 altri balassi forati non di troppo peso, uno de carati cinquanta, 1' altro 
 quaranta in circa, e paregie anelle da dodeci, el melio non passa de valuta de 
 cento ducati. 
 
 Uno diamante mi ano mostrato de pretio de 50 ducati di facione de rosa 
 a facette. E poi me ano mostrato li vasi che sono quindeci, fu fra dicti vasi 
 lie ne uno assai grande con la gola stretta de agata, e poi due che non sono 
 si grandi de simile pietra, che al parer mio sono bellssime ; vero e che se ne 
 uno che in piu pezzi ed e incolato, li altri sono di diaspcr e di cristalo ; e 
 questo tempo che me ano fatto stare a spettare a mostrarmele, io ho praticato 
 CO bo modo che mi sono informato del costo da quili projiio che ano fatti 
 vendere, e forse de tute queste cose trovo li ha avute per pocho precio, e 
 quando comprava dicea et conpra si non conparo io, e quando facea merchato 
 non volea si sapesse el costo p et facea venire estimatore a modo suo, et 
 quello che costava dice lo facea estimare cento, e tutti le stima le facea e 
 servarle, e qualche volta sono stato a ragionamento con alcuni di loro che 
 me ano dimandate che mi par a me del precio, per intendere al mio parere, 
 respondendlli che non tochava a mi a far el precio a le cose sue ; me dissero 
 esser li notate le stinie quale avea fato far el M''° Lorenzo, e io li rispondea 
 a quello che io sapea il costo, e se volcano vendere secondo le stime sue non 
 bisognia prendere partito de vendere, e per quello si vede no mi pare siano 
 per attender adesso al vendere questo cose e cosi e al parere del M*^" Imbas- 
 
 N N 
 
274 
 
 ITALIAN SCULPTORS. 
 
 sador. De le cose de bronzo tute sono andate sacho e cosi tuti li marmi,' solo 
 e restato una figura che si dimanda, el riudo ; da la paura che bono vero e 
 die trovano alia giornata delle cose tolte per rispetto de li bandi ano fatti ; 
 e uno cittadino me ha ditto a me che ha una cosa bellissima, e non la vole 
 publicar insina a due mese : a me promeso de compiacerml a V""* Ecc^* si in 
 questo tempo che quella me fara intendere che ho da fare andero a vedere 
 molte gioje grosse quale sono di fora da Fiorenza. Per quisti lori dubij como 
 per un altra mia ho scritta, e veduto avero, subito avvisero V™ Ecc^* a la 
 qual me ricomando. 
 
 Caradosso del Mundo. 
 
 Die 9 Feb. 149.5, in I'iorenza. 
 
 Ill™" et Exl"" Duo Lodovicho Dux Mt. 
 
 APPENDIX TO CHAPTER VII. 
 
 Poetry by Danese Cattaneo. 
 
 There are two volumes of Cattaneo's poetry, for the most part MS. in the 
 Chigiana at Rome, dedicated ' ai benigni lettori' by his nephew Niccola ; on 
 the fly-leaf are several data concerning him. Among the poems are. La 
 Teseide, in twelve books ; DeW Amor di Marfisa, thirteen cantos (published 
 at Venice in 1562); The Pilgrimage of Rinaldo\ Germania Domata, a 
 comedy ; a tragedy entitled Lucrezia ; and fourteen sonnets, of which we 
 here give one with a translation by Mrs. S. M. Eckley — 
 
 April dipinse in mille bei colori 
 
 Fiori e fronde, e la terra e gli arboscelli, 
 
 Destar il canto negli amorosi augelli, 
 Rende il pianto a le vite, e i dolei humori. 
 Porgon le pecorelle a lor pastori, 
 
 La lana, il latte, e i mansueti agnelli ; 
 
 Pascon r api ronzando i fior novelli, 
 Perche i lor pascon poi dolci signori. 
 Tesson le ninfe a le lor treccie bionde 
 
 Ghirlande vaghe, e in leggiadretto stuolo 
 
 Danzano al suon d' un cliiaro e fresco rio. 
 lo piango, e 1' Eco al pianger mio risponde, 
 
 Piangendo m' accompagna il rossignuolo ; 
 
 Ma il loro k vecehio, e nuovo il dolor mio. 
 
 Now April paints in thousand brilliant hues 
 The flowers and leaves, the earth and plants she 
 loves, 
 
 Wak'ning the birds to song in amorous groves, 
 And sap in vines which odorous balms diffuse. 
 Now comes the shepherd's boon in ewes and fleece, 
 
 And tender lambs, and milk, his guerdon meet ; 
 
 AVhile hums the bee in early blossoms sweet, 
 And brings her food, the gentle lords to please. 
 Now njrmphs are wearing in their tresses fair 
 
 The waving garlands, and in joyous nook 
 
 Dance to the music of the babbling brook. 
 I only weep, and Echo answers far, 
 
 And plaints with me the nightingale's sad lay ; 
 
 'Tis old to them, but my grief's new alway. 
 
 • The general belief is that the Medici palace was not sacked after Piero's 
 flight, thanks to the vigilance of the guards, but that everything portable was 
 carried off when Charles VIII. left it in 1494. 
 
PL. XIX ^'-^^ 
 
ADDENDA TO 'TUSCAN SCULPTORS.' 
 
 With Four Plates engraved by the Author for Vol. I. Chap. V. of the 
 French translation of that icork. 
 
 Plate XVII. (bis). The Entombment, engi'aved from a pbotograph which 
 C. Drury Fortnum, Esq., caused to be taken from the original bas-relief in the 
 Ambras collection at Vienna. It is mentioned in Dr. Edouard, Freiherr von 
 Sacken's Catalogue, at p. 96, as : ' Ein flaches Relief auf vergoldetem Gi'unde, der 
 Grablegung Christi vorstellend, mit vielen Figuren die ungemein ausdrucksvoU 
 und schon gruppirt siud ; der vergoldete Sarkophag, in dem der Heiland gelegt 
 wird, ist mit Siegeswagen und Kriegern geziert, eine treffliche Ai'beit.' This 
 admirable rehef is certainly a Florentine work of the fifteenth century, and as 
 among the Florentine sculptors of that period none but Donatello could have 
 thrown such intensity of expression into the heads and attitudes of his figures, 
 have grouped them with equal variety, or so skilfully have made use of different 
 kinds of relief to obtain a desired variety of surface, we have little hesitation in 
 ascribing it to him. None other we may add could have caught the spirit of the 
 antique so completely, or used it with such unexampled ability as a foil to the 
 strong realism of his main subject, as is here done in the small relief upon the 
 front of the sarcophagus. 
 
 Plate XVIII. (bis). Guardian Angel from the tomb of Cardinal Brancacci at 
 Naples mentioned in vol. i. p. 143. 
 
 Plate XIX. (bis). No. 1. Upper portion of the terra-cotta altar in the church 
 of the Eremitani at Padua by Giovanni da Pisa, the scholar of Donatello, from a 
 drawing by the Baron H. de Triqueti. — No. 2. Angel from the altar by Donatello 
 in the chapel of the Sacrament at Sant' Antonio at Padua, from a drawing by the 
 Baron H. de Triqueti. 
 
 Plate XX. (bis). Angel from the high altar of Sant' Antonio at Padua, from 
 a drawing by the Baron H. de Triqueti (see Tuscan Scidjjtors, i. 155). 
 
 VOL. L 
 
 INTRODUCTION. 
 
 (1) Page 17, note 1. tn farrl TovaKciuuvQ T))y TrXaori/c*;!' inixoT^aui, CI. Alex. 
 Stromat. lib. i. p. 362, ed. Oxon, 1715. 
 
 (2) Page 18, line 2. For the opinion of Dionysius as to the probable Italian 
 origin of the Etruscans, see 'Pwjua(ic»;e 'ApxaioXoyaic lib. i. p. 23, par 30, ed. Oxon. 
 1714. 
 
 (3) Page 18, note 1. See Strabo upon the names given to the Etruscans, 
 lib. V. ch. ii. p. 2 : OJ 'Tvppr]i>ol Toivvv napa to'iq PwfxctioiQ ErpoSff/cot kui ToviTKOt 
 TrpoaayopEvovrai. o'l h' "EXAiji'tg oyrwc (l>v6fia(Tay uurovr otto tou 'I'vpprji nu tov ' Atvoc, 
 iiQ (puai, Tov (TTtiXavTor IK Au2('ac iwoiKovc Sevpo. 
 
 N N i2 
 
276 
 
 ADDENDA TO 'TUSCAN SCULPTORS.' 
 
 (4) Page 18, note 2. Plato's opinion of Egyptian art, 'Nofxwy lib. ii. p. 285, vol. ii. 
 ed. Didot (656 e) : 
 
 7ru)ptya, ov^ utg tirog ilnt'iy fxvpiocrror, aW ovtuic, tSjv vvy Zehiffiiovpyrffxiyuv ovte rt 
 KaX/\(om oi/re ala~)(iti), r/)i' uhrriv }ie re-^v>)v awEipycKTfuva. 
 
 (5) Page XX. note 1. Vitruvius, lib. iii. ch. iii. 
 
 (6) Page XXV. note 2, line 11, read paritur for pefitw. 
 
 (7) Page xxvii. note 3. Plutarch, No/xae, par. 7 ; and CI. Alex. Stmyiat. lib. i. 
 p. 358. 
 
 (8) Page xxviii. note 1. Plutarch, No/iae, par. 13. 
 
 (9) Page xxiv. line 9. Chares, a native of Lindus in the island of Rhodes, and 
 the favourite pupil of Lysippus, fl. B.C. 290. He cast the famous bronze statue of 
 the Sun, known as the Colossus of Rhodes, one of the seven wonders of the world. 
 
 (10) Page xliv. note 2. The edict of the Lombard king Rotari, a.d. 643, 
 w^hich regulated the condition, privileges and penalties of the Magistri Comacini, 
 is published in the 2nd vol. of Carlo Troya's Storia del Medio Evo, Cod. Dip. 
 pp. 165-9. — Note 5. For the inscription which commemorated the dedication of 
 S. Michele di Monza see the same work, vol. ii. no. 301. The portal of this 
 basilica is a work of the fourteenth century. 
 
 (11) Page xlv. line 5. Theodolinda selected Agilulph Duke of Turin as her 
 husband in 590. He died in the year 615. 
 
 (12) Page xlv. note 2. Carlo Troya, op. cit. vol. iii. p. 247, note 1, says the 
 altar in S. Gio. Battista at Cividale was built by Duke Pemone in 741. The 
 inscription is given in the same work, vol. iv. p. 12. 
 
 N.B. The concluding portion of this introductory chapter which relates to 
 Pre-Revival sculpture in Italy is treated of in the present volume much more 
 extensively. For early sculpture at Najiles see the chapter upon Naples, at Rome 
 see that upon Rome, &c.j &c. 
 
 CHAPTER I. 
 
 (1) Page 3, note 1. Mur. Sc. Ber. It. v. 364. 
 
 (2) Page 4, line 12. Influence of the times upon art. ' L'art est si intime- 
 ment lie aux evenements de la vie sociale et politique des peuples qu'on ne peut 
 bien presenter I'histoire de ses revolutions sans s'etre rendu un compte exact des 
 circonstances, et surtout de I'etat social au milieu desquels il s'est produit.' — 
 E. Renan, Efat des Beaux-Arts au xiv^ siccle, 1^'*^ partie, p. 126. 
 
 (3) Page 4, note 5. The documents connected with the parentage and birth- 
 place of Niccola Pisano are to be found in Ciampi, Notizie hiedite, &c. doc. ii. 
 p. 122, see also pp. 35, 36 ; and in G. Milanesi, Boc. Sanesi, vol. i. doc. no. 8, 
 dated October 1265, and doc. 9, dated May xi. 1266. Doc. 9 is quoted by Rumohr, 
 It. Forsch. ii. 155, 156 ; and by Schultz, Benhnaler, &c. i. 213. 
 
 (4) Page 9, line 13. Vasari, i. 238, 262, and Sasso, Napoli Momimentale, i. 45, 
 make many errors about this Buono or Bono, who is claimed as a Neapolitan by 
 Neapolitan writers. A Buono from Florence worked at Pistoja from 1260 to 1270. 
 See Vasari, vol. i. p. 240, notes 1, 2 ; and documents from the Archivio di S. Jacopo 
 at Pistoja, quoted by Ciampi, op. cit. p. 38, which show that he worked there in 
 1265, 1266, and 1270. 
 
 (5) Page 9, note 1. The first record of Castel di Capoana is to be found in a 
 document dated April 14, 1282 ; the first record of Castel dell' Ovo in one of 
 July 21, 1279 (Schultz, op. cit. iii. 104, 106). In regard to the origin of the name 
 of deir Ovo given to the latter castle Buckle, Gen. Int. Hist, of Civ. i. 287, says, 
 ' in the ^liddle Ages it was well known that the city of Naples was founded on 
 
ADDENDA TO 'TUSCAN SCULPTORS.' 
 
 277 
 
 eggs ' — this legend, and that of the egg on which its fate depended, seems to have 
 been generally current in the Middle Ages. The statutes of the order of the 
 St. -Esprit appointed that a chapter of the knights should be annually held in the 
 ' Castello Ovi incantati in mirabili periculo ' (see Wright's Narratives of Sorcery, 
 i. 115, reference to Montfaucon, Mon. cle la Man. Fr. ii. 329). 
 
 (6) Page 12, note 1. That Niccola designed the church of Sant' Antonio at 
 Padua cannot be proved. At vol. i. p. 119 of La Basilica di 8. Antonio, Padre 
 Gonzati says that no documents bearing upon the question exist at Padua, Pisa, or 
 Bologna. After a careful vreighing of the probabilities for and against, he con- 
 cludes (p. 121) that ' sul modello pertanto di Niccola da Pisa muravasi I'Antoniana 
 Basilica dal 1232 al 1237.' Papebrochi quoted by Gonzati at vol. i. p. 749, says, 
 ' cujus artifex fuerit Nicolaus Pisanus ilia astate Celebris artifex a.d. 1231.' Vasari, 
 i. 265, refers to Niccola's authorship as ' a fact admitted by every one.' 
 
 (7) Page 17, lines 1 and 2. M. le Viscomte Henri Delaborde in an article 
 entitled ' La Sculpture Florentine,' Itev. des Deux Mondes, October 1, 1865, after 
 saying of Niccola Pisano ' que personne avant lui ne s'ctait avise de consulter I'art 
 antique ailleurs que dans les traductions mensongeres donnees par I'ecole degeneree 
 des Byzantins,' remarks in a note upon the singular exception furnished by the 
 * monete augustali ' struck in Naples and Sicily with the effigy of Frederic II. 
 (1231 -1236). In them ' tout revele un souvenir assez exact et une etude as.sez 
 attentive des specimens de la numismatique romaine au temps des Cesars.' 
 M. Huillard de Breholles, Mon. et VHistoire des Norviands, pi. 31, gives an engraving 
 of an Augustal. It does not seem improbable that the partialities of Frederic II. 
 for the antique, evinced in this and other ways, may have had their effect upon 
 Niccola Pisano, and have led him at a later period to its study for his own 
 purposes. 
 
 (8) Page 22, line 15. Fra Guglielmo died not in 1340 as here erroneously 
 stated, but in 1312. See the follovnng extract from a MS. Necrology of the Con- 
 vent of St. Catharine at Pisa quoted in the Arcliivio Storico Italiano, vol. vi. part ii. 
 p. 464, after speaking of the stolen rib it states, ' nec cuique moriens aliquando 
 indicavit, quod fuit anno 1312 completis ab eo in ordine lvi. annis.' 
 
 (9) Page 24. Last paragraph relating to the pulpit at Siena, add to the 
 description, that around the base of the central pillar are sculptural figures of great 
 excellence in half-relief, representing Astronomy, Grammar, Dialectic, Rhetoric, 
 Philosophy, Arithmetic, Geometry, and Music. 
 
 (10) Page 26, note. ' 11 Marrina ' was the sui'name, Lorenzo di Mariano the 
 real name of this Sienese sculptor. 
 
 (11) Page 33. The abbey of Tagliacozzo. According to Vasari, i. 268, 
 Niccola was called to Viterbo in 1267 by Pope Clement IV. and having restored 
 the church and convent of the Preaching Friars then went to build that of 
 Tagliacozzo for Charles of Anjou. As the battle was fought in August 1268 and 
 the buildings at La Scorgola were, as we know by documents in the archives at 
 Naples, commenced in 1274, Niccola may have stayed seven years at Viterbo. In 
 1274 he certainly went to Perugia, as we may suppose after he had designed and 
 commenced the buildings at Tagliacozzo. There is therefore no chronological 
 ground for doubting Vasari's statement. Some doubt however is certainly thrown 
 on it by the fact that Niccola Pisano's name is not mentioned in the documents 
 connected with the foundation of the buildings, published from the Neapolitan 
 archives by Schultz, of. cit. vol. ii. The first document is a letter written by King 
 Charles from Bari, January 1, 1274, in which he tells the magistri Jacopo and 
 Pietro da Caul (or Saul), Simone da Arganta and Pietro da Carelli (or Garelh) 
 that he wishes to build an abbey at Castrum Pontis, and orders them to go, with 
 the Abbot of Casanova, to select building materials and fix upon the site, there 
 
278 
 
 ADDENDA TO 'TUSCAN SCULPTORS.' 
 
 where the battle with Corradino was fought. Four years later, February 21, 
 1278, the king writes from Capua to his administrator Raynaldus Villanus to 
 say that he has appointed a Frenchman Henri d'Assone (in Poitou) to be head- 
 master of the building, and Giovanni da Messina to be overseer. As this was 
 the year of Niccola Pisano's death these appointments may have been made in 
 consequence of that event. From a third royal letter dated December 30, 1281, 
 at Orvieto, written to the same Villanus and an Abbot Guglielmus, we learn that 
 the work was then nearly completed (see Schulfcz, ojj. cit. ii. 88). 
 
 (12) Page 36. Chronological table, last Hne. Fra Guglielmo Agnelli, dies at 
 Pisa, 1312. 
 
 CHAPTER II. 
 
 (1) Page 39, note 2, line 9, read ' in the seventh ' instead of in the ninth cen- 
 tury. Leo the Great's tomb was erected in the transept of St. Peter's A.D. 688. 
 
 (2) Page 41. Date in margin should be 1284 instead of 1286. 
 
 (3) Page 41, line 29. Giovanni Pisano was made citizen of Siena in 1284 in 
 recognition of his services as architect of the duomo and its fa9ade, wherefore 
 we are led to suppose that he had already been for some time previous officiating 
 as capo-maestro. His name occurs in the documents of the Fabbrica during the 
 years 1284, 1290, 1295, and 1299. 
 
 (4) Page 43, note 2. Mariotti is probably right in supposing that the tomb 
 in qiiestion was that of Pope Martin IV. who died at Perugia, much beloved, in 
 1283. The low salary given to Giovanni in 1266 proves that he was too little 
 known in 1264, when Urban V. died, to have been entrusted with a work of so 
 much importance as a papal tomb. 
 
 (5) Page 51, note 2. The correspondence between King Charles and the 
 magistrates of Perugia is mentioned in Vasari, vol. i. p. 269, note 2. The king's 
 answer given by Schultz, op. cit. vol. iv. p. 50, no. cxxviii., is dated from Lago 
 Pensile, September 10, a.d. 1277. 
 
 (6) Page 51. Date of Arnolfo del Cambio's birth should be a.d. 1240. He 
 was consequently twenty-six years old when he worked at Siena under Niccola 
 Pisano. 
 
 (7) Page 57, hne 15. Arnolfo del Cambio died March 13, 1311. 
 
 CHAPTER III. 
 
 (1) Page 63. Date of Andrea Pisano's birth, about 1273. 
 
 (2) Page 64, note 3. Cavalcaselle, Hist, of Painting, i. 273, doubts if Giotto 
 ever went to France and says that no trace of his presence has ever been dis- 
 covered out of the Italian peninsula. 
 
 (3) Page 70, line 20. After March 1349 there is no further mention of 
 Andrea, wherefore it is supposed that he died shortly after. If Vasari be correct 
 in his statement that he was then seventy-five years old he must have been born 
 about 1273 (Tav. Alfabetica delle Vite, p. 8). He was head-master of the Fabbrica 
 del Duomo at Orvieto at the time of his death. 
 
 (4) Page 71, line 27. Nino Pi.sano was capo-maestro of the Fabbrica at Orvieto 
 from July to November, 1349 (Tav. Alf. p. 8). 
 
 (5) Page 72, note 5, should have been placed as note 1, p. 73, to the words ' at 
 the time of Nino's death,' line 1. 
 
 (6) Page 77, note 4. Instead of ' wantonly destroyed in 1336 ' read com- 
 menced in 1336 and afterwards wantonly destroyed. 
 
ADDENDA TO 'TUSCAN SCULPTORS. 
 
 279 
 
 (7) Page 77, line 13. The year of Orgagna's birth is uncertain. Vasari, ii. 134, 
 says he died in 1389 at the age of sixty, which would make it 1329. This date 
 cannot be depended upon, for as Cavalcaselle says in his History of -Italian Fainting, 
 vol. i. ch. xix. p. 444, ' the date of his death being false who shall vouch for the 
 truth of the assertion that he lived to the age of sixty ? ' According to the Tavola 
 Alfabetica delle Vite, p. 27, he probably died in 1368 as on. the 27th of August in 
 that year he is known to have been dangerously ill. The onl}^ other record of 
 Orgagna is in 1376, as dead. 
 
 (8) Page 81. The following mention of Orgagna's connection with the duomo 
 at Orvieto should have been inserted on this page before mentioning the Loggia 
 de' Lanzi. Its details are derived from documents in the ' Archivio del Commune 
 e della Fabbrica,' published in the Archivio Storico Italiano, vol. ix. p. 100, no. 5. 
 While still working upon the tabernacle at Or San Michele he was called to Orvieto 
 to superintend the completion of the duomo. Having arrived there in June 13.58 
 he was made capo-maestro for one year, with promised renewal of his office for 
 five more years if the directors were satisfied with his services. After signing 
 a contract to this effect (June 14) he returned to Florence and remained there 
 till February 1359 Avhen he spent a fortnight at Orvieto with his brother Matteo, 
 made arrangements for carrying on the works, and was entertained by the prin- 
 cipal artists of the city at a banquet given in his honour at the Stanze dell' 
 Opera. From this time till October he was at Florence, and then from October till 
 February 1360 in Orvieto, whence he was recalled to Florence by the signory who 
 retained him until Augiist and then allowed him to return bearing explanatory 
 letters. His repeated absences from Orvieto had however given rise to so 
 much dissatisfaction that the authorities dismissed him from his office of capo- 
 maestro (September 1360) and his contract was annulled by common consent. 
 After this he commenced a mosaic for the facade of the duomo, which he promised 
 to complete in three months. Although it did not satisfy the directors they on 
 September 15, 1362, ordered that he should be paid sixty gold florins for it. 
 
 (9) Page 83. Chronology. Andrea Pisano, born about 1273. Died about 
 1349. 
 
 (10) Page 84. Andrea Orgagna, born about 1329 (?). Builds the Loggia de' 
 Lanzi after 1360. Died not before 13G8, and not later than 1376. 
 
 CHAPTER IV. 
 
 (1) Page 85, note 1. Zani, Enr. Met. i. 144, gives the following names applied 
 to Italian marble- workers : Scarpellino, Lavorator di quadrature in marmi, detto 
 anche Lapidario, Lapicida e anticamente Laborator ; Scultor di figure in marmo, 
 anticaraente chiamato Incisore in pietra; Intagliator Lapicida ; Magister Lapidum ; 
 Picca Pietra ; Scarpellatore and Taglia or Tajapietra. 
 
 (2) Page 89. The statement in the text, lines 25-27, that Maitani watched 
 over the duomo at Orvieto from the day of its foundation is made by the Padre 
 della Valle. As it was founded in 1290 when he was fifteen years old (the year 
 1275 is given as the date of his birth by Milanesi, Doc. San. i. 173), he cannot have 
 begun it. There is however a way of reconciling tradition with fact, since when he 
 was made capo-maestro in 1310 the building was in a most rainous condition, 
 'quse quasi minabatur ruinam,' says his contract (doc. 25, Milanesi, oj-). cif. i. 172, 
 dated Sept. 13, mcccx.). Undoubtedly then he was obhged to reconstruct it, and 
 thus may fairly claim the honour of being the architect of the existing building. 
 
 (3) Page 93, line 17. It has been .suggested (Vasari, vol. ii. p. xi. note 1) 
 that Andrea Pisano who held the office of capo-maestro at Orvieto, and his sou 
 
280 
 
 ADDENDA TO 'TUSCAN SCULPTORS.' 
 
 Nino who succeeded him (1347-1349) may have sculptured the compositions on 
 tlie lower part of the Creation Pier. Chronologically this is possible, but we must 
 confess that we do not recognise the manner of either in these reliefs. 
 
 (4) Page 94. Maitani had two sons, Vitale who succeeded him as capo- 
 maestro at Orvieto in 1330, and Antonio maestro di pietra who was already dead 
 in 1348. See doc. no. 40, Milanesi, op. cit. i. 197. 
 
 (5) Page 103. To the names of Siennese sculptors here mentioned we may 
 add that of Maestro Paolo, whose name with the date 1341 is inscribed upon a 
 marble tablet in the crypt of St. Peter's near the half-figure of Pope Benedict XII. 
 1334-1342). As the first inscription upon this tablet mentions the restoration of 
 the roof of the basilica (1341) under Pope Benedict, a work superintended by 
 Maestro Ballo di Colonna then papal architect, the words ' Magister Paulus de 
 Senis me fecit ' doubtless refer to the statue. It stood over the altar sacred to the 
 dead in the old basilica. It is engraved in the Sac. Vat. Bas. Crijst. Mon. of Ph. 
 L. Dionysius, vol. i. plate 7. See also Le Sacre Grotte Vaticane by Torrigio, pt. ii. 
 p. 127. 
 
 (6) Page 104. The Madonna and Child by Quercia, referred to in the 24th 
 line, is a group, now in the Capitolo dei Canonici. The Madonna, a massive and 
 heavily-draped figure, sits holding a pomegranate in her hand. The child standing 
 upon her knee is infantile and pleasing. 
 
 (7) Page 103, and Chronology, p. 119. The date of Giacomo dalla Quercia's 
 birth should be 1374. 
 
 (8) Note 1. The order for this statue was given to Vecchietta Nov. 20, a. d. 
 1472. See Doc. 248, Milanesi, op. cit. p. 350, vol. i. The same author at p. 351 
 in the note gives the quittance of payment for 254 lire dated Aug. 14, 1473. 
 
 (9) Page 117. Chronology. Lorenzo Maitani born about 1275. Made capo- 
 maestro of the Duomo at Orvieto 1310. 
 
 CHAPTER V. 
 
 (1) Page 124, line 3, and Chronology, p. 160. Ghiberti was born in 1378 
 and not in 1381, as erroneously stated by Vasari, iii. 100. This we know from 
 his own statement made before the magistrates concerning his legitimacy. See 
 Gualandi, ojj. cit. sei'ies iv. p. 21. He died on the 28th of Nov. a.d. 1455, as we 
 know by the entry in the Libro de' morti, ad annum. See Tav. Alfahetica, p. 18. 
 
 (2) Page 125, line 23. Niccolo di Piero di Lamberti detto Pela (referred to 
 in note 3) was a native of Arezzo, and probably the pupil of Moccio Sanese (Vasari, 
 vol. iii. p. 36, note 2). His works still extant at Arezzo are a Madonna della 
 Misericordia with statuettes of SS. Donato and Gregory over the door of the 
 ' Pieve,' and a St. Lake over the door of the Episcopal Palace. At Florence there 
 is a seated statue of St. Mark by him in the duomo, and an Annunciation at Or 
 San Michele above the niche which contains Ghiberti's St. Mark. Vasari (iii. 39) 
 says that he was made capo-maestro of the Duomo at Milan, and that he sculp- 
 tured several statues for the ' Fabbrica.' (See ch. iv. p. 119 of this volume.) 
 Cicognara, who suggests that he may have made the tomb of Marco Carelli for 
 the Milanese duomo, doubts if he be the author of that of Pope Alexander V. now 
 in the public cemetery at Bologna. In 1403 the Signory of Venice sent an envoy 
 to Florence to request Lamberti to come to Venice and superintend the works 
 then going on for the restoration of the ducal palace, but he was obliged to refuse 
 on account of his numerous engagements. Gaye, Carteggio degli Artisti, i. 82, 
 publishes the answer sent by the Signory of Florence, dated June 8, 1403, to the 
 Doge Michel-Angelo Steno, concerning Lamberti. In 1407 or 1408 he went to 
 
ADDENDxY TO 'TUSCAN SCULPTORS.' 
 
 281 
 
 Carrara witli Giovauni di Lorenzo di Ambrogio to procure marble for statues of 
 the Evangelists to be placed in the duomo. One of these is Lamberti's St. Mark, 
 referred to above, for wbich be was paid 130 florins. In. 1390 Lamberti finished 
 six stone shields for the Loggia de' Lanzi, and in 1391 the arms of the Guelphs. 
 In 1405 he made a sepulchral slab for the tomb of Leonardo Acciajuoli at Sta. 
 Maria Novella. In 1407 he was appointed Maestro della porta della chiesa di 
 Santa Reparata, and in the previous year he was paid 10 florins for works executed 
 for the door of that church. In 1408 he was paid 20 florins for works about the 
 door of the duomo which leads to Sta. Maria de' Servi. 
 
 (4) Page 147, note 1. The statue in the fourth niche upon the third story of 
 the campanile of the duomo at Florence represents the prophet Abdias, and is 
 inscribed ' Joannes Russus Prophetam sculpsit Abdiam.' The most important 
 work by this artist, Giovanni Rossi de' Bartoli, i.s the Brenzoni monument in the 
 church of San Fermo Maggiore at Verona mentioned in note 1 to p. 156, vol. iv. 
 Vasari. Above the sarcophagus is an effective, but very theatrical representation 
 of the Resurrection. The arisen Christ stands with a banner in his hand upon an 
 open sepulchre, while an angel holds back the stone which closed it. Three pic- 
 turesquely-disposed figures of sleeping soldiers lie upon the rocky ground below, 
 one with his head thrown back, another leaning his head upon his arm, and a thii-d 
 with his back turned to the spectator. A tent-like drapery, whose folds are held 
 back by nude genii rises behind the monument. Ricci, Mem. clegli Arfisti ili-lhi 
 Marca d' Ancoji.a, i. 117, 134, mentions an inscription upon the great portal of the 
 church of San Niccolo at Tolentino by which we learn that its sculjDtures are by 
 the same artist, A. d. 1431. 
 
 (3) Page 145, note 1. The relief by Donatello for the baptistry at Siena was 
 completed and given up before the 8th of October, 1437. 
 
 (3) Page 152. To the undated works by Donatello mentioned in the first 
 paragraph upon this page may be added several in private collections at Paris, 
 such as a small bronze relief of the Flagellation, and a Madonna and Child witli 
 'putti' belonging to M. His de la Salle; a ' sliacciato' relief of the Virgin and 
 Child, and a terra-cotta bust of St. John belonging to M. Timbal; and a very 
 beautiful small relief of the Martyrdom of St. Sebastian belonging to M. Eugene 
 Piot. 
 
 (4) Page 152. Donatello's arrival at Padua took place in the year 1444. On 
 the 19th of June in that year his name first appears in the registers of Sant' 
 Antonio as ' M" Donatello di Fircncie [s/c] che fa il Crucifiso.' Reference is made 
 to this crucifix in 1448, and again on the 23rd of June, 1449, it is spoken of as 
 finished. The notices of payments made for the angels, the evangelists, the reliefs, 
 and the statues are of the years 1446-49. See Gonzati, La Basilica di Sant' 
 Antonio, doc. 81, vol. i. p. Ixxxv. 
 
 (5) Pago 152. Notice of Gattamelata. This eminent captain, variously called 
 Erasmus, Stephano, and Francesco da Narni, was surnamed Gattamelata on account 
 of his cunning, and the feline rapidity of his movements in war. His father was a 
 baker named Marzi, who lived at the castle of Duesanti near Todi, of which town 
 his mother Melania Gattelli was a native. When a very young man he was called 
 to suppress a revolt at Forli, and soon after efficiently aided the governor of 
 Bologna in quelling the rival factions to which that city was a prey. While still 
 at Bologna the Venetians, then at war with Filippo Maria Visconti Duke of Milan, 
 offered him the chief command of the forces of the repubhc, and in 1434 made him 
 their captain-general. In 1438 he defeated his wily adversary Piccinino, com- 
 mander of the Milanese troops, at Ruvato. After retaking Ruvato, Piccinino 
 besieged Brescia, in which Gattamelata had shut himself up with his army, but 
 the latter by an able and perilous march across the Tp-olese mountains, extricated 
 
 00 
 
282 
 
 ADDENDA TO 'TUSCAN SCULPTOES.' 
 
 himself from his dangerous situation and brought his troops safe within the walls 
 of Verona. To recompense him for this signal service the Venetian senate accorded 
 to him the right of citizenship, gave him titles of nobility, and presented him with 
 a chiselled 'baton' of silver gilt, which is still preserved in the treasury of the 
 basilica at Padua. (The diploma is dated July 10, 1439. See doc. 148, Gonzati, 
 op. cit. ii. 8.) After assuring the triumph of the Venetians by the victories of 
 Sermida, Chiusa, Legnano, and Arco, and the expulsion of Piccinino from the 
 Veronese territory, Grattamelata's career was suddenly cut short by an attack of 
 apoplexy in 1440. His death took place at Padua Jan. 16, 14i3, and his obsequies 
 were celebrated there, and subsequently at Venice in the presence of the doge, with 
 great splendour. See Sanuto, Vita dei Duchi di Venezia ; Muratori, 8c. Iter. It. 
 vol. xxii. ; Navagero, Storia di Venezia, ibid. vol. xxiii. ; and Gonzati, op. cit. ii. 
 125-27. The action of one of the famous bronze horses at St. Mark's is so closely 
 repeated in that of the charger which bears Gattemelata, that it seems possible that 
 Donatello studied it before making the wooden model at Padua. The pedestal of 
 the statue is ornamented with bas-reliefs representing winged genii standing on 
 either side of a tablet surmounted by a helmet, on the top of which is the cat 
 adopted by Gattamelata as his crest. 
 
 (7) Page 156. In the year 1450 Donatello went to Ferrara to contract with 
 the directors of the cathedral for five bronze statues, but as the negotiations were 
 unsuccessful he was indemnified for his trouble and allowed to depart. (Cittadella, 
 Notizie di Ferrara, p. 48.) Possibly he then went to Venice before returning to 
 Padua where he is known to have been in the year 1453, as in that year the 
 Modenese sent an envoy to Padua to negotiate with him about making the statue 
 of Borso d'Este referred to at vol. i. ch. v. p. 152 Tuscan Sculptors (see Campori, 
 on Artisti Esteri, p. 158). 
 
 (6) Page 154, lines 3 et seq. The Baroncelli. — Antonio di Cristoforo and 
 Niccolo di Giovanni Baroncelli were Florentines, and according to Vasari (vol. iii. 
 p. 261) pupils of Brunelleschi. Cristoforo the father of Antonio made a semi- 
 colossal statue (subject unknown) which was placed in the Loggia of the cathedral 
 at Ferrara in 1427. It was gilded in 1590, and regilded in 1676 (Cittadella, 
 Notizie relative a Ferrara, p. 92). In 1443 Antonio and his cousin Niccolo com- 
 peted at Ferrara for an equestrian statue of the Marquis Niccolo d' Bste, but 
 although the superiority of Antonio's model was acknowledged by a note of the 
 commissioners (Cittadella, op. cit. p. 416), the commission was eventually divided 
 between them, as on the 8th of July 1450 we know that Antonio was paid for the 
 rider and Niccolo (surnamed del Caballo) for the horse (see Gualandi, series v. 
 Appendix 121, p. 178). The statue was set up in the piazza of Ferrara on the 
 vigil of the Ascension, June 2, 1451. The Marquis, who wore the ducal bonnet 
 and short hooded mantle, was represented on horseback in remembrance of his 
 prowess as a warrior (see Diario Ferrarese, Mur. Sc. Ber. Ital. vol. xxv., and La 
 Storia dei Principi d' Este, lib. vii. pp. 543 and lib. viii. p. 623). "When it was pro- 
 posed to erect a companion statue of Duke Borso at Ferrara it was decided that he 
 should be represented seated, as his greatest glory was that he had established and 
 maintained peace. The commission was given to Niccolo Baroncelli who received 
 money for it on account in 1451-2-3, in which latter year he must have died, 
 between October 24 and 29, as his heirs and his assistant Meo di Cecco were then 
 given a sum to be spent upon his funeral obsequies. The statue was then finished 
 by Meo di Cecco, Giovanni the son, and Domenico di Paris, the son-in-law of the 
 deceased, assisted by Giovanni da Francia, Paolo and Niccolo da Firenze, Francesco 
 di Amoretti dalla Mirandola and Firmio da Verona, and having been gilded by a 
 painter named Titolino (Cittadella, ojj. cit. p. 421), was set upon the piazza oppo- 
 site the Palazzo della Ragione, Dec. 19, 1454 (see Diario Ferrarese, col. 202). The 
 
ADDENDA TO 'TUSCAN SCULPTORS.' 
 
 283 
 
 duke sat upon a throne chair, dressed in a ducal habit embroidered with gold, 
 surrounded by four pages or winged genii holding shields upon which the armorial 
 bearings of the house of Este were engraved. Frizzi {Mem. per la Storia di Fer- 
 rara) says a Latin epigram composed by Tito Strozzi was carved about the capital 
 of the column upon which it was placed. In 1472 the statues were placed on 
 either side of the great portal of the Palazzo d' Este which took the name of ' II 
 volto del Cavallo,' and in 1796 both were destroyed by the Republicans. Sig. 
 Boschi of Ferrara possessed one of Borso's ears, and the head of one of the pages, 
 said to have been of admirable workmanship. In 1450 the directors of the Fabbrica 
 having been unable to contract with Donatello for five bronze statues to be placed 
 above an altar in the cathedral, sent to Venice for Antonio di Cristofero. Having 
 also failed to secure his services, they gave the commission to Niccolo Baroncelli. 
 The SS. George and Maurelius were cast after his death by his son-in-law Dome- 
 nico di Paris, and terminated in 1466. 
 
 On May 16, 1447, Niccolo was paid for restoring the figure of the angel 
 Gabriel, which had been struck by lightning in the sacristy of the duomo (Citta- 
 della, op. cit. p. 62). In 1448 he was paid for a statue of the Madonna and 
 another of St. John (ibid.), and in 1452 for working upon the ' apparato sacro ' 
 with which the priests received the Emperor Frederic III. when he came to make 
 Borso d' Este Dake of Ferrara. 
 
 In 1453 the magistrates of Ferrara accorded a pension to the heirs of Niccolo 
 Baroncelli. In 1493 his son Giovanni who had been concerned in a conspiracy 
 against the Duke of Ferrara (1476) was graciously pardoned. 
 
 (8) Page 156. The four best assistants of Donatello at Padua were Giovanni 
 and Antonio Celino, sons of Martino da Pisa (see Zani, Enc. Met. xvi. 176, 340), 
 Urbano da Cortona, and Francesco Valenti (Gonzati, op. cit. i. 132). Each cast 
 one of the Evangelists modelled by Donatello for Sant' Antonio (ibid. doc. 91, 
 p. 85). Giovanni da Pisa made the fine terra-cotta altar in the Mantegna Chapel 
 at the church of the Eremitani in Padua. The Madonna is dignified, and the 
 infant Christ graceful. The genii lying on the top of the pediment are worthy of 
 all praise. See Plate XIX. (bis) No. 1. in this Appendix. 
 
 (9) Page 151. M. de Vandeleure of Paris possesses a duplicate of the St. 
 Cecilia here mentioned, also in ' pietra serena.' 
 
 CHAPTER VI. 
 
 (1) Page 163, line 4. Michelozzo was born in 1391, and died in October 1472. 
 His father Bartolomeneo di Gherardo (called Borgognone) di Borgogna was a tailor, 
 who was made a citizen of Florence in 1376 (Tav. Alfaietica, p. 25). 
 
 (2) Page 165. The door of the Palazzo Vismara mentioned in the text has 
 lately been purchased by the city of Milan and removed to the Mediaeval Museum 
 at the Brera. 
 
 (3) Page 168, line 5. Antonio Filarete was born about 1414, and died at 
 Rome after 1479. He was buried at Santa Maria sopra Minerva. 
 
 (4) Page 169. The medal of Leon Battista Alberti, by Matteo de' Pasti, bears 
 a winged eye upon its reverse. The same emblem appears upon an oval bronze 
 medallion of very fine workmanship, in the possession of M. Charles Timbal at 
 Paris, below an admirably modelled profile head, above which are the letters 
 L. Bap. A duplicate of rare beauty, in the collection of M. His de la Salle, has 
 neither inscription nor emblem. Among Alberti's scholars, Vasari (iv. 60-61) 
 mentions Salvatore Fancelli Fiorentino, and Luca Fiorentino. These artists wore 
 in reality but one and the same person, named Luca Fancelli, ' architetto c scultore 
 
 o o 2 
 
284 
 
 ADDENDA TO 'TUSCAN SCULPTORS.' 
 
 ragionevole,' tlie son of Jacopo di Bartolomeo da Settignano (see ibid, note 2, 
 p. 60). According to Gaye lie was living at Mantua in 148G. In 1490 Lorenzo 
 il Magnifico requested Francesco Gonzaga to send M*' Luca to the Duke of Cala- 
 bria who was in need of an architect on account of the death of Giuliano da 
 Majano, whom Fancelli succeeded as capo-maestro of the duomo at Florence 
 in 1491. M. Armand Baschet tells us in his 'Rocherches dans les Archives de 
 Mantoue ' {^Gazette des Beaux-Aiis for April 1866) that Fancelli w as sent by the mar- 
 quis to Andrea Mantegna at Padua to persuade him to enter into his service. In 
 a letter dated April 15, 1458, to Mantegna, the marquis mentions the return of his 
 envoy, and expresses his pleasure on hearing that the great painter has acceded to 
 his propositions. M. Baschet furthermore tells us that an autogTaph document dis- 
 covered by him in the Mantuan archives proves Luca Fancelli to have beenPemgino's 
 father- in law ; that he was attached to tlie service of the marquis in 1450, and was 
 so still in 1492 and 1493. His business was to superintend the buildings erected 
 by the prince in and about his capital. 
 
 A Paolo di Luca da Fiorenza, perhaps the son of Luca Fancelli, is mentioned 
 by Cittadella {Noiizie relative a Femira, p. 56) as working at Ferrara m the latter 
 half of the fifteenth century. 
 
 (4) Page 175, note 1. Beatrice d' Este, daughter of Ercole Duke of Ferrara, 
 was when six years old (1480) betrothed to Lodovico il Moro, Duke of Milan 
 (Vassi, Storia di Milano, ii. 65). 
 
 (5) Page 175, line 17. Other works possibly by Desiderio are a bust 
 inscribed 'Diva Beatrix Aragonia,' a woman's profile in veiy flat relief inscribed 
 ' Diva Heleonora,' and a lovely bust of a child the modelling of whose neck and 
 shoiilders is as well-nigh perfection as possible, all in the collection of M. Charles 
 Tinibal. The bust of San Giovannino belonging to M. His de la Salle answers 
 to our idea of Desiderio, in that the eyes ai'e too spiritual and earnest in their 
 expression for Mino da Fiesole, and the open mouth like, but less realistic than 
 Donatello. The ' Diva Heleonora ' mentioned above is probably Leonora, daughter 
 of Ferdinand King of Naples, married to Duke Ercole of Ferrara in 1472 ; and 
 the Diva Beatrix d' Aragona is probably the second wife of Matthias Corvinus 
 King of Hungary. 
 
 (6) Page 175. Andrea Verocchio was bom in 1435 (Tav. Alf. p. 37). 
 
 (7) Page 186, line 21. The destruction of Lionardo da Vinci's model for the 
 equestrian statue of Duke Francesco Sforza by the soldiers of Louis XII. rests 
 upon the testimony of Balthasar Castiglionc who, as he mentions in his Bicordi, 
 was an eye-witness of the deed. It has been supposed to have taken place in the 
 year 1499, but a letter dated September 19, 1501, discovered in the archives of 
 Modena by the Marchese Campori, and published by him in a pamphlet entitled 
 N'uovi Documenti per la Vita di L. da Vinci (Modena 1865), proves that it, or a 
 second model (though there is no mention that any such was ever made), was 
 in existence two years later. In this letter written by the Duke of Ferrara, 
 Hercules I., he directs Giovanni Valla, his agent at Milan, to visit the Cardinal de 
 Rouen then governor of the city, and to tell him that the duke, remembering that 
 the model of a horse executed by L. da Vinci exists at Milan, desires to obtain it 
 if his eminence has not otherwise disposed of it, in order to cast it in bronze for 
 the equestrian statue of himself with which he proposes to adorn the new piazza 
 at Ferrara. In his answer to the duke. Valla says that his negotiation has failed, 
 not from any ill-will on the part of the cardinal, but because he dares not give up 
 the model without the king's permission. At the end of his letter Valla advises 
 the duke to present his demand at the French court through his ambassador 
 Bartolomeo de' Cavaleri. It is not known if this advice was followed. 
 
 (8) Page 188, line 6. About Rustici's group sec Vasari, ix. 6. Wc find the 
 
ADDENDA TO 'TUSCAN SCULPTORS.' 
 
 285 
 
 following details concerning it in the Oiornale Siorico degli Arcluvi Toscaiii, iv. 63, 
 1860 (ArcMvio Storico Itallano, vol. xi. nuova serie). The commission was given 
 to Rustici December 10, 1506 ; the necessary bronze was to be given to him at 
 different dates ; he was to be paid ten gold florins a month and to finish the work 
 in two years. A new delay was accorded to him on Mai-ch 9, 1509. In that year, 
 September 18, Maestro Bernardino da Milano engaged to cast the three figures 
 for 120 florins, and to pay Rustici 300 florins if the cast was unsuccessful. A 
 second attempt was probably found necessary as they were not completed till 
 June 24, 1611. In 1519 Messer Goro Ghesi requested the ' Consoli dell' Arte ' to 
 settle the account with Rustici, but it was not until January 21, 1524, that they 
 decided to pay him 700 gold florins in addition to the 450 which he had already 
 received. The Libri d' Arte de' Mercatanti mention that on April 22, 1510, the 
 guild commissioned from Rustici a bronze candelabrum for the altar of St. John. 
 It is not known whether he ever executed this work (see doc. viii. pp. 66-75, ibid.). 
 (9) Chronology, pp. 189-91— 
 
 Michelozzo, bom 1391, L. da Vinci, born 1452, 
 
 died 1472. „ died May 2, 1519. 
 
 Andrea Verocchio, born 1435. G. F. Rustici, died about 1554. 
 
 CHAPTER VII. 
 
 (1) Pago 193, note 3. Read Le Comte de Laborde instead of Labarte, vol. i. 
 p. 1012. Rumohr, Ital. Forsch. ii. 288, says before 1438, as in an old register in tlie 
 archives of the Duomo which records all the works undertaken by the Fabbrica 
 between 1438 and 1475, these bas-reliefs are not mentioned. 
 
 (2) Page 197. On visiting the church of San Bernardino at Aquila in the 
 Abruzzi we were surprised to find a sujjcrb altar-piece by Luca della Robbia in "'^ 
 the Vetusti chapel, which, according to Leosini {Mon. St. della cittd di Aqnila, 
 
 p. 203), was brought from Florence by the Signora Olivia Vetusti for her family 
 chapel. As it is not mentioned by any of the writers who have written upon 
 Luca della Robbia we shall here describe it. In the lower portion our Lord is 
 represented rising from a sarcophagus, on either side of which stand two male and 
 two female saints ; about it lie several soldiers, all sleeping but one, who just 
 awakened, raises his hands in wonder at the spectacle. In the upper portion our 
 Lord seated, places a crown upon the head of the Vii-gin who leans forward with 
 exquisite grace to receive it. Four groups of adoring and playing angels flank 
 this central group. In the predella are four bas-reliefs of the Nativity, the 
 Annunciation, the Epiphany, and the Presentation. The figures throughout are 
 pure white, and the background blue. The style is of singular purity, and 
 resembles that of Raphael while under Perugino's influence. The composition of 
 the upper group is very like that in the painting of the same subject by Raphael 
 in the Vatican gallery. 
 
 (3) Page 195. First essays in robbia were made by Lu<sca about 1440 (see 
 p. 196, reference to the bas-reliefs in the duomo at Florence). That of the 
 Resurrection was made before 1446 to which year the Ascension belongs. Rumohr, 
 It. Forsch. ii. 364, gives an extract from folio 53 in the archives of the Opera del 
 Duomo dated October xi. 1446, relating to the commission given to Luca for this 
 relief. 
 
 (4) Page 195, note 1. The fragments of enamelled bricks acquired by the 
 Louvre in 1805 were brought from the town of Hdlali in the ruins of Babylon by 
 M. Pacifique Dclaporic, French cousul-geueral. They formed part of the covering 
 
286 
 
 ADDENDA TO 'TUSCAN SCULPTORS.' 
 
 of the walls of Babylon which, were thus decorated with pictures of men and 
 animals. See Diodorus Siculus on the authority of Ctesias, ii. viii. 6 : ivr)uav 
 iv re rdi£ irvpyoiQ Koi Tei-)(eai (wa TravToZaird, <j)iKoTi-)(ywQ rdlg re \pwiJia<Ti Kai ro'ig 
 Taiy TVTT(j)v airofitiii'ifiaiTi KareffKeva<7fieya ' ro 3' oXov eTreirolrjro Kvrrjywy, Travroiwy 
 Oripiwv virapyov nXrjpeQ, <iv y)aav r'a fxeyiQi] ■KXe'iov f; ttij^'^'' rerrapwv, k.t,\. At par. 
 vii. 4, Diodorus mentions the process of joining these bricks together by means 
 of bitumen — ^a process also described by Herodotus, Hb. i. 179. See Planche iv. 
 Briques vemissees de Babylone in the Musee Napoleon III. Texte Explicatif par 
 A. de Longperier. 
 
 (5) Page 198. Death of Luca, February 23, 1482 (Libro de' Morti ad annum, 
 Tav. Alf. p. 30). 
 
 (6) Page 202. The father of the Rossellini was Matteo di Domenico del Borra 
 detto II Gambarelli. 
 
 (7) Page 201. Agostino di Guccio received the commission for the fa9ade of 
 San Bernardino in August 1457 (see his Supplica of May 6, 1461, from the 
 Perugian archives). 
 
 (8) Page 205. A ' gesso duro ' of the Adoring Madonna by Rossellino be- 
 longing to Drury Fortnum, Esq., differs from that in the UfBzi in some important 
 respects. The Infant Christ is much more graceful and expressive, and the 
 Madonna more delicate in line. It is perhaps Rossellino's first thought for the 
 marble relief. 
 
 (9) Page 207. Antonio Rossellino died about 1478. 
 
 (10) Page 207. Mino di Giovanni di Mino born at Poppi (as we know by his 
 matriculation to the guild of the Maestri di Pietra), must have been born between 
 1431 and 1432, since in his declaration of property, a.d. 1470, he says that he is 
 forty years old, and in that made in 1480 he says that he is forty-eight (Tav. Alf. 
 p. 25). He died on July 11, 1484. 
 
 (11) Page 213. Works by Mino or his imitators not mentioned in notes 
 1 and 2. Of the two bas-reliefs in the sacristy of St. Mark's at Rome — Melchisedec 
 blessing oil and bread, and Isaac blessing Esau, the second has none of Mino's pecu- 
 liar characteristics. The two alto-reliefs of Charity and Faith in niches (collection 
 of M. Charles Timbal at Paris) are certainly by Mino and in his best style. They 
 were purchased at Rome and may have belonged to the monument of Cardinal 
 D'Estontville, which as Vasari tells us, was made by Mino for Santa Maria 
 Maggiore. A bust of Diotisalvi Neri signed ' Opus Mini ' and dated 1484, and a 
 Madonna and Child by Mino, form part of M. Timbal's collection. There is a bas- 
 relief of the Madonna and Child by Mino in the Renaissance Museum at the 
 Louvre. 
 
 (12) Page 209, line 3. See Plate XXXI. instead of XXXVII. 
 
 (13) Page 217. Chronology. Luca della Robbia died Feb. 23, 1482. 
 Page 218. ,, Antonio Rosellino, died 1478. 
 
 Page 219. „ Mino, detto da Fiesole, died July 11, 1484. 
 
 CHAPTER VIII. 
 
 (1) Page 226, note 2. Double effigies upon monuments, Mastino della Scala, 
 Can Grande I., Can Grande II., at Verona, fifteenth century. Edward Crookback, 
 Earl of Lancaster, died 1296, and Aymor de Valence died 1326, Westminster 
 Abbey. The Tomb of the Seneschal de Breze, died 1531, in Rouen Cathedral, has 
 a triple efSgy. 
 
 (2) Page 236, line 20. Instead of Bartolomeo Sinibaldi di Montelupo, read 
 Baccio da Montelupo di Giovanni d' Astorre Sinibaldi, born 1469, died 1533 (':*). 
 
ADDENDA TO 'TUSCAN SCULPTORS.' 
 
 287 
 
 CHAPTER IX. 
 
 (1) Page 255. Chronology. Andrea Contucci di Kiccolo di Domenico dal 
 monte Sansavino. 
 
 (2) Page 256. Chronology. Giuliano di Sangallo di Francesco di Bartolo di 
 Stefano Giamberti was born in 1445, and died at Florence, October 20, 1516. 
 
 (3) Page 256. Francesco di Giuliano Giamberti di Sangallo. 
 
 CHAPTER X. 
 
 (1) Page 267. Chronology. Pietro di Torrigiano d' Antonio detto II Torri- 
 giano. Born November 24, 1472. 
 
 VOL. II. 
 
 CHAPTER I. 
 
 (1) For Bnonarotti read Buonarroti. 
 
 (2) Page 21, line 16. For Blaise de Vigneron read Blaise de Vigenere, who 
 translated into French the work mentioned in note 1. The quotation in the text 
 will be found at p. 855, ed. in-folio, Paris 1615. The original edition in-8vo was 
 published in 1678. At p. 853, Blaise de Vigenere says, 'L'an 1550quej'estoisaRome, 
 Michel-Ange commen^a un crucifiement oil il y avoit de dix a douze personnages 
 non pas moindres que le naturel, le tout d'une seule piece de marbre qui estoit un 
 chapiteau de I'une de ces huict grandes colonnes du Temple de la Paix de Vespa- 
 sien, dont il s'en voit encore une toute entiere et debout : mais la mort qui le prenoit 
 empescba la perfection de ce bel ouvrage selon sa coutume ordinaire d'interrompre 
 les plus hauts desseins et projects des hommes comme en Alexandre, Jules Caesar 
 et plusieurs autres.' 
 
 (3) Page 56, note 2. Les Arts en Portugal, Lettres adressees a la Societe 
 Artistique et Scientifique de Berlin par le Comte A. Raczynski. Paris, 1846. 
 The second letter, dated Lisbon, Dec. 12, 1843, consists of extracts from several 
 manuscripts by Franfois de HoUande, Architect and Illuminator, found by the 
 Count in the Library of the Gesu at Lisbon. The translation was made by M. 
 Roquemont, a portrait painter, in 1843. 
 
 (4) Page 41. For M. Barbet de Forey read de Jouy. 
 
 CHAPTER II. 
 
 (1) Pages 94 and 104. Simon Moscha, born in 1475, died in 1554. Simon 
 Cioli mentioned at page 94, line 16, was the son of a Florentine stonecutter named 
 Francesco di Simone di Giovanni. 
 
 CHAPTER III. 
 
 (1) Page 129. The Salt-cellar by Benvenuto Cellini, as described in the second 
 volume of the K.-K. Amhraser-Saimnluvg Catalogue, by Dr. von Saclcen (p. 161, 
 No. 22) differs somewhat from Cellini's own account given in the text. This dis- 
 crepancy is not to be wondered at, as Cellini probably wrote it from memory after his 
 
288 
 
 ADDENDA TO 'TUSCAN SCULrTORS.' 
 
 return to Italy. Tlie figures seated upon the oval base are in the round. The figure 
 of Cybele does not lay her right hand upon the little temple but lets it fall by her 
 side, full of fruits. With her right hand she presses her breasts as if to nourish 
 the earth with the milk which flows from them. The ground upon which she sits 
 is covered with flowers and fruits, and the heads of a swan, a dog, an elephant, 
 and a lizard protrude from it. The little temple, or rather triumphal arch, with 
 its triple passage way and its four Ionic columns, is exquisitely worked. Its 
 niches contain diminutive figures in the round of Pomona, and of Hercules 
 with the Apples of the Hesperides. J^our figures, two male and two female, sit at 
 its corners, and upon the roof lies a female figure surrounded by fruits and flowers. 
 It is decorated with two blue enamelled tablets containing the arms of King 
 Francis (three lihes and a dragon), in a crowned shield. The salt-cellar was 
 presented by King Charles IX. (uncle of Francis I.) to the Archduke Ferdinand, 
 who represented him at Spire in 1570 when he espoused Elizabeth, daughter of 
 Maximilian and niece of Ferdinand. The Button, Cross, Stirrup and Scabbard of 
 Charles V. in the Ambras Collection (No. 19, p. IGl, Catalogue) are attributed to 
 Cellini by Dr. von Sacken. They are richly enamelled and adorned with minute 
 angels' heads in the round of exquisite workmanship. No. 23 (p. 165). A gold 
 hunting horn with three rings of lines and enamelled ornaments is also perhaps 
 by Cellini. 
 
 CHAPTER IV. 
 
 (1) Page 144 and 1G2. Baccio Bandinelli. Born Nov. 12, 1493. Died Feb. 
 10, 1560. 
 
 (2) Page 162. Bartolomeo Ammanati. Born Juno 18, 1511. Died April 14, 
 1592. 
 
 CHAPTER V. 
 
 (1) Page 1G9. Gian Bologna. Born in 1524. Died August 14, 1608. Tav. 
 Alf p. xi. 
 
 (2) Page 169. Pier Francesco, called Pierino da Vinci, was the son of Barto- 
 lomeo di Ser Piero, the nephew of Lionardo da Vinci, and the scholar of II 
 Tribolo. He was born at Vinci (a castle near Bmpoli) in 1520 (?), and when very 
 young was taken to Florence and placed by his father in the studio of Baccio 
 Bandinelli (see Vasari, x. 291, note 1), whence, as he progressed but little, be was 
 soon removed to that of H Tribolo. Here he made rapid progress, and greatly 
 assisted his master in decorating the ducal villa at Castello. He modelled the 
 graceful and carefully-studied ' putti ' which lie upon the rim of the marble 
 basin of the fountain behind the Casino. They were cast in bronze by Zanobi 
 Lastricati (Vasari, x. 285). These are the only works executed by Pierino while 
 under the influence of Tribolo. The following works are in his second and 
 Michelangelesque manner, which he adopted after his second visit to Rome — a 
 bas-relief of the Madonna and Child ; SS. Joseph, John, and Elizabeth in the 
 Gallery of the Uffizi ; a Holy Family in flat relief at the Louatc, from the Cam- 
 pana collection ; an allegorical representation of Pisa raised from her fallen state 
 by Duke Cosimo I., in the Vatican (Vasari, vol. x. p. 289, note 2) ; and the Death of 
 Count Ugolino and his sons by Famine (personified by a withered hag), on the 
 banks of the Ai-no (personified by a river-god), in the paJace of the Conte della Glie- 
 rardesca at Florence. Its style is pictorial, and the action of the figures violent and 
 mannered. Pierino was a clever but second-rate sculptor, who, like a tarnished 
 mirror, dimly reflected the forms which came within his range. 
 
ADDENDA TO 'TUSCAN SCULPTORS.' 
 
 289 
 
 APPENDIX. 
 
 Page 192, Letter D. Niccola da Bari, called also II Dalmata, perhaps because 
 his family was of Dalmatian origin. See H. de Burselli's 'Ann. Bonon.' Mur. Seller. 
 It. vol. xxiii. col. 912 : ' Nicolaus ex Dalmatiae provincia oriundus.' This artist, 
 referred to in ch. i. vol. i. p. 22, and in ch. iv. p. Ill, besides the works men- 
 tioned in the text, made a terra-cotta presepio in a church on the island of Santo 
 Spirito near Venice (Sansavino, Venezia Descntta). H. de Bursellis, op. cit. thus 
 sums up his character : ' nullum discipulum facere voluit, neque aliquem docere. 
 Phantasticus erat et barbarus ; moribus adeo agrestis erat ut omnes a se abjiceret ; 
 necessariis plerumque indigebat ; caput durum habens, consilio amicorum non 
 acquiescebat. Uxorem habuit de Boateriis, cum uno filio, et una filia ; figuram ex 
 marmore Sancti Joannis Baptistae a se factam reliquit vendeudum ducatis auri 
 quingentis. Super hujus tumulum (in Ecclesias Celestinorum) tale epitaphium 
 inscriptum est : 
 
 Qui vitam saxis dabat, et spirantia signa 
 
 Cselo formavit, proh dolor, hie situs est. 
 Nunc te Praxiteles, Phidias, Polyclctus adorant, 
 
 Miranturque tuas, Nicolae, manus. 
 
 Page 213. Addenda. Florentine sculptor employed at Ferrara in the fifteentli 
 century. M" Polo and M° Domeuego di Fiorenza worked upon the decorations of 
 the city in honour of Pope Pius II. when he passed through on his way to Rome, 
 January 17, 1460 (Cittadella, op. cit. p. 213); Luca di Giacomo 1451; Paolo di 
 Luca (cousin of Meo di Cecco) 1456 and 1458 ; and Sandro de' Bartholo, 1460, 
 worked upon the tomb of Pope Urban III., who died at Ferrara in 1187. 
 
 FLORENTINE SCULPTORS OF THE FIFTEENTH AND SIXTEENTH 
 
 CENTURIES. 
 
 (1) Nicolo da Firenze worked at Padua in 1443 under M° Bartolomoo di 
 Domenico, arcliitect of the choir and tribune of Sant' Antonio. (Gonzati, op. cit. 
 i. 60.) 
 
 (2) Simone Bianco. Cicogna, Isc. Ven. p. 218, mentions his bust of Vincenzo 
 Bianchi, a Venetian man of letters (1583-1627) in the Bih. Gesurea. Pietro 
 Aretino {Lettere, lib. iv. p. 277, ed. 1609) praises his bust of the wife of Niccolo 
 Molino. Vasari speaks of him in his life of V. Carpaccio, vi. 105, and in his first 
 edition says that he resided at Venice. L' Anonimo, p. 60, speaks of a marble foot 
 upon a base in the house of M. Andrea di Odoni at Venice (see also Morelli's note 
 to this passage, no. 103, p. 194), and at p. 63, of a marble statue of Mars naked 
 and carrying a helmet. 
 
 (3) Paolo Fiorentino detto II Felucca, commissioned in 1554 to make a bas- 
 relief for the Cappclla del Santo at Sant' Antonio which was given to Cataneo in 
 1572 and to Campagna in 1573. Gonzati, i. 165. 
 
 (4) Camigliani and Vagherino, Florentines, made the gate of a villa belonging 
 to Don Pedro di Toledo at Palermo in 1522, which was afterwards sold to the city, 
 and with added oi-naments became the Porta Felice. (Ricci, op. cit. vol. iii. p. 96, 
 note 5.) 
 
 P P 
 
290 
 
 ADDENDA TO 'TUSCAN SCULPTORS.' 
 
 (5) Antonio di Giusto lived at Carrara in 1508-14-16 in the house of his 
 father, also a sculptor. He was attached to the service of the King of France. 
 (Campori, ojj. cit. p. 14.) 
 
 (6) Donate Benc^, fl. 1511, 1512., April 17, 1518 appointed by Michel- 
 angelo to purchase marbles at Carrara and forward them to Florence. (Cam- 
 pori, p. 60.) 
 
 WORKS BY ITALIAN SCULPTORS IN THE ROYAL MUSEUM AT 
 
 BERLIN. 
 
 See Catalogtie-Verzeichniss der Bildhduer WerJce. Berlin, 1861. 
 
 No. 
 
 609. The Dream of Pope Innocent IV. Terra-cotta by Benedetto da Majano. 
 
 610. The Virgin and Child, by Donatello. 
 
 613. St. Jerome before the Cross, anon, fifteenth century. 
 
 623. Half-figure of St. Buonacorsi da Pistoja, attributed to Niccola Pisano. 
 
 634. Christ in Glory with Adoring Angels, formerly in the cloister of S. M. del 
 
 Popolo at Rome. Andrea Sansavino. 
 649. Half-figure, pietra serena. Virgin and Child, attributed to Bernardo Rossellino. 
 656. Virgin and Child with Four Saints. Terra-cotta relief. Jacopo SansSvino. 
 664. „ „ Jacopo della Guercia. ^ 
 
 664. „ „ B. da Majano. 
 
 668. Bust of Piero Soderini. 
 
 674. „ Lorenzo de' Medici. Antonio Pollajuolo (?). 
 
 675 and 688a. Busts of Macchiavelli and Pico della Mirandola. 
 
 711. Marble bas-relief. Fall of Phaeton. Jacopo Sans8.vino. 
 
 740. Alto-relief, marble, Cosmo de' Medici, P. P. by Andrea Verocchio. 
 
INDEX. 
 
 ABB 
 
 ABBONDIO, Antonio, character of his 
 works, 157 
 
 Abel, bas-relief of the murder of, at Padua, 
 223 
 
 Abraham, bas-relief of his journey, at Santa 
 
 Maria, at Toscanella, 86. Sacrifice of, in 
 
 the duomo at Parma, 257 
 Abruzzi, era of the life and best period of the 
 
 practice of sculpture in the, 45. Notice of 
 
 several churches in, 269 
 Acqua Sparta, Cardinal Matteo d', tomb of, at 
 
 Rome, 83 
 
 Acutus, Magister, his pulpit in the duomo at 
 Pianella, 30 
 
 Adam, bas-relief of, at the Certosa, 134. Sta- 
 tue of, on the duomo at Milan, 140. Bas- 
 relief of, on the Ducal Palace at Venice, 177, 
 179. Statue of, at Venice, 192. And at 
 San Giovanni e Paolo, at Venice, 200. Cita- 
 della's figure of, at Bologna, 247. Bas- 
 relief of the temptation of, at Milan, 272 
 
 Adaminus, takes part in the sculptures at San 
 Zeno at Verona, 213, 215 
 
 Adelchi, son of King Desiderius, memorial 
 chapel to, 100 
 
 Adoration, bas-reliefs of the, on the sarco- 
 phagus of Bartolomeo Coleoni, 130. On the 
 sarcophagus of Giovanni Borromeo, 133. In 
 Como cathedral, 159. At Genoa, 264 
 
 Adrian I., Pope, his churches, 74. His tomb 
 in St. Peter's, 76 
 
 Adrian IV., Pope, his sarcophagus, 75 
 
 Agapa, St., statue of, at Friuli, 99 
 
 Agata, Santa, tomb of, in the duomo at 
 Verona, 216 
 
 Agnelli, Monsignor Lodovico, 234, note ^ 
 
 Agnes, St., statuette of, in the Giustiniani 
 chapel at Venice, 201 
 
 Agnese di Perigord, tomb of, 58 
 
 Agony in the Garden, bas-relief of, and the 
 Certosa at Pavia, 266 
 
 ALP 
 
 Agostino, Sant', at Bergamo, works of the 
 Campionesi at the church of, 107. The Area 
 di, at Pavia, 109 
 Agricultural labours, bas-reliefs of, in the bap- 
 tistry at Parma, 260 
 Aistulf of Friuli, bas-relief poi trait of, 99 
 Ajo, Bishop, his pulpit at Salerno, 50, note'^ 
 Alaric, his destruction of works of art at 
 Rome, 73 
 
 Alba Fucense, works of the Cosraati at, 84 
 Alberada, mother of the hero Bohemund, her 
 Grave chapel to his memory, 23. Her tomb 
 at Venosa, 44 
 Albergati, Viannesio, tomb of, at Bologna, 241 
 Alberghetti, Alfonso, Reggian sculptor, 249, 
 
 note His work at Venice, 212 
 Albericus, Petrus, cross at Bologna made by 
 
 him and his father, 238 
 Alberti, Leon Battista, his residence at Man- 
 tua, 232. Works attributed to him, 233 
 Albertini, Paolo, medal of, 245, note ^ 
 Albertino da Taneto, arcliitect at Parma, 261 
 Albertino da Terenzo, architect at Parma, 261 
 Alberto da Campione, his works at Modena, 
 106 
 
 Alberto or Albertini, Bolognese sculptor, 238 
 Aldamoresco, Lodovico, tomb of, 63 
 Aldobrandesca, Vana, her tomb, 77 
 Alessandro, Sant', equestrian statue of, 107, 
 note * 
 
 Alessandro from Saronno, his work at Sant' 
 
 Antonio, at Padua, 161 
 Alexander Vll., Pope, statue of, at Ferrara, 
 
 249 
 
 Alexis, Emperor of the East, his treatment of 
 
 the Crusaders, 25 
 Alfanus da Termoli, his ciborium in the 
 
 duomo at Bari, 14 
 Alfonso L, King of Naples, his triumphal 
 
 arch, 47, 63, 64, 141, woi!e*. Notice of him, 
 
 61. I'ortrait of, at Naples, 252, note * 
 
'292 
 
 INDEX. 
 
 ALI 
 
 Aliberti, Duccio degli, tomb of, at Venice, 
 181 
 
 Altamura, notice of the cliurch Sta. Maria 
 Assunta at, 269 
 
 Altar, high, at San Lorenzo, Naples, attributed 
 to Merliano, 68 
 
 Altar-piece by the Mantegazz,", at the Cer- 
 tosa, 126. Of Tommaso Amic-i and Fran- 
 cesco Maja in the diiomo of Cremona, 162. 
 Of Simon de Pavia and Simone de Ger- 
 mano at Bergamo, 163. Gotiiic, in the 
 chuich of San Francisco at Bologna, 183. 
 Of Nicolo da Corneto at Trissino, 220. 
 Terra-cotta one by Anzolino da Brescia, 
 2.35 
 
 Alva, Duke of, bust ( f, at Madrid, 155, note * 
 Ainadeo of Bergamo (not the later one), his 
 
 tomb of Pietro da Siizzara, of Reggio, 161 
 Amalfi, siege of, by Duke Eoger, 24. Foun- 
 dation of, 27, note^. Bronze gates at, 32. 
 Inscription on the, 32, note ' 
 Amatrice, bronze work of Pietro Dini at, 41 
 Ambrogio, Scuola di Sant', at Milan, 102 
 Ambrogio, St., cathedral of, at Milan, atrium 
 of Archbishop Anspertus in the, 102. Ci- 
 borium of Archbishop Angibertus, 102. 
 Works of Wolvinus, 102 
 Anrici, Tommaso, his work in the duomo at 
 
 Cremona, 162 
 Amnianati, Bartolomeo, his colossal statues in 
 
 the palace of Marco Benavides, 220 
 Amorini, bas-reliefs of, on the sarcophagus of 
 
 Giovanni Borromeo, 133 
 Anacletus, Antipope, representation of his 
 
 corouation of Roger II., 15 
 Anagui, decorated column of marble in the 
 duomo at, 83. Cosmatesque pavement at, 
 83. Foundation of the duomo, 83 
 Anastasia, St., ftatue of, at Friuli, 99 
 Ancliera, Cardinal, tomb of, at Rome, 83 
 Anchise, period in which he flourished, 239 
 Andrea dalF Aquila, his tomb of Maria Perf-ira 
 and her daughter, 46, 47. His bas-reliefs 
 on the triumphal arch of Alfonso of Naples, 
 05 
 
 Andrea, son of Carobert, King of Hungary, 
 his claims to the throne of Naples, 50, 
 note ' 
 
 Andrea, his work in San Pietro d' Alba, 84 
 Andrea della Valle, S., at Rome, tombs in, 91 
 Andreas, Bishop, his pulpit at Ban, 14 
 Andrew, St., statuette of, at Venice, 209. 
 
 Statue of, at Ferrara, 248 
 Andria, tombs of lolanthe and Isabella, wives 
 
 of the Emperor Frederick II., at, 44 
 Andriolo or Andreolo, Maestro, his works at 
 
 Padua, 185 
 
 Angeli, Alessandro, his works as a sculptor and 
 bronze caster, 245 
 
 ANN 
 
 Angelo a Nilo, San, Tuscan work in the church 
 of, 63 
 
 Angelo, Niccolo di, his Paschal candlestick at 
 St. Paul's, Rome, 79 
 
 Angels, bas-reliefs of, at the duomo at Ruvo, 
 29. In San Gregorio, at Rome, 91. At 
 San Martino in Friuli, 98. At the Certosa, 
 124, note^, 125, 126, 127. On the sarco- 
 phagus of Giovanni Borromeo, 133. At 
 Milan, 145. On Venetian tombs, 181, 182. 
 In the Cappella Maggiore at Venice, 196. 
 At San Martino, Venice, 199. Of the 
 Angel of the Annunciation, in the Frari at 
 ^^enice, 202. On the Ponte del Rialto at 
 Venice, 218. In the Museo Patrio at Man- 
 tua, 232. At Carpi, 239. Half-figure of 
 an angel at Venice, 194. Statues of angels 
 made for the Compagnia di San Giovanni, 
 152. In the Ducal Palace at Venice, 207, 
 iwte'". At San Petronius at Bolognaj 241. 
 Bronze statue of an angel on the Palazzo del 
 Consiglio at Verona, 217. Statuettes of angels 
 at Venice, 183. In the duomo at Genoa, 
 264. Curtain-drawing angels, when first 
 used in Italy, 181, note^ 
 
 Angelus, Petrus, his portal of San Antonio 
 Abbate in Chieti, 41 
 
 Angevine monuments at Sta. Chiara, Naples, 
 55 
 
 Angibertus, Archbishop, his additions to the 
 cathedral of San Ambrogio at Milan, 102 
 
 Anglo-Saxon ornament, 8 
 
 Aniello di Fiore, Agnolo, his works, 06. 
 Notice of him, 60, note^ 
 
 Aniello, St., altar-piece in the church of, at 
 Naples, 68 
 
 Animal forms excluded by the Saracens, 7. 
 But used by the Persians, 8. Their sig- 
 nification in Christian art, 9. The ' Physi- 
 ologus,' or ' Bestiary,' 9. Wood-carvings of 
 an early period at Parma, 256. Bas-reliefs 
 at Genoa, 263 
 
 Anna Comnena, her portrait of the hero Bohe- 
 mund, 24 
 
 Annex di Fernach, his sculptured Gothic door 
 
 in the duomo at ISIilan, 118 
 Annibaldi, Cardinal Riccardo, his tomb .at 
 
 Rome, 86 
 
 Annunciation, statuette of the Angel of the, 
 at Milan, 112. Bas-relief of the, in the 
 duomo at Milan, 1 18. On the sarcophagus 
 of Bartolomeo Coleoni, 130. On the sar- 
 cophagus of Giovanni Borromeo, 1.33. At 
 the Ccrtosn, 134. Representations of the, 
 common on Venetian tombs, 180, 182. Bas- 
 rolii'f of the, at the Frari at ^'enice, 202. 
 In the duomo at Genoa, 264. 
 
 Annunziata, Naples, Merliano's wooden bas- 
 relitjfs in the church of the, 66 
 
INDEX. 
 
 293 
 
 ANS 
 
 Anselmo da Campioiie, his works at Modena, 
 106 
 
 Anselmus, Archbishop of Canterbury, at the 
 
 Council of Bari, 16 
 Anselmus, Archbishop of Milan, 102. His 
 
 tomb, 102 
 
 Ansehnus, sculptor of the bas-reliefs on the 
 
 Porta Romana at Milan, 104 
 Ansiano, St., bas-relief of St. Mark baptising, 
 
 at Venice, 199 
 Anspertus, Archbishop, his regeneration of 
 
 Milan, 102 
 
 Antelami, Benedetto, his works at Parma, 106, 
 257, 258. Notice of him, 257. Character 
 of his work, 201. His scholars, 260 
 Antelami, the Magistri, at Parma, 257 
 Antelamo, workers in wood in the valley of, 
 257 
 
 Anthony of Padua, St., bas-relief of, 59. In 
 Como cathedral, 160. At Padua, 217. At 
 Brescia, 236. Bas-relief of, in the church 
 of San Antonio, at Padua, 200. Statuettes 
 of, at Aquila, 48. At Venice, 198. In the 
 Giustiniani chapel at Venice, 201. In the 
 Ducal Palace at Venice, 207, nufe^. His 
 sarcophagus at Padua, 221. Figure of, in 
 San Francesco, at Modena, 255 
 Anticlii, Prospero. <SV'e Bresciano 
 Antiocli taken by the Crusaders, 25 
 Antonio, Jacopo d', assists in casting Ghiberti's 
 
 gates at Florence, 239 
 Antonio da Ferrara, his crucifix in the duomo 
 
 of Ferrara, 243 
 Antonio di Gregorio, his work at Ferrara, 248, 
 249 
 
 Antonio, Maestro, bis work at Parma, 202 
 Anzolino da Brescia, terra-cotta ancona by, for 
 
 the Gremitani at Milan, 2.35 
 ApoUinare, S., statue of, at Ravenna, 194 
 Apollo, bas-relief of, 69. Statuette of, in the 
 
 Zecca at Venice, 268 
 Apollonius, St., bas-relief of, at Brescia, 236 
 Apostles, figures of the, on the tomb of Arch- 
 bishop Elias, 44. Silver statues of the, in 
 St. Peter's, Rome, 88, 91. Red marble 
 statues of the, at Milan, 105. In the Area di 
 Sant' Agostino, at Pavia,109. At Monza, 112. 
 Bas-reliefs of the, at San Giovanni Crisos- 
 tomo, Venice, 199. Statuettes of the, at 
 the Fraii at Venice, 207. And at San Ste- 
 fano at Venice, 207. Terra-cotta figures of 
 the, at Bologna, 246. Terra-cotta busts of 
 the, at Bologna, 247. Bas-reliefs of the, in 
 the duomo at Genoa, 264. And in the 
 duomo at Molfetta, 2(59 
 Apulia, past and present condition of, 1. 
 Effect produced by the monuments of, 2. 
 Its name diversely applied, 2. Conquered 
 by the Normans, 5. Elements of Apulian 
 
 ARM 
 
 sculpture, 5. General style and plan of 
 Apulian churches, 12. Character of Apu- 
 lian marble work, 15. Changed character of 
 ornament in Apulia in the thirteenth and 
 fourteenth centuries, 35. Tombs in Apulia, 
 43. Period of the cessation of the practice 
 of sculpture, 45. Notice of several churches 
 in, 269 
 
 Aquila, work of Nicola Filotesio in San Ber- 
 nardino at, 41. The fountain Delia Riviera 
 at, 45. The Camponesehi, lords of, and 
 their tombs at, 46. Tomb of Maria Pereira 
 at, 46. Shrine of San Bernardino at, 47. 
 Tomb of Pope Celestine V. at, 219 
 
 Ara Coeli, at Rome, tomb of Cardinal Matteo 
 d' Acqua Sparta at, 83 
 
 Arabesques, 7. In Persian art, 7, note^. Bas- 
 reliefs of, at the Certosa, 125 
 
 Area di Sant' Agostino, at Paira, 109. Di 
 San Domenico, 109 
 
 Arch, triumphal, at Castelnuovn, 63 
 
 Arches, Moorish, at Moscufo, 30 
 
 Architecture, Byzantine, 6. Syrian, 7. Nor- 
 man, 7. Egyptian and Persian, 8. General 
 style and plan of Apulian churches, 12. 
 The Norman circular style, 12, note'^. Ar- 
 milla janufB of churches, 13, note^. The 
 art under the Emperor Frederick II., 37. 
 The debased Roman style in Italy under 
 Theodoric the Goth, 95. Introduction of 
 the Gothic and Byzantine styles into Italy, 
 95. The Romanesque, Romano-Byzantine, 
 Lombard or Comacine style, 95. Origin 
 and history of the Maestri Comacini, 96, 97. 
 Their works at Monza and Cividale, 97, 98. 
 Character of \^enetian architecture, and sub- 
 ordination of sculpture to it, 165. Adoption 
 of Gothic architecture, 171. Introduction 
 of the Renaissance style, 189. The move- 
 ment in Venice, 190. Sculptors of the 
 Baroque style, 210. Bas-relief of, at Milan, 
 272 
 
 Architrave of San Clemenle a Casauria, 
 21 
 
 Arciniboldo, Antonello, sepulchial slab of, at 
 Parma, 262 
 
 Ardemani, Giovanni degli, sepulchral slab of, 
 
 at Parma, 261 
 Arento, Ippolilo d', Reggian sculptor, 249, 
 
 )iotc ^ 
 
 Aretino, Pietro, his friendship with Leone 
 Luini, 155. And with Martiuo Pasqualigo, 
 157 
 
 Ark, Translation of the, bas-relief of the, at 
 
 Padua, 225 
 Arlotti monument at Reggio, 249 
 Arluno, Ambrogio di, his work on the dnonio 
 
 of Milan, 142, nofc'^ 
 Arniilla januiC of churches. 13, note'* 
 
294 
 
 INDEX. 
 
 ARN 
 
 Arnolfo del Cambio, period in which he 
 
 flourished, 50, note " 
 Art, condition of, under the Hohenstauffens, 
 
 37. Decline of, at Rome, 72-74. Revival 
 
 of, under Charlemagne, 74. Condition of 
 
 sculpture in the Milanese in the sixteenth 
 
 century, 152 
 Arthur, King, sculptures of his victories over 
 
 the Visigoths, by Wiligelmus, 251 
 Arts, condition of the, in Milan under Lodo- 
 
 vico il Moro, 140 
 Ascoli, 41, note'. Artists of, 41 
 Aspetti, Tiziano, works of, at Venice, 212. 
 
 And at Padua, 2.30 
 Assumption, bas-relief of the, in the duomo of 
 
 Milan, 118 
 
 Atrani, bronze gates in the church of San 
 Salvatore at, 32. Inscription on them, 32, 
 note ^ 
 
 Atri, Gothic cathedral at, 39. Altar by Paolo 
 de Garviis in the duomo at, 151. His font, 
 151 
 
 Augustine, St., bas-reliefs of incidents in the 
 life of, in Sant' Agostino at Pavia, 109 
 
 Augustus, bust of, on the monument of Barto- 
 lomeo Coleoni, 130 
 
 Auria, Domenico d', his tomb of Niccolo di 
 Sangro, 71 
 
 Aversa taken by the Normans, 4 
 
 Azzo Visconti, vicar of Milan, his imprison- 
 ment, 108. His reign, 108. His love of 
 art, 108, 109. His monument at Milan, 
 110 
 
 Azzolino, Ercole, Reggian sculptor, 249, 
 note'^ 
 
 BADOARO, Agnesina, her chapel erected 
 to the memory of her husbaud, Girolamo 
 Giustiniani, 201 
 Balbi, Palazzo, at Venice, architecture of the, 
 211 
 
 Balbina, Santa, at Rome, tombs in, 83 
 Balzo, Giovanni Antonio, Prince of Tarentum, 
 
 his tomb, 45 
 Biimbaja. See Busti 
 
 Bamboccio, Abbot Antonio di Domenico, his 
 
 works, 62 
 Baptism of our Lord, bas-relief of, G8 
 Baptistry, the, of Benedetto di Antelamo, at 
 
 Parma, 258 
 
 Barattieri, Niccolo di, his figures on the piazetta 
 
 of St. Mark's, Venice, 170 
 Barbara of Brandenburg, profile head of, at 
 
 Mantua, 233 
 Barbarigo, Agostino, Doge of Venice, portrait 
 
 medal of, 207, note^ 
 Bari in the eleventh century, 2. Its revolt 
 
 under Melo, 3. Foundation and completion 
 
 BEN 
 
 of the duomo at, 14. Church Council held 
 at, IG. 
 
 Barile, Raimondo, Cardinal, bust of, 52 
 Barisanus of Trani, his bronze gates at Ravello, 
 
 Monreale, and Trani, 33 
 Barletta, works of Simon da Ragusa at St. 
 
 Andrea in, 35. Statue of St. John in the 
 
 church of St. Andrea at, 42. And of the 
 
 Emperor Heraclius at, 42 
 Baroni, period in which he worked, 239 
 Baroque style, sculptors of the, 210 
 Bartholonieus, the Foggian architect, 39 
 Bartholomew, St., statue of, in the duomo at 
 
 Milan, 151 
 
 Bartolomeo, Bolognese sculptor, period in 
 
 which he flourished, 239 
 Bartolomeo, Nicolo di, his pulpit in the duomo 
 
 of Ravello, 50, note * 
 Basella, chapel and monuments of the Coleoni 
 
 at, 129 
 
 Basgape, or Bescape, Ruggiero, his works, 
 158 
 
 Basseggio, Pieti'o, his designs for the Ducal 
 
 Palace at Venice, 174 
 Bassus, Junius, his sarcophagus, 74 
 Bataggi di Lodi, Giovanni, competes for the 
 
 cupola of the duomo of Milan, 135 
 Battista of Aquila, his tomb, 46 
 Battista, Giovanni, 92 
 
 Battista, detto 1' Asconino, his statues for the 
 
 cathedral of Milan, 157 
 Battista da Como, his work at Ferrara, 160, 
 
 note^ 
 
 Battista, Giovan, his crucifix at Mantua, 218 
 
 Beatrice, Empress, bas-relief portrait of the, 
 at Milan, 104 
 
 Begarelli, Antonio, 254. His clay work, 254. 
 His Descent from the Cross, 254, 255. His 
 Pieta at San Pietro, 255. Other works by 
 him, 255. Supposed portrait of him, 255. 
 His death, 256 His contract with the 
 monks of San Benedetto at Modena, 256 
 
 Begarelli, Lodovico, his work in San Pietro 
 at Modena, 255, note ^ 
 
 Belfiore, collection of works of art at, 249 
 
 Bell, the priest Guido Gonzaga di Aloisio's, at 
 Mantua, 234 
 
 Bellini, Gentile, Caniello's portrait medal of, 
 207 
 
 Belriguardo, at Ferrara, collection of works of 
 art at, 249 
 
 Belvidere, collection of works of art at, 249 
 Bembo, Bernardo, governor of Ravenna, en- 
 gages Pietro Lombardo to make a monu- 
 ment to Dante, 193 
 Bembo, Cardinal, bust of, at Padua, 268 
 Benedict, St., figure of, in the Academy at 
 Parma, 250 
 
 Bene vent urn under the Lombards and Byzan- 
 
INDEX. 
 
 295 
 
 BEN 
 
 tine rulers, 2, note'^. Bronze doors of the 
 
 duomo at, 270 
 Benvenuti, Giacomo, his work, 161 
 Berardus, Count of Sangro, bronze incised 
 
 figure of, 33 
 Bergamo, work of Hugo da Campione at, 
 
 106. Monuments of the Coleoni near, 129. 
 
 Carved work of Pietro di Bonomo de' 
 
 Maffeis, in Sta. Maria Maggiore at, 161. 
 
 Artists from, in the sixteenth century, 161. 
 
 Work of the brothers De' Cambi at, 162. 
 
 Ancona of Simon da Pavia and Simone da 
 
 Germano at, 163 
 Berlin, works by Italian sculptors in the Royal 
 
 Museum at, 290 
 Bernabo Visconti, his career and end, 110. 
 
 Equestrian statue of him, 110 
 Bernardino, San, at Aquila, work of Filotesio 
 
 in the church of, 41, 46. Shrine of, 47. 
 
 His death, 47, note^ 
 Bernardino from Milan or Lugano, his works 
 
 in bronze casting, 150 
 Bernardino of Siena, St., statuette of, at Venice, 
 195. His prophecy at, to the Doge Christoforo 
 Moro, 195, wofe* 
 Bernardino of Mantua, his method of gilding 
 
 silver, 235 
 
 Bernardino (perhaps del Bouno), his intaglios 
 
 and grotesques at Venice, 235 
 Bernardino, S., of Siena, bronze medal of, 24-5, 
 
 note^ 
 
 Bernardo da Venezia, appointed first architect 
 of the Certosa, near I'avia, 117. His works 
 there, 186. And at Milan, 186, note'' 
 Bernardo, Pietro, tomb of, at Venice, 203 
 Bernardo, San, Abate, statue of, at Carrara, 
 218 
 
 Bernhard, King of Italy, tomb of, at Milan, 
 
 102. Account of him, 102, 103 
 Bernieri, Antonio, Bishop of Lodi, sepulchral 
 
 slab of, at Parma, 262 
 Berniesi, Girolamo, sarcophagus of, at Paima, 
 
 262 • 
 
 Bertuccius, his external bronze gates of St. 
 
 Mark's, Venice, 171. Other work attributed 
 
 to him, 171, note'^ 
 Besozzo, Gio. Ant. da, his work in the duomo 
 
 of Milan, 142, note^ 
 Bettina di San Giorgio, stone effigy of, at 
 
 Padua, 221. Her learning, 221, 222 
 Bianchini, Bernardino, his work at Parma, 
 
 262 
 
 Bianchini, Gian Francesco, his wood carvings 
 
 at Parma, 262 
 Bianchini, Luchiuo, his work at Parma, 262 
 Biffi, Andrea, his works at Milan, 158 
 Bigino, Giovanni di, his statuette of St. Pro- 
 
 cuhis at Verona, 216 
 Birago, Francesco, tomb of, 141 
 
 BON 
 
 Birds, bas-reliefs of, at the Certosa, 125 
 Bisantius, bishop, founds the duomo of Bari; 
 14 
 
 Bitetto, basilica of St. Michael at, 40 
 Bitonto, sculptures on the cathedral of St, 
 Valentinian at, 35. Open loggia of the 
 Palazzo Sylos at, 42 
 Bittino, monument by, at Imola, 239 
 Bizantius, Bishop of Trani, causes Nicholas 
 
 the Pilgrim to be canonised, 28, note'' 
 Blancus, Gerardus, tomb of, 77, note'^ 
 Boaterii, Bonincontro di, sepulchi-al slab of, at 
 
 Venice, 186 
 Boetius, tomb of his wife Helpis, 77 
 Bohemund, the Norman, in Italy, 5. Sketch 
 of his career, 23. His mother's Grave chapel 
 erected to his memory, 23, 27. Anna Com- 
 nena's portrait of him, 24. At the battle of 
 Doryclea, 25. Saluted Prince of Antioch, 
 26. His subsequent adventm-es and death, 
 26, 27 
 
 Bologna il Vecchio, period in which he 
 flourished, 2.39 
 
 Bologna, fig-tree wood statue of Christ in Snn 
 Giovanni a Monte at, 163. Monument of 
 Taddeo Pepoli in San Domenico at, 180. 
 The Gothic altar-piece in the church of San 
 Francesco at, 183. Early sculpture at, 237. 
 Terra-cotta pulpit at San Stefano, 237. And 
 stone crosses at St. Petronius, 237. Early 
 Bolognese sculptors, 238. Works of Pro- 
 perzia de' Rossi, 240. Sculptors of the six- 
 teenth centui-y, 241. Works of Alfonso 
 Citadella at, 246-248. Statue of Pope 
 Julius II. at, 246. Mortorio della Madonna 
 at, 246. Tomb of Mondino de' Liucci at, 
 261 
 
 Bolognese, Lodovico, bust of, at Bologna, 242 
 Bolparo, the brothers, tomb of, at Padua, 222 
 Bombasio or Bombace, Gabriele, his defence 
 
 of Prospero Clementi Spani, 251, note^ 
 Bon, JBartolomeo, head architect to the Senate 
 
 of Venice, 175. His work at the Porta 
 
 della Carta there, 187, 188. His Capella 
 
 dei Mascoli and bas-relief on the altar, 1:8. 
 
 Other works attributed to him, 189 
 Bon, Giovanni, 187. His contract for building 
 
 the Porta della Carta at Venice, 187 
 Bon, Pantaleone, 187 
 Bonanno, his famous leaning tower, 251 
 Bonasuto or Bonafuto, his work on the facade 
 
 of St. Petronius, at Bologna, 186 
 Boniface IV., Pope, inscription from the tomb 
 
 of, 75 
 
 Boniface VIII., Pope, his tomb, 75, 76. Open- 
 ing of bis tomb, 76. Figure of, in Santa 
 Maria Pregnantium, 76. His arms, 83. 
 Tomb of, at Rome, 83. Colossal statue of, 
 at Bologna, 238, 239, note^ 
 
296 
 
 INDEX. 
 
 BON 
 
 Boniface IX., Pope, statue of, at St. Paul's, 
 Eome, 78 
 
 Bonino da Campione, bis .probable work at 
 Pavia, 109. His statue of Bemabo Visconti, 
 111, His tomb of Can Signorio della Scala 
 at Verona, 111, 112 
 
 Bonino da Campliglione, his monument of 
 Can II. Signorio della Scala, 113. Tombs at 
 Venice attributed to, 114, 183. His work 
 at Verona, 215 
 
 Bonomo de' Maffeis, Pietro di, bis work in 
 Sta. Maria Maggiore at Bergamo, IGl 
 
 Borella, Francesco, a pupil of Branibilla, 158, 
 note'' 
 
 Borromeo, San Carlo, causes many monuments 
 at Milan to be taken down, 105 
 
 Borromeo, Giovanni, Omodeo's statue of, at 
 Isola Bella, 133 
 
 Botromile, Landulpb, his bronze gates at the 
 duomo at Salerno, 50 
 
 Bovino, notice of the duomo at, 269 
 
 Bragadino, Agostino, bust of, at the Academy 
 at Venice, 212 
 
 Bramante, Agostino di, or Bramantino the 
 younger, his cartaceous draperies, 123. In- 
 troduces good drawing into Milan, 123, 
 7iote His pupil, Bramante d' Urbino, 123, 
 note * 
 
 Bramante, Lazzari or Bramantino, ' 1' Antico,' 
 118, note'^ 
 
 Bramante d' Urbino, his master Agostino di 
 
 Bramante, 123, note ' 
 Brambilla, Francesco, his position in the ^\•n- 
 
 eranda Fabbrica of Milan, 158. His works 
 
 and pupils, 158. Ills burial-place, 158, 
 
 7iote * 
 
 Brancacci, Cardinal, tomb of, 03 
 
 Brancaccio, Fabricio, tomb of, in Santa Maria 
 della Grazie, 71 
 
 Breakspear, Nicholas (Pope Adrian IV.), his 
 sarcophagus, 75 
 
 Bregno, Antonio Giovanni (called Rizzo or 
 Riccio), claims the introduction of the Re- 
 naissance style into Venice, 190. His study 
 and taste, 190. His position at Venice, 190. 
 His birthplace, 190, note^. His journey to 
 Scutari, 190. Appointed head architect at 
 Venice, 191. His subsequent life, 191. His 
 skill, 191. His Adam and Eve, 192. His 
 other works, 192 
 
 Bregno, Lorenzo, 190, notc '^, 207. His works, 
 209 
 
 Brera, at Milan, statue of Gaston de Foix at 
 the, 148. Monument to Lancinus Curtius 
 at the, 148 
 
 Brescia, architecture of the church of, at, 100. 
 Worship of Santa Julia at, 100. Tomb of 
 Bernardo Maggi at, 107, note^. Ravaged by 
 the French under Liastou de Foix, 146, iwlc'\ 
 
 PUR 
 
 Brescian sculptors of the fifteenth and six- 
 teenth century, 235, 236 
 
 Bresciano, Prospero, his Moses of the Fountain 
 de' Fermini at Rome, 235 
 
 Breze, Paolo detto delle, candelabra at "V'erona 
 attributed to, 219 
 
 Briamonte, Captain, tomb of, at Venice, 207 
 
 Brignole Franceschino da, his church dedicated 
 to the Holy Trinity, 60 
 
 Briolottus, his baptismal font at San Zeno at 
 Verona, 213, 214. Period in which he flour- 
 ished, 214, note^. 
 
 Briosco, Benedetto, works on the fa9ade of the 
 Certosa, 131 
 
 Briosco, Pietro, his work on the doors of St. 
 Petronius at Bologna, 142, note * 
 
 Briosco, M. Piero, his works, 225, note * 
 
 Bronze casters, Byzantine, 32. Italian, 31. 
 Barisanus of Trani, 33-35. Bronze-castings 
 of Bernardino from Milan or Lugano, 150. 
 Gates of San Celso, by Fontana, 158. Orna- 
 ments of the two pulpits in the cathedral of 
 Milan, 158. The horses at St. Mark's, 
 Venice, 165. The external gates of St. 
 Mark's, Venice, 171. AVorks of Alessandro 
 Leopardi, 204. Standard bases on the 
 Piazza of St. Mark's, 206. Works of Vittor 
 Camello, 207. Roccatagliata's statues of 
 SS. George and Stephen, 209, note"^. The 
 candelabra at San Stefano, the Salute, and 
 San Marco, at Venice, 212. Works of 
 Girolamo Campagna, 217, 218. Of Dona- 
 tello at Padua, 220. Statue of Pope Paul H. 
 at Perugia, 223. Vellano's bas-reliefs at 
 Padua, 224. Works of Tiziauo Minio and 
 Danese Cattaneo at Padua, 230. Bust of 
 Andrea Mantegna at Mantua, 232. Statue 
 of Pietro Pomponazzo at Mantua, 2-34. 
 Works of the brothers Gonzati at Parma, 
 262. Doors of the Lateran basilica at Rome, 
 26.3, and note '. Gates of the Cappella del 
 Santo at Padua, i:'68. The candelabrum at 
 the duomo at Milan, 271 
 
 Brugnolo, Benedetto, tomb of, at Venice, 203 
 
 Brunelleschi, his fortress modelled for Duke 
 Filippo-Maria Viscouti, 123 
 
 Bubagnanus, Greek captain, his foundation of 
 Troja, 16, note ^ 
 
 Buccellano, Giovanni, Bishop of Grisopoli, 
 235 
 
 Bucchianico, Alagni da, tomb of, 66, note ^ 
 
 Buono, Bartolomco, 189, note ^ 
 
 Buono, Bernardino del, his work at the Pa- 
 lazzo del T^, 2.35 
 
 Buono, Giovanni, da Bissone, his work ut 
 Parma, 261 
 
 Buonvicino, Ambrogio, his works at Rome, 
 158, 159 
 
 Burzoni.Marlino, Reggiim sculptor, 2 19, iwlc 
 
INDEX. 
 
 207 
 
 BUS 
 
 Busnate, Oprando da, his pulpit at INIilan, 105 
 Busti, Agostino, his works, 90, note ^ 
 Busti, Agostino, surnamed Bambaja, 146. His 
 reliefs at the Certosa, 134. His tomb of 
 Gaston de Foix, 146, 147. Drawing of 
 the design at South Kensington, 147. His 
 monument to Lancinus Curtius, 148. His 
 works in the duomo at Milan, 149. His 
 monuments to Cardinal Marino Caracciolo 
 and to Giovanni Andrea Vimercati, 149. 
 His altar bas-relief, 149. His probable work 
 on the Certosa, 149. Tomb by him at Isola 
 Bella, 150 
 
 Byzantine school, wide-spread influence of 
 the, 5, note 6 
 
 Byzantine style in architecture introduced into 
 Italy, 95. Its influence in the works of the 
 Maestri Comacini, 98. Causes and examples 
 of Byzantine influence at Venice, 170 
 
 CACCAVELLO, Annibale, character of his 
 works, 71 
 
 Cifidwalla, ffing of the West Saxons, his 
 
 tomb in St. Peter's, 77 
 Caesar, Julius, bust of, on the monument of 
 
 Bartolomeo Coleoni, 130 
 Caesars, bas-reliefs of the twelve, by Tomaso 
 
 della Porta, 154 
 Cagnone, Alessandro, Reggian sculptor, 249, 
 
 note ^ 
 
 Cairate, Giovanni da, his terra-cotta figures at 
 the Certosa, 127, ?iote * 
 
 Cajazzo, Conte di, work of Maestro Antonio on 
 the palace of, 262 
 
 Calabroso, Bart., Reggian sculptor, 249, note * 
 
 Caldara, Giacomo, death of, 64 
 
 Calendario, Filippo, the Venetian architect, 
 173. His mysterious education as an artist, 
 173. Put to death, 174. The sculptures of 
 the ducal palace probably his, 173, 174 
 
 Calf, Adoration of the Golden, bas-relief of, at 
 Padua, 224 
 
 Calista, S., statuette of, in the Abazia, Venice, 
 189 
 
 Calixtus, St., Bishop of Ac[uileja, his duomo at 
 Cividale, 98 
 
 Cambi, the brothers Jacobus and Galeantino 
 de', their work at Bergamo, 102 
 
 Camello or Gambello, Vittor, his powers of 
 imitation, 207. His medals, 207. His 
 marbles and bronzes, 207. Plis rhymes, 
 207. His other works, 207, note ^ 
 
 Camilla, Porzia, her tomb in San Severino, 
 Naples, 71 
 
 Camino or Comino, Ferrarese sculptor, put to 
 death, 243 
 
 Campagna, Girolamo, his works at Venice and 
 at Verona, 217. His bas-relief of Sant' 
 
 CAR 
 
 Antonio at Padua, 217. Character of his 
 work, 217, 218. Other works by him, 218, 
 268 
 
 Campagna, Girolamo, the younger, his statue 
 of Duke Federigo of Urbino, 218 
 
 Campanile of the duomo ofTrani, 28, note^ 
 
 Campi, Bernardino, his frescoes in the church 
 of St. Sigismond, near Cremona, 163 
 
 Campione. See Bonino 
 
 Campionesi, their sculptures at Milan, lOo. 
 Notice of them, 105, 106. Their works at 
 Modena, 106. Genealogical tree of them, 
 106, note ' 
 
 Camponeschi, Beatrice, her tomb at Aquila, 
 46. Inscription on the tomb, 46, note* 
 
 Camponeschi, lords of A|uila, 46. Their 
 tombs, 46 
 
 Can I., Signorio della Scala, his rule, 112. 
 
 His tomb at Verona, 111, 112 
 Can II., Signorio della Scala, his diminished 
 
 territory, 113. His monument, 113 
 Cana, Marriage at, bas-relief of the, at Jlilan, 
 
 151 
 
 Candelabra, Paschfil, at St. Paul's, Rome, 78. 
 Paschal, in Santa Maria in Cosmedin, Rome, 
 83. Of Alessandro Leopardi, at the Academy 
 at Venice, 200. Bronze, at San Stefano, 
 the Salute, and San Marco, 212. The 
 marble candlestick in the duomo at Verona, 
 219. The bronze Paschal candlestick at 
 Sant' Antonio at Padua, 226. The marble 
 pedestal for it, 230. Bronze candlestick in 
 the duomo at Milan, 271. The so-called 
 Gloucester candlestick at the South Ken- 
 sington Museum, 271 
 
 Cannae, battle of, 4 
 
 Canosa, duomo of San Sabino at, 22. Ac- 
 count of, 23, tiofe. 
 
 Canozio, Bernardino, his work at Ferrara, 209, 
 note ' 
 
 Canozzi, Daniele di Bernardino, his work at 
 
 Ferrara, 209, 7iote 
 Cappello, Admiral Vittore, 208, note Statue 
 
 of, at Venice, 208 
 Capuano, architect of the castle of, 52, note'^ 
 Caracciolo, Cardinal Marino, tomb of, at Milan, 
 
 149 
 
 Caracciolo, Giosue, Ciccione's monument to, 60 
 Caracciolo, Ser Gian, 61. His tomb, 61 
 Caradosso, escorts Francesco di Giorgio to 
 Milan, 135 
 
 Caradosso, Ambrogio, detto Foppa .md del 
 Mundo, his name according to Cellini, 144. 
 His medals and goldsmith's work, 145. His 
 gold pax at Milan, 145. Cellini's admira- 
 tion of his works, 145. His golden inkstand, 
 145. His works in marble, 146. Three 
 letters from him to Lodovico il Moro, 272 
 
 Caraffa, Fra Bartolomeo, tomb of, at Rome, 88 
 
208 
 
 INDEX. 
 
 CAR 
 
 Caraffa, Cardinal Oliviero, statue of, at Naples, 
 162 
 
 Caramanico, notice of San Tomaso del Monte 
 
 or di Patemo at, 269 
 Carbona, Melia da, memorial to, by Tommaso 
 
 Louibardo, 160 
 Carbone, Cardinal, his tomb, 62. Notice of 
 
 him, 62, tiote ' 
 Carelli, IMarco, his tomb in the duomo of 
 
 Milan, 119 
 
 Cariboni, Alessandro, Eeggian sculptor, 249, 
 note ^ 
 
 Cariboni, Giorgio, Eeggian sculptor, 249 tiote^ 
 Carino, Giovanni, his busts of Andrea Navagno 
 
 and Fracastoro at Padua, 230 
 Carmaguola, treatment of, by the Duke of 
 
 Milan, Filippo- Maria, 121 
 Caroccio, invention of the, 103 
 Carpi, tomb of Manfredo Pio at, 2-39 
 CaiTara, statue of San Bernardo xVbate at, 218. 
 Marble quarries of, 266. Carrarese sculp- 
 tors, 266 
 
 Carsoli, notice of the duomo at, 269 
 Caryatides, gigantic, of Alessandro Vittoria at 
 
 Venice, 2U 
 Casari, I.azzaro, his works at Bologna, 241 
 Casignuola, Jacopo, his work at Rome, 158 
 Casignuola, Tomaso, his work at Rome, 158 
 Cassiano, Monte, in the Marca d'Ancona, cru- 
 cifix in the church of, 41 
 Cassino, Monte, bronze gates at, 32. Inscrip- 
 tion on tliem, 32, note ^ 
 Castaldi, Matteo, his work on the Campanile 
 at Ferrara, 141, note His work on the 
 duomo at Milan, 141, note * 
 Castaldo, Cornelio, his verses in praise of 
 Vittor Camello, 207. Camello's portrait 
 medal of, 207 
 Castel del Monte, description of the, 37, 38. 
 
 Period of the construction of the, 49, 50 
 Castellani, Lodovico, his works at Fen'ara, 
 245 
 
 Castello del due Torri, period of the construc- 
 tion of the, 50. Demolition of, 50, note * 
 
 Castello, Giovanni, II Bergamasco, his work 
 in the cathedral of Genoa, 161. His visit 
 to, and death in, Spain, 161 
 ''astelnuovo, Andrea dall' Aquila's sculptures 
 >nn the triumphal arch at, 47. Architect of, 
 52, note Triumphal arch at, 63, 64 
 
 Castracani, Castruccio, renders assistance to 
 Galeazzo Yisconti, 108. Plunders the villas 
 near Florence, 108, note ^ 
 
 Castro, Paolo di, and his son Angelo, monu- 
 ment to the memory of, at Padua, 224, 225 
 
 Cataneo, Danese, da Carrara, his bronze work 
 at Padua, 230 
 
 Catapan, the Greek, at Bari, S. Revolt of 
 Melo against him, 3 
 
 CHA 
 
 Catharine of Austria, Duchess, her tomb at 
 San Lorenzo, 59 
 
 Cathedra, the, in San Clemente, Rome, 79. 
 In the treasury of St. Mark's, Venice, 168. 
 Legends connected with it, 168, note 
 Cattedra, the, of the grotto of St. Michael, 13. 
 Of the church of San Nicolo at Bari, 16. 
 In the duomo of San Sabino at Canosa, 22 
 
 Catherine, St., statuettes of, at Aquila, 48, 59. 
 Bas-relief of, 63. Statuette of, on the sar- 
 cophagus of Medea Coleoni, at Basella, 1 29. 
 Statue of, in the academy at Genoa, 152. 
 Bas-relief of, in Como cathedral, 160. 
 Statuette of, at Venice, 184. Bas-relief of, 
 at Carpi, 239 
 
 Cattaneo, Danese, da Carrara, his monimient 
 to the Doge Ijoredano, 217. Notice of him, 
 266, 267. His work at Venice, 267. His 
 friendship with Tasso, 267. His literaiy 
 works, 267. His sculptures, 267. His 
 poetry, and a translation of a sonnet, 274 
 
 Cavalli, Jacopo, the condottiere, tomb of, at 
 Venice, 184 
 
 Cavallini, Pietro, his crucifix at St. Paul's, 
 Rome, 88 
 
 Celestine V., Pope, his tomb at Aquila, 219 
 Cellini, Benvenuto, his admiration of the 
 
 works of Caradosso, 145 
 Celso, San, at Milan, sarcophagus at, 101. 
 
 Antonio Abbondio's heads at, 157. Fon- 
 
 tana's works at, 157, 158 
 Celtic oi-nament, 8 
 
 Ceres, statue of, by Gugl. della Porta, 152 
 
 Certosa, at Pavia, foundation of the duomo 
 of the, 115, 117. Artistic interest of the, 
 117. The gi'ound-plan and various parts of 
 the, 118, note ^. Duke Filippo-Maria's great 
 cloister, 120. Bas-relief of the Adoration 
 of the Magi at the, 124. Wooden statues 
 of Pantaleone, de' Marchi for the, 141, note^. 
 Probable work of Bambaja at the, 149. 
 Church of S. Andrea in the, 195 
 
 Charity, statue of, at Naples, 61. Statuette 
 of, on the sarcophagus of Bartolomeo Co- 
 leoni, 130. Bas-relief of, in the Baptistry 
 at Parma, 260 
 
 Charlemagne, his tomb in St. Peter's, 77. 
 Alto-reliefs of the paladins of, at Verona, 
 215 
 
 Charles V., Emperor of Germany, his demo- 
 lition of the Castello del due Torri, 50, 
 note ^. Statues, busts, and medallions of, 
 by Luini at Madrid, 155, and )iote ^. Coro- 
 nation of, at Bologna, 241. Cittadella's 
 wax medallion of, 247. Cittadella's bust of, 
 247 
 
 Charles II. of Anjou, his duomo at Lucera, 40. 
 Disappearance of his sarcophagus thence, 
 41. His t'fligy set against the wall, 44. 
 
INDEX. 
 
 299 
 
 CHA 
 
 Statue of, at Rome, 8(3. Figure of, on his 
 •widow's tomb, 64 
 Charles VIII., King of France, his conquest 
 of Naples, 253. His tomb at St. Denis, 
 25.3 
 
 Charles Martel, King of Hungary, his gift to 
 the church of Monte Vergine, 270 
 
 Charles, Duke of Calabria, his church of San 
 Martino, 5.3, 54. Figures of, 54, 57. His 
 death, 5G. His tomb in Sta. Cbiara, 57 
 
 Charon, bark of, bas-relief of the, at Verona, 
 229 
 
 Chastity, bas-relief of, in the baptistry at 
 Parma, 2G0 
 
 Chiara, Sta., at Naples, arcliitects of, 53. 
 Monuments in, 54, et seq. Story of, 57. 
 
 Chiara, Santa, figure of, 58. Bas-relief of, 59. 
 Half-figure of, at Venice, 194. Statuette 
 of, at Venice, 218, 23G 
 
 Chieti, silver statue in the duomo at, 40, note *. 
 Portal of S. Benedetto at, 40. And of San 
 Antonio Abbate, 41 
 
 Chimera, the, as a Christian symbol, 100, ttotc'^. 
 Bas-relief of the, 100 
 
 Chionia, St., statue of, at Friuli, 99 
 
 Christ, bas-relief of, at the duomo at Ruvo, 
 29. At St. Andrea at Barletta, 35. At the 
 cathedral at Atri, 39. At St. Michael at 
 Bitetto, 40. On the shrine of San Bernar- 
 dino, in Aquila, 47, 4S. In the Capella di 
 San Severino at Naples, 07, 68. Of the 
 Baptism, at Monza, 97. At San Martino in 
 Friuli, 98. At San Pietro di Civate, 100. 
 At San Calimaro at Milan, 103. At Verona, 
 113. In the duomo at Milan, 118. On the 
 tomb of San Lanfranco, 128. Of scenes in 
 the life of, on the sarcophagus of Barto- 
 lomeo Coleoni, 130. At the Certosa at 
 Pavia, 131, 1.34, 266. In the chapel of the 
 Barromei onlsola Bella, 133. In the duomo 
 at Como, 160. At Venice, 183, 199, 201. 
 Of scenes in the life of, in the Giustiniani 
 Chapel at Venice, 202. Of the Resurrection 
 in the Frari at Venice, 202. And at Bo- 
 logna, 247. In the Pellegrini Chapel at 
 Verona, 216, 217. Of His descent into 
 Limbo, on Ricci's candelabrum at Padua, 
 227. At San Cansiano at Padua, 229. At 
 Sant' Antonio at Mantua, 231. At Carpi, 
 239. Of the Mysteries of His Passion in the 
 duomo at Parma, 258. Of the history of 
 His life in the Baptistry at Parma, 259, 
 260. At Genoa, 264, 265. In the duomo 
 at Molfetta, 269 
 
 ■ — , bust of, at Naples, 52 
 
 • — , statue of, in the duomo at Milan, 140. Of 
 wood, at Bologna, 163. In Sant' Anastasia 
 at Verona, 267 
 
 — , statuette of, at Monza, 112. Common on 
 
 CLE 
 
 Venetian tombs, 180, At Venice, 188. At 
 
 Reggio, 250 
 — , mortorio of, in Sta. Chiara at Naples, 58. 
 
 At San Satiro at Milan, 146. In the duomo 
 
 at Ferrara, 245. At Modena, 252. Of wood, 
 
 at Parma, 201 
 — , intaglio head of, by Properzia de' Rossi, 
 
 240 
 
 — , early representation of, on a cross at Bo- 
 logna, 238. Dialogue with His mother on 
 this Cross, 238. Rude early figure of, in 
 St. Mark's at Venice, 169 
 
 — on the Cross. See Crucifi.x 
 
 — the Judge, bronze incised figure of, at Tro- 
 ja, 33. Bas-relief of, in the Baptistry at 
 Parma, 259 
 
 Christianus, Magister, 78. His monument to 
 
 Cardinal Peter, 78 
 Christina, St., statuette of, at Venice, 184 
 Christopher, St., bas-relief of, near the en- 
 trance to the Academia, Venice, 172. Huge 
 wooden statue of, at Sta. Maria dell' Orto, 
 186, note * 
 
 Chrysogonus, St., statue of, at Friuli, 99 
 Cibo, Cardinal, his patronage of Cittadella> 
 248 
 
 Ciborium of Alfanus da Termoli fit Bari, 14. 
 Gothic, of Arnolfio del Cambio, 78. Of 
 Niccolo di Angelo, 79. In San Clem ante, 
 at Rome, 78. In Santa ISIaria di Castello, 
 at Corneto, 79. Origin of the ciboiium, 79, 
 note That at San Giorgio in Velabro, 
 79, note That of Santa JNIaria di Castello, 
 at Corneto, 79. In the duomo at Genoa, 
 152. In the duomo at Parma, 262, note * 
 
 Ciccarone, Alessandro, his additions to the 
 fountain at Aquila, 45, note * 
 
 Ciccione, Andrea, his works, 60 
 
 Cippus of Publius Futilius, at Milan, 104, 
 note * 
 
 Circumcision, bas-relief of the, at Como, 159 
 Cittadella, Alfonso, alias Lombardi, notice of, 
 245. His studies imder one of the Lom- 
 bardi, 246. His mortorio at Bologna, 246. 
 Michel-Angelo's opinion and employment of 
 him, 246. His mortorio della Madonna at 
 Bologna, 246. Other works by him, 247. 
 His death, 248 
 Cividale, works of the Maestri Comacini at, 
 98 
 
 Cividale, in Friuli, erection of the duomo of, 
 197 
 
 Civitali, Matteo, his works in the duomo at 
 
 Genoa, 265 
 Clara, St., statuette of, at Venice, 184 
 Clarello, Fra, notice of, 220. His works at 
 
 Padua, 220 
 Claribus, Antonio de, tomb of, 77, noie^ 
 Clemency, figure of, 57 
 
 u 2 
 
300 
 
 INDEX. 
 
 CLE 
 
 Clement, St., statuette of, at Venice, 184 
 
 Clement, fourth Pope, his relics at San Cle- 
 mente a Casauria, 20. His representation 
 on the doors of the church, 20, note ^, 21 
 
 Clement V., Pope, sends for Properzia de' 
 liossi at Bologna, 241 
 
 Clemente a Casauria, San, 19. Foundation 
 of, 19, note"^. Additions and restorations, 
 20. Portal sculptures, 21. Interior of the 
 church, 22 
 
 Clemente, San, church of, at Rome, 78. Mar- 
 ble works in, 78. The ciborium in, 78, 79, 
 note ' 
 
 dementi Spani, Bartolomeo di, notice of, 249- 
 His sons, 249. His works as a goldsmith, 
 architect, and sculptor, 249 
 
 Clementi Spani, Prospero, 249, 250. His 
 works, 250. His reputation defended by the 
 dramatist Gabriels Bombasio, 251, note ' 
 
 Cock, the, as a Christian symbol, 10 
 
 Colchas, temple of, on Mous Garganus, 13, 
 tiote 1 
 
 Coleoni, Bartolomeo, his chapel and monu- 
 ment, 1 29. Equestrian statue of, at Venice, 
 130, 204 
 
 Coleoni, Medea, her monument at Basella, 129 
 Colla, Francesco di Nicola da, his works at 
 Padua, 230 
 
 Coltellini, Girolamo, his works at Bologna, 
 241, 242 
 
 Comacine style of architecture, 95. Origin of 
 
 the name, 96 
 Comacini, Maestri, origin and history of the, 
 
 97 
 
 Como, Guglielmo da, employed at the Certosa, 
 127, note * 
 
 Como, duomo at, 159. Work of various ar- 
 tists on the duomo, 159. The fa9ade, 159 
 
 Conforti, Giacomo Filippo, his tomb of Gio- 
 vanni Buccellano, at Brescia, 235 
 
 Constans I., Emperor, his diadem of pearls, 
 42, note'^ 
 
 Constantine the Great, his diadem of pearls, 
 42, note '. Bronze bas-reliefs of the history 
 of, at Venice, 229 
 Contarini monument at Sant' Antonia at Pa- 
 dua, 207, note * 
 Contarini, Gaspare, bust of, at Venice, 211 
 Contarini, Tommaso, bust of, at Venice, 211 
 Conti, Nicolo di, his work at Venice, 212 
 Cornrri, Catarina, her monument to her hus- 
 band's memory, 185 
 Cornaro, Marco, Doge of Venice, tomb of, 182. 
 
 His answer to Giovanni Dolfin, 182, note^ 
 Cornaschi, Livio de', his work at Venice, 2G3 
 Cortero or Cortesi, Stefano di, 209, note'^ 
 Cosmati, works of the, 75, 81. Genealogy of 
 the, 270 
 
 Cosmati, Adcodatus, works of, 83 
 
 DAN 
 
 Cosmati, Giovanni, his tombs at Santa Maria 
 Maggiore and Santa Maria sopra Minerva, 
 75, note His other works, 82, 83 
 
 Cosmati, Luca, his work in the duomo at 
 Anagni, 83 
 
 Cosmati, Pa&quale, works of, 83 
 
 Cosmography, bas-relief of, on a candelabrum 
 at Sant' Antonio at Padua, 227 
 
 Costanzo, Jacopo di, tomb of, 52 
 
 Courage, bas-relief of, on Riccio's candela- 
 brum at Padua, 227 
 
 Cozteno, Gallinus de, 150 
 
 Cremona, Omodeo's shrine of the Egj'ptian 
 martyrs at, 131, 132. Giacomo Portata's 
 work on the portal of the cathedral of, 160, 
 note ^. Sculptors from, in the fifteenth cen- 
 tury, 161. Work of Giovanni Gaspare Pe- 
 doni in the municipal palace, 162. Of 
 Malojo in the duomo, 162. And of Tom- 
 maso Amici and Francesco Maja in the 
 duomo of Cremona, 162. Platina's work 
 on the stalls of the choir, 162. Frescoes at 
 St. Sigismond, near Cremona, 163 
 
 Cristina, S., statuette of, in the Abazia, Venice, 
 189 
 
 Cristoforo Pedoni's Area di Sant' Arcaldo in 
 
 the duomo at Cremona, 162 
 Cristoforo da Ferrara, Reggian sculptoi-, 249, 
 
 note * 
 
 Cristoforus, his medal portraits, 2.34 
 
 Cross of Pietro Vannini, at Ascoli, 41. Stone 
 crosses at St. Petronius at Bologna, 237. 
 Ancient custom of setting them up at the 
 junction of two or three roads, 237, note ' 
 
 Crucifix of Lorenzo d' Ascoli, in the church of 
 INIonte Cassiano, 41. By Franciscus Perrini, 
 at Santa Maria Maggiore, 41. The miracu- 
 lous, at San Domenico, 52. Of Pietro Caval- 
 lini, at Rome, 88. At San Calimaro, Milan, 
 103. Supposed to be by Antonio di Ferrara 
 at Ferrara, 243 
 
 Crucifixion, bas-relief of the, in the oratory of 
 S. Venanzio, Rome, 91. Bas-relief of the, 
 on the Sarcophagus of Bartolomeo Coleoni, 
 130. At the Certosa, 134. In the Scuola 
 di San Girolamo at Venice, 211. In the 
 duomo at Parma, 257, 258. In the duomo 
 at Genoa, 264 
 
 Crusade, the, 24 
 
 Crusaders, new ideas of art brought back from 
 
 the East by the, 6 
 Cupid, I'aolo Romano's statue of, 90 
 Cupids, bas-reliefs of, at Urbino, 143 
 Curtius, Lancinus, monument to, at Milan, 148 
 
 DANDOLO, Andrea, tomb of, at Venice 
 181, 182. His monument to Sant' Isi- 
 doro, in St. Mark's, 182 
 
INDEX. 
 
 301 
 
 DAN 
 
 Dandolo, Simon, tomb of, 183 
 
 Dante, tomb of, at Ravenna, 193. Discovery 
 of his bones in 1805, 193, note * 
 
 Daverio, Pietro Antonio, Lis statues on the 
 exterior of Milan Cathedral, 158 
 
 David, statue of, on the duomo at Milan, 141, 
 note *. Bas-relief of, at Padua, 224 
 
 Death as a crowned skeleton, ex-voto bas- 
 relief of, 59, 60 
 
 Decembrio, Pietro Candido, notice of, 120, 
 note ^ 
 
 Delfin, Andrea, bust of, at Venice, 268 
 Demetrius, despot of the Morea, portrait of, 
 70 
 
 Demugiano, Ludovico, his statue of Louis XII. 
 
 of France, 139, note ^ 
 Dentone, Antonio, 207. His works at Venice, 
 
 208 
 
 Dentone, Giovanni, of Padua, a pupil of Cris- 
 toforo Solari, 141. Ilis works in the Cap- 
 pella del Santo at Padua, 230 
 
 Descent from the Cross, Santa Croce's, 70. 
 Bas-relief of the, in the duonio at Milan, 
 118. On the sarcophagus of Bartolomeo 
 Coleoni, 130. At the Certosa, 131. On a 
 gold pax at Milan, 145. Group of the, by 
 Tomaso della Porta, 154. By Begarelli, at 
 Modena, 254, 255, Cost of the work, 255, 
 note ' 
 
 Desiderius, King of the Lombards, his church 
 of San Salvatore at Brescia, 100. And at 
 San Pietro di Civitate, 100 
 
 Diadems of pearls worn by the Greek Empe- 
 rors, 43, note ' 
 
 ' Dieu le veut,' the cry of, 5 
 
 Dini, Pietro, his bronze work at Amatrice, 
 41 
 
 Discalzi, Isabella, sculptress, 254, note * 
 Doctors of the Church, bronze symbols of the, 
 
 in Milan Cathedral, 158 
 Dolcebuono, Giovanni Jacopo, competes for 
 
 the cupola of the duomo of Milan, 135. 
 
 Notice of him, 135, note * 
 Dolfin, Giovanni, Doge of Venice, answer of 
 
 the Doge Marco Comaro to, 182, note ^. Ilis 
 
 tomb, 183 
 
 Domenego da Como, his work in the cathedral 
 
 of Ferrara, 160, note ^ 
 Domenic, St., bas-relief of, at Naples, 66, 
 
 note Bas-relief of incidents in the life of, 
 
 at Bologna, 248 
 Domenico, Antonio di, da Ligorno or Ligiuno, 
 
 150 
 
 Domenico, his intaglios and grotesques at 
 
 Venice, 235 
 Domenico, San, at Naples, miracidous crucifix 
 
 at, 52. Tomb of Francesco Caraffa at, 66. 
 
 Madonna and Child at, 68 
 Domenico Maggiore, San, architects of, 52 
 
 ELE 
 
 Domenigo di Bernardino, his work at Venice, 
 212, tiote 1 
 
 Donatello, his part in the tomb of Cardinal 
 Brancacci, 63. His bronzes at Sant' An- 
 tonio at Padua, 220 
 
 Donato, Maestro, his works at Sta. Maria in 
 Cosmedin at Rome, 171 
 
 Donato Mascella, Cola, his work in the gates 
 of the duomo of Troja, 33, note ' 
 
 Donato, San, Bishop of Epirus, shrine of, in 
 the duomo at Murano, 171. Difference 
 between the size of the saint and his wor- 
 shippers, 171, note *. Journey of his bones 
 from Cephalonia, 172 
 
 Donato, Manno, tomb of, at Padua, 222 
 
 Donelli, Palazzo, at Reggio, work of Barto- 
 lomeo di Clementi Spagni at the, 249 
 
 Domiaincasa, his work in the pavement of 
 Santa Maria di Castello, at Corneto, 85 
 
 Donnino, Borgo San, work on the facade of 
 the cathedral of, 260 
 
 Doors of the church of San Clemente a Ca- 
 sauria, 20. Bronze, of Byzantine workman- 
 ship, 32. Works of Roger of Amalfi and 
 Oderisius of Beneventum, 32, 33. And of 
 Barisanus of Trani, 33. Of the duomo at 
 Salerno, 60. Vine-wood doors of Santa 
 Sabina, at Rome, 91. Of St. Mark's, Venice, 
 170. See Portal Sculptures 
 
 Dorotea, S., statuette of, in the Ahazia, Venice, 
 189. Intaglio head of, by Properzia de' 
 Rossi, 240 
 
 Doryclea, battle of, 25 
 
 Dossale, marble, in the Cappella Salviati, at 
 Rome, 91 
 
 Dozza, Francesco, his work at Bologna, 242 
 Draperies, cartaceous, origin of, 123. Of the 
 
 Mantezza, 126, 127. Of Omodeo, 127, 
 
 132 
 
 Drogo, Count, his tomb at Venosa, 44 
 Durando, Guglielmo, his remarks on the sym- 
 bols of the Evangelists, 10, uote'^ 
 Durante, Guglieliuus, Bishop of Capo Stillari, 
 
 tomb of, at Rome, 82 
 Durazzo, Maria, bas-relief of, at Naples, 58 
 Durazzo, Carlo da, monument of, 59 
 Durazzo, besieged by Bohemund, 20 
 
 "nAGLE of St. John at Moscufo, .30 
 
 -Li Ecce Homo, bas-relief of an, on the sar- 
 cophagus of Medea Coleoni, 129 
 
 Edward the Confessor, his shrine in West- 
 minster Abbey, 80, 81 
 
 Egyptian martyrs, shrine of the, at Cremona, 
 132 
 
 Egyptians, decorations of their buildings, 8 
 Eleanor, Queen, artists of the crosses of, 88 
 Elena, Sta., at Venice, monument to the Count 
 
302 
 
 INDEX. 
 
 ELE 
 
 of Valtero and Arquato in tlie church of, 
 141, note^ 
 
 Elena, Sta., figure of, at San Giovanni e Paolo, 
 
 at Venice, 208 
 Eleonora of Aragon, Princess, journey of, to 
 
 Ferrara, 244. Her reception there, 245. 
 
 Her death, 245, note ^ 
 Eleutherius, St., on the doors of the duomo 
 
 of Troja, 33, note * 
 Elias, Archbishop, his discovery of the bones 
 
 of St. Sabinus, 14, note * 
 Elias, Archbishop, Abbot of the Benedictines, 
 
 his tomb at Venosa, 44 
 Elizabeth, St., figure of, in Sta. Chiara, Naples, 
 
 58 
 
 Elysian Fields, bas-relief of the, at Verona, 
 229 
 
 Emperors, Greek, diadems of pearls worn by 
 
 the early, 42, tzote ^ 
 England, style and plan of the earliest churches 
 
 in, 12, tiote^ 
 Eniicaccio, Giovanni d', period in which he 
 
 flourished, 239 
 Enrico da Campione, his works at Modena, 
 
 106 ■ 
 
 Enrico II. da Campione, his statuettes and 
 work on the Ghirlandaja, at Modena, 
 106 
 
 Entombment, Stiacciato relief of the, in St. 
 Peter's, Rome, 91. Bas-relief of the, on 
 the sarcophagus of Bartolomeo Coleoui, 130. 
 On Riccio's candelabrum at Padua, 227. At 
 Verona, 229 
 Envy, bas-relief of, on a candelabrum at Sant' 
 
 Antonio at Padua, 227 
 Epiphany, bas-relief of the, at Venice, 183 
 Equestrian statue of Bartolomeo Coleoni, 130 
 Este, Marquis Alberto d', statue of, at Fer- 
 rara, 244 
 
 Este, Beatrice d', her tomb at Pavia, 138. Her 
 
 energetic counsels, 139 
 Este, Borso d', medal of, 245, tiote * 
 Este, Costanza, d', her tomb at Padua, 221 
 Este, Ercole d', Duke of Ferrara, statue of, 
 
 248 
 
 Eustace, St., bronze figure of, at Trani, 34. 
 Statue of, on the duomo at Milan, 140, 
 note ■* 
 
 Eustachius, Abbot, his ciborium in the church 
 of San Nicolo, 15. His verses on the tomb 
 of Archbishop Elias, 44 
 
 Eustorgio, St., tomb of St. Peter Martyr in the 
 church of, at Milan, 109 
 
 Evangelists, meaning of the animal symbols of 
 the, 10, tiotc'^. At the duomo at Ruvo, 29. 
 On the pulpit at Pianella, 30. In the duomo 
 of Salerno, 50. Statuettes of the, at Monza, 
 112. Ancient representation of the symbols 
 of the, in St. Mark's, Venice, 108. Attri- 
 
 FAL 
 
 butes of the, in Sta. Maria in Cosmedin at 
 Rome, 171. Bronze symbols of the, in the 
 duomo of Milan, 158. Alto-reliefs of the, 
 at Venice, 184. Bas-reliefs of the, in the 
 duomo at Treviso, 197, note In the Ca- 
 pella Maggiore, at Venice, 196. TeiTa- 
 cotta statues of the, on the Grimani chapel, 
 at Venice, 196. Alto-reliefs of the, in the 
 Giustiniani chapel at Venice, 202. Statues 
 of the, in San Giorgio Maggiore at Venice, 
 211. Symbols of the, at the duomo of 
 Verona, 215. Early symbols of the, at 
 Bologna, 237. Bas-reliefs of symbols of the, 
 in the duomo at Parma, 258. And in the 
 baptistry at Parma, 260. Statues of the, 
 at Parma, 262 
 
 Eve, bas-relief of, at the Certosa, 134. On 
 the Ducal Palace at Venice, 177, 179. Sta- 
 tue of, at Venice, 192. Statue of, at San 
 Giovanni e Paolo, Venice, 200. Citadella's 
 figure of, at Bologna, 247. Bas-relief of, on 
 the Trivulzi candelabrum, 272 
 
 Expulsion from Paradise, bas-relief of the, 
 on the Trivulzi candelabrum, 272 
 
 Eyes of statues painted black, custom of, 110 
 
 FABIUS, Albanus, his restoration of the 
 statue of Heraclius, 43 
 Fafade of San Nicolo at Bari, 10. Of the 
 duomo at Troja, 16. Of the duomo of 
 Ruvo, 29. Of the basilica of St. Michael at 
 Bitetto, 40. Of San Bernardino .at Aquila, 
 
 41. Of the municipal palace at Sulmona, 
 
 42. Of the church of San Giovanni a Pap- 
 pacoda, 62. Of Santa Maria di Castello at 
 Corneto, 84. Of the church of San Pietro 
 at Toscanella, 85. Of the duomo at Monza, 
 112. Of the Oertosa, 125, 126, note ^, 131, 
 134, 242, 266. Of the monument of Bar- 
 tolomeo Coleoni, 130. Of the cathedral of 
 Como, 159. Of the library at Venice, 160. 
 The two fa9ades of the Ducal Palace at 
 Venice, 175, 176, 192, 196. That of Sta. 
 Maria dell' Orto, 189. Of St. Mark's, 
 Venice, 189. Of the Scuola di San Marco, 
 at Venice, 199. Of the Palazzo del Consiglio 
 at Verona, 217. Of Corpus Domini at Bo- 
 logna, 242. Of the duomo of Ferrara, 242. 
 Of the Palazzo Donelli at Reggio, 249. Of 
 San Giacomo at Reggio, 249. Of the duomo 
 at Modena, 251. Of the duomo of Parma, 
 202. Of the duomo of Piacenza, 263. Of 
 the duomo at Genoa, 264. Of the duomo at 
 Cremona, 266 
 
 Faith, statue of, 61. Bas-relief of, in the 
 
 baptistry at Parma, 260 
 Faliero, Marino, Doge of Venice, conspiracy 
 
 of, 173. His death, 174 
 
liS^DEX. 
 
 303 
 
 FAL 
 
 Faliero, Vitale, Doge of Venice, sarcophagus 
 
 of, at St. Mark's, 169 
 Fame, figure of, at Milan, 156. Bas-relief of, 
 
 on a candelabrum at Saut' Antonio at Padua, 
 
 227. And at Verona, 229 
 Fancelli, Luca, his residence at Mantua, 
 
 232 
 
 Fassa de' Tito, Pietro, his work at San Lorenzo, 
 Rome, 80 
 
 Fasulo, Francesco, portrait medal of, 207, 
 note ' 
 
 Federigo, Duke of Urbino, his palace at Urbino, 
 
 14:2, note \ Statue of, 218 
 Felicita, St., figure of, in the Academy at 
 
 Parma, 256 
 
 Fei-randino, son of King Alfonso of Naples, 
 portrait of, at Naples, 252, twte * 
 
 Ferrara, Castaldi's work on the campanile at, 
 141, note^. Tomb of Lorenzo Roverella at 
 San Giorgio at, 143. Work of Bernardino 
 Milano at, 150. Of Como artists on the 
 duomo of, 160, note^. Of Piero of Lugano 
 at, 161. Works of Pietro of Bergamo at, 
 161. Of Nicolo del Ficarolo at the duomo 
 at, 213. Of Gabriele dei Frisoni at, 234. 
 Early sculptors at, 242. The duomo of, re- 
 built in the twelfth century, 242. Riot in 
 the city, and murder of the podesta by the 
 citizens, 244. Statue of the Marquis Alberto 
 d' Este, 244. Journey of the Princess Eleo- 
 nora of Aragon to Ferrara, 244. Mortorio 
 at Ferrara by Guido Manzoni, 252 
 
 Ferrari, Ambrogio, superintends the accepted 
 models for the cupola of the duomo of 
 Milan, 135 
 
 Ferrari, Marco, detto da Gra or Agrate, his 
 work at Milan and Parma, 150, 151 
 
 Ficarolo, Nicolo del, his work on the duomo 
 at Ferrara, 213. His works at the duomo 
 at Ferrara, 242. The Vicus Arii and Vicus 
 Arioli of the tenth and eleventh centuries, 
 24:2, tiote^. Supposed to be the sculptor of 
 the bas-relief of the fa9ade of San Zeno at 
 Verona, 243 
 
 Fieschi, Cardinal Guglielmus, his tomb at 
 Rome, 86 
 
 Fieschi, Cardinal Giorgio, monument of, at 
 Genoa, 264 
 
 Fieschi, Cardinal Luca, his monument of, at 
 Genoa, 264 
 
 Filarete, Antonio, his description of the Palazzo 
 Vismara, 124, note^ 
 
 Filippino degli Organi, his tomb of Marco 
 Carelli, at Milan, 119 
 
 Filippo-Maria Visconti, Duke of Milan, bis 
 reign, 120. His patronage of the arts, 120, 
 121. His portrait in Vincenzo Foppa's paint- 
 ing at the Certosa, 124, note'' 
 
 Filotesio, Nicola, his work in San Bernardino 
 
 FRA 
 
 at Aquila, 41. His 'paintings and sculp- 
 tures, 41, note^ 
 
 Flagellation, bas-relief of the, on the sarco- 
 phagus of Bartolomeo Coleoni, 130 
 
 Flight into Egypt, bas-relief of the, in the 
 duomo at Milan, 118. Bas-relief of the, on 
 the sarcophagus of GioTanni Bon-omeo, 133. 
 In the baptistry at Parma, 260. At Genoa, 
 264 
 
 Florence, endowment of the hospital of San 
 
 Giovanni Battista at, 185, note ' 
 Flowers, bas-reliefs of, at the Certosa, 125. 
 
 Of Ambrogio da Milano, at Urbino, 143. 
 Foggia, palace of the Emperor Frederick II. 
 
 at, 39. 
 
 Foix, Gaston de, tomb of, at Milan, 146. His 
 death, 146, note^. Statue of him at the 
 Brera, 148 
 
 Folengo, Teofilo, terra-cotta bust of, at Mantua, 
 233 
 
 Folgoso, Raffaele, his tomb at Padua, 223 
 Follacrino da Lanciano, Pietro, his wheel 
 window, 41 
 
 Font, baptismal, in the duomo at Cividale, 
 98. Of Hugo da Cauipione, at Bergamo, 
 106. By Paolo de Garviis, in the duomo at 
 Atri, 151. In San Zeno at Verona, 214 
 
 Fontana, Antonio, his works, 157. His Ma- 
 donna at San Celso, 157 
 
 Fontanella, Sebastiano detto di Magistro, 
 Mantuan sculptor, 235 
 
 Fontevivo, Abbey of, monument of Guido 
 Pallavicino in the, 261 
 
 Foppa, Vincenzo, his painting of the laying of 
 the corner-stone of the Palazzo Vismara, 
 124, note« 
 
 Force, figiu'es of, at Naples, 57, 62 
 
 Fortitude, winged statue of, at Naples, 54. 
 Statuette of, at Naples, 61, 66, note At 
 Milan, 111. Statue of, at Verona, 113. 
 
 Fortune, frescoes of the vicissitudes of, at 
 Milan, 113, note^. Window emblematical 
 of the wheel of, at Verona, 214. Bas-relief 
 of, at Milan, 272 
 
 Foscari, Francesco, Doge of Venice, his death 
 and burial-place, 188. His tomb, 188. 
 Group of, on the Porta della Carta, 188, 
 note ' 
 
 Fossani, Ambrogio, detto II Borgognone, his 
 
 work at the Certosa, 126, note^ 
 Fountain at Aquila, 45 
 Fracastoro, Carino's bust of, at Padua, 2.30 
 Francesco, Giovanni, period in which he 
 
 flourished, 239 
 Francesco Gonzaga, Duke of Milan, employs 
 
 Jacopino da Tradate, 122 
 Francesco, Maestro, his terra-cotta work at 
 
 Parma, 262 
 Francesco da Vice, his works, 53, 54 
 
3Q4 
 
 INDEX, 
 
 FRA 
 
 Francione, holds the Isoletta Comacina against 
 the Lombards, 96 
 
 Francis, St., statuette of, at Aquila, 48. Bas- 
 relief of, at Naples, 59. Statuette of, at San 
 Celso, Mantua, 122, note Half-figiire of, 
 at Venice, 194. Statuette of, at San Giobhe, 
 at Venice, 195. Bas-relief of, at Venice, 195. 
 Statuette of, in the Ducal Palace at Venice, 
 207, note^. In the Redentore at Venice, 
 218, At Venice, 218. Bas-relief of, in 
 San Francesco at Padua, 224. Figure of, 
 in San Francesco at Modena, 255 
 
 Franco, Nicolas, apostolic legate, tomb of, in 
 the duomo at Treviso, 197, note * 
 
 Frederick II., Emperor of Germany, his taste 
 in art, 37. Represented as Ctesar, 37, note 
 His Castel del Monte, 37. His funeral 
 procession, 38, note ^. His palaces at Lucera 
 and Foggia, 39. His establishment of the 
 Saracens at Lucera, 40, note^. His patro- 
 nage of art, 49. Statue of him on the Vol- 
 tumus, 50. His foundation of the church 
 of Sta. Maria Assunta at Altamura, 2G9 
 
 Frederick Barbarossa, his humiliation of Milan, 
 103. Bas-relief portrait of him on the city 
 gate, 104 
 
 Free-masons, recognition of the free jurisdic- 
 tion of the, by the Lombards, 97 
 
 Fregella, Gio., his work on the duomo at 
 Milan, 142, note* 
 
 Frigeri, Francesco, decorations of the se- 
 pulchre of his family at Parma, 261 
 
 Frisoni, Gabriele dei, his work at Ferrara, 234 
 
 Friuli, tomb of Duke Pemone, at San Martino 
 in, 98 
 
 Fusina, Andrea da, his hostility to Omodeo, 
 136. To whom he is named associate, 136. 
 A pupil of Ciistoforo Solari, 141. His tomb 
 of Francesco Bkago, 141 
 
 GABBINATA, Ruffino, tomb of, at Reggio, 
 250 
 
 Gabriel the Archangel, statue of, on the Ducal 
 
 Palace at Venice, 176 
 Gaddi, Gaddo, mosaics of, at Rome, 82, note ^ 
 Gaetani, arms of the, at Anagni and Rome, 83 
 Gaetani, Giulia, figure of, in St. Peter's, at 
 
 Rome, 153 
 
 Gaetani da Sermoneta, Giovanna, portrait of, 
 at Rome, 153 
 
 Galatina, tomb of Giovanni Antonio Baizo in 
 the church of San Pietro in, 45 
 
 Galeazzo I., Visconti, Lord of Milan, his quar- 
 rel with the Pope, 108. His fate, 108 
 
 Galeazzo II., Visconti, poisons his brother 
 Matteo, 110. His destruction of Giotto's 
 frescoes, 110 
 
 Galeotto, portrait medal < if, ::07, note^ 
 
 GIO 
 
 Galioffi, Niccolo, his tomb at Aquila, 46, note^ 
 Gandolia, or Candolia, marble quarries of, 
 
 given to the duomo of Milan, 115, 116 
 Gargano, Monte, shrine of St. Michael on, 12, 
 
 In the time of the Romans, 12, note. Bronze 
 
 gates at, 32. Inscription on them, 32, note * 
 Garviis, Paolo de, his altar in the duomo at 
 
 Atri, 151 
 
 Gates, bronze, 31, 32. Of San Celso, 158 
 Genii, bas-reliefs of, at Padua, 224 
 Genoa, ciborium of Giacomo and Guglielmo 
 della Porta in the duomo at, 152. Work of 
 Giovanni Castello in the cathedral of, 161. 
 Work of Marcus Venetus in San Matteo at, 
 171. Early sculptures in the duomo at, 263. 
 The old cathedral of San Siro at, 263, note'^. 
 Character of the tombs and bas-reliefs in 
 the duomo, 264. And other churches, 
 265. Causes of the poverty of sculpture at 
 Genoa, 265 
 
 Genseric, his destruction of works of art at 
 Rome, 73 
 
 George, St., bas-relief of, on the pulpit at 
 
 Moscufo, 30. Bas-reliefs from an history 
 
 of, 49. At Ferrara, 144. Bronze statue of, 
 
 by Roccatagliata, 209, note''. Bas-relief of, 
 
 at Brescia, 236. At Carpi, 239 
 Gerardus, Bishop of Troja, his completion of 
 
 the duomo at Troja, 16 
 Gerardus de' Castagnianega, his work on the 
 
 Porta Romana, at Milan, 104, nofe^ 
 Geremia of Cremona, named as the sculptor of 
 
 the sarcophagus of SS. Pietro and Marcel- 
 
 linus in the duomo, 162 
 Ghirlandaja, the, at Modena, Enrico II. da 
 
 Campione's work at, 106 
 Ghisolfi, Ambrogio, his work on the duomo at 
 
 Milan, 142, note^ 
 Ghisolfi, Giovanni Pietro, his ducal arms on 
 
 the castle of Milan, 142, note^ 
 Giacco or Giachino, Giovanni, period in which 
 
 he flourished, 209, note * 
 Giacomo di Notar Nanni, his shrine of San 
 
 Bernardino and Aquila, 47. Figure of, 48 
 Giacomo degli Spagnuoli, San, tomb of the 
 
 viceroy Don Pedro in the church of, at 
 
 Naples, 67 
 
 Giacomo, Gio. Ant. di, Reggian sculptor, 249, 
 note* 
 
 Gian Galeazzo Visconti, Duke of Milan, his 
 treachery to his uncle Bernabo, 110. Be- 
 comes hereditary Duke, 115. Founds the 
 duomos of Milan and of the Certosa, 115. 
 His two wives, 115, note''. His power, and 
 death, 119 
 
 Giobbe, San, church of, at Venice, 195. Bas- 
 relief of the saint in the church, 195 
 
 Gioconda of Verona, Fra, his fortifications of 
 the city, 197 
 
INDEX. 
 
 GIO 
 
 Giorgio, Francesco, competes for the cupola of 
 the duonio of Milan, lli5. His honourable 
 dismissal, 135, note^ 
 
 Giotto, his works at Naples and Milan, 57. 
 The Incoronata frescoes, 58, nofe^. Invited 
 to Milan by Azzo Visconti, 109. His frescoes 
 there, 109, 110. And at Padua, 220 
 
 Giovanni iu Venere, San, church of, near 
 Lanciano, 18. Byzantine work in the, 18 
 
 Giovanni Capistrano, San, figure of, at Aquila, 
 48 
 
 Giovanni a Fonte, San, bas-reliefs in the 
 
 chapel of, at Naples, 49 
 Giovanni a Carbonara, San, church of, at 
 
 Naples, 60 
 
 Giovanni a Pappaeoda, San, fayade of the 
 
 church of, G2 
 Giovanni Maggiore, San, baptism of our I^ord 
 
 itt the church, at Naples, 08. Beheading of 
 
 St. John at, 71 
 Giovanni, his work in Santa Maria di Castello, 
 
 79 
 
 Giovanni, his work at San Lorenzo extra 
 
 Muros at Rome, 79 
 Giovanni, his work in San Pietro d' Alba, 84 
 Giovanni da Campione, his work in the church 
 
 of Sant' Agostino at Bergamo, 107 
 Giovanni Visconti, his rule of Milan, 1 1 
 Giovanni da Milano, 118. Influence of Giotto 
 
 upon his works, 118. His portal sculptures 
 
 in the duomo at Milan, 118 
 Giovanni-Maria Visconti, Duke of Milan, his 
 
 reign and death, 120 
 Giovanni degli Accurri, period in which he 
 
 flourished, 239 
 Giovanni, Ferrarese sculptor, put to death, 243 
 Giovanni da Tosignano, Bishop of Ferrara, 
 
 bronze medal of, 245, note ^ 
 Giovanni, Eeggian sculptor, 249, note'' 
 Giovanni, Maestro, his terra-cotta work at 
 
 Parma, 262 
 Giovano, Veronese sculptor, 213 
 Gioventus, Veronese sculptor, 213 
 Giraldi, Bolognese poet, statue of, at Carrara, 
 
 248 
 
 Girolamo da Norcia, figure of, at Aquila, 41 
 Girolarao, Scuola di San, at Venice, architect 
 of the, 211 
 
 Girolamo da V^iceuza, his tomb of Pope Celes- 
 
 tine V. at Aquila, 219 
 Giuliano, aFlorentine, his work in the Cappella 
 
 del Santo at Padua, 230 
 Giulio, Reggian sculptor, 249, note'^ 
 Giusta, Santa, in Aquila, portal of, 45 
 Giustina, Santa, statuette of, in Sant' Antonio 
 
 at Padua, 208. Over the door of the arsenal 
 
 at Venice, 2 1 8. Silver bust of, at Padua, 249 
 Giustiniani chapel, at Venice, sculptures in 
 
 the, 201 
 
 It 
 
 ORE 
 
 Giustiniani, Orsato, 208, nafe^. His monu- 
 ment at Santa Eufeiuia, 208 
 
 Gmunden, Heinrich Adlcr von, claims of, as 
 the first architect of the duomo of Milan, 
 116 
 
 God the Father, bas-relief of, 07. In San 
 Giegoiio at Rome, 91. In San Martino at 
 Friuli, 98. Bronze half-figure of, in the 
 duomo of Milan, 122. Bas-relief of, at 
 Mila-1, 14-^. In the Frari at Venice, 292. 
 Statue of, in the Ducal Palace at Venice, 
 207, note^. Bronze group of, at Venice, 
 218. Ba^-relief of, in the .Museo Patrio at 
 Mantua, 232. At Rcggio, 250 
 
 Godefroy de Bouillon and the Emperor Alexis, 
 24. At the battle of Doiyclea, 25 
 
 Goes, Hugo Van der, his style, 123. His altar- 
 piece for the hospital of Sta. Maria Nuova 
 at Florence, 123, note ' 
 
 Gonsalvi, Cardinal Rodrigo, 82, note''. Tomb 
 of, at Rome, 82 
 
 Gonznga faniilv, emblems and crest of the, 
 2.33 
 
 Gonzaga, Federigo, profile head of, at Mantua, 
 233 
 
 Gonzaga, Don Ferrante, bronze statue of, at 
 
 Guastalla, 155 
 Gonzaga, Francesco, terra-cotta busts of, at 
 
 Mantua, 233 
 Gonzaga, Guido, imperial vicar, bas-relief of, 
 
 at Mantua, 231 
 Gonzaga di .-iloisio, Guido, his bell at Sant' 
 
 Andrea at iNlantua, 234 
 Gonzaga, Lodovico, Marquis, profile head of, 
 
 at Mantua, 533 
 Gonzaga, Luigi, elected captain of the people 
 
 of Mantua, 231, wote^ 
 Gonzati, Giacomo, Filippo, and Daniiano de', 
 
 their bronze work at Parma, 262 
 Gothic architecture : the Gothic type of tomb 
 
 common at Venice, 180, 182, ei seq. 
 Goths, their destruction of works of art at 
 
 Rome, 73. Their invasion of Italy, 94 
 Graces, bas-reliefs i f the, at Milan, 149. Sta- 
 tues of the, by Gugl. della Porta, 152 
 Gradenigo, Bartolomeo, Doge of Venice, tomb 
 
 of, 181, 182. Receives the ring of St. Mark, 
 
 182, note » 
 
 Grandi, Vincenzo do', his works at Padua, 
 230 
 
 Grato, Ludovico, tomb of, in Ara Coeli, 92 
 Gratz, Johann von, appointed to build the 
 
 cupola of the duomo of Milan, 135. His 
 
 incapiicity, 1.35 
 Grave chapel to Boheniund at Canosa, 23, 27 
 Gregorio, San, at Rome, marble dossale at, 91 
 Gregory the Great, Pope, his picture of Rome 
 
 in liis time, 73. His tomb iu St. Peter's, 
 
 76 
 
 R 
 
306 
 
 INDEX. 
 
 ORE 
 
 Gregory V., Pope, his tomb, 75 
 
 Gregory XI., Pope, tomb of, at Rome, 02. 
 
 Bas-relief of bis return from Avignon, 92 
 Gregory, S., statue of, in S. Gregorio, at Rome, 
 
 91. Legend of bis saving the soul of the 
 
 Emperor Trajan by prayer, 178, note ' 
 Griffins, bas-reliefs of, 100 
 Grimani Palace, at Venice, style of the, 190, 
 
 note''- 
 
 Grimoaldus, Abbot, his restoration of the 
 
 church of San Clemente a Casauria, 20 
 Grimoaldus, King, his church of San Micbele 
 
 at Pavia, 101 
 Gritti, Andrea, Doge of Venice, portrait medal 
 
 of, 207, note^ 
 Grotto, St. Michael's, 12 
 Guardia, Niccolo della, his works, 90, 91 
 Guarino, the poet, his verses in praise of Pyr- 
 
 goteles, 208 
 Guarnieri da Capravia, Sibilius, period in which 
 
 he flourished, 239. His tomb of Manfredo 
 
 Pio, 239 
 
 Guastalla, bronze statue of Don Ferrante Gon- 
 zaga at, 155 
 
 Guglielmo II., Bishop of Troja, his church, 33. 
 Bronze incised figure of, 33. Completes 
 the duomo at Troja, 16. Notice of him, 
 16, note*. Heads a procession of the clergy 
 to meet Roger II., IB, note* 
 
 Guglielmus or Wiligelmus, takes part in the 
 sculptures at San Zeno at Verona, 213. His 
 work on the duomo at Modena, 213 
 
 Guiamar III., Duke of Salerno, saved by Nor- 
 mans from the Saracens, 3 
 
 tiuido, his work in Santa Maria di Castello, 
 79 
 
 Guido, Giovanni di, his pulpit in Santa Maria 
 
 di Castello at Corneto, 84 
 Guido da Lozza, Count, tomb of, at Padua, 
 
 221 
 
 Guillaume le Normand, his rhymed version of 
 
 the ' Physiologus,' 9, note'^, 10 
 Guiscard, Robert, 23. His castle at ' le Haut 
 
 Monte,' 37. His tomb at Venosa, 44. His 
 
 attacks on Rome, 74 
 
 'ATRED, bas-relief of, on a candelabrum at 
 - Sant' Antonio at Padua, 227 
 
 Helena, St., statue of, on the duomo at Milan, 
 140, note *. Bas-relief of the history of, at 
 Venice, 229 
 
 Helpis, wife of Boetius, her tomb, 77 
 
 Henry II., Emperor of Germany, his march 
 into Italy, 4. Takes Troja, but returns to 
 Germany, 4. His vision in the grotto of St. 
 Michael, 13, note 
 
 Henry IV., Emperor of Germany, his attacks 
 on Rome, 74 
 
 lOL 
 
 Henry VII., of Luxemburg, Emperor of Ger- 
 many, confirms the power of the Visconti at 
 Milan, 107 
 
 He radius. Emperor, statue of, at Barletta, 42, 
 48. Stories of its arrival in Italy, 43 
 
 Hercules, statuette of, on the sarcophagus of 
 Bartolomeo Coleoni, 130. Bas-relief of the 
 labours of, at Venice, 198. Group of, with 
 the Hydra, at Bologna, 247 
 
 Heretics first burned at Milan, 105 
 
 Ileribert, or Aribert, Archbishop of Milan, his 
 wealth and power, 10.3. His invention of 
 the Caroccio, 103. Bas-relief of, 103, note * 
 
 Hippolytus, St., his statue in the Lateran Mu- 
 seum, 75 
 
 History, bas-relief of, on a candelabrum at 
 Sant' Antonio at Padua, 226. On Riccio's 
 candelabrum at Padua, 228 
 Hohenstauff"en, art under the House of, 37 
 Ilonorius, the Emperor, his tomb in St. Peter'.s, 
 77 
 
 Honorius IV., Pope, his tomb, 77 
 
 Hope, figure of, 57. Statue of, 01. In the 
 
 cathedral of Genoa, 161. Bas-relief, in the 
 
 baptistry at Parma, 260 
 Horses, the bronze, at St. Mark's, Venice, 165 
 Hubert, St., bas-relief in wood of, 66, note'' 
 Hugo da Campanione, his work at Bergamo, 
 
 106 
 
 Humberto di Montorio, Archbishop, his monu- 
 ment to Pope Innocent IV., 53 
 
 Humility, bas-relief of, in the baptistry at 
 Piirma, 260 
 
 Humphrey, Count, his tomb at Venosa, 44 
 
 Hungarians, the, at Pavia, 101 
 
 ' TDEA, Delia,' bas-relief of the, the proces- 
 -L sion so-called, 102 
 t Ilario, S., head of, at Parma, 266 
 Illario, Piero Giacomo, a Mantuan sculptor, 
 234 
 
 Incoronata frescoes, not painted by Giotto, 58, 
 note'^ 
 
 Incredulity, bas-relief of, 70 
 Innocence, small figure of a dove as, at Reggie, 
 250 
 
 Innocent IV., Pope, monument of, 52. Ilis 
 effigy, 53 
 
 Innocents, massacre of the, bas-relief of the, 
 in the duomo at Milan, 118. On the sarco- 
 phagus of Giovanni Borromeo, 133. At 
 Genoa, 264 
 
 Intaglios of Properzia de' Rossi, 240 
 
 In tarsia work of Antonio and Paolo Mola at 
 Venice and Mantua, 234. Of Bianchini, 
 fixther and son, at Parma, 262 
 
 lolanthe, wife of the Emperor Frederick H., 
 her tomb, 44 
 
ilvDEX. 
 
 307 
 
 lOL 
 
 lolanthe of Aragon, figure of, on Queen INIaria's 
 tomb, 54. And on her husband Robert's 
 tomb, 57 
 
 Irene, St., statue of, at Friuli, 99 
 
 Isaac, bas-relief of the sacrifice of, at Padua, 
 224 
 
 Isabella, wife of the Emperor Frederick II., 
 
 her tomb, 44 
 Isabella, daughter of Charles VI. of France, 
 
 married to Duke Gian Galeazzo Visconti, 
 
 115, note'^ 
 
 Isaia da Pisa, his bas-reliefs on the triumphal 
 
 arch of Alfonso of Naples, (j5 
 Isaiah, statuette of, in the duomo of Salerno, 
 
 50 
 
 Isidoro, Sant', monument to, in St. Mark's at 
 Venice, 182 
 
 Isola Bella, monuments of the Borromei on 
 the, 133. Tomb by Bambaja at, 150 
 
 Italy, condition of Southern, in the eleventh 
 century, 2. Visits of the Normans, and 
 incursions of the Saracens, 3. Eevolt of 
 Melo. 3. Descent of the Emperor, 4. Estab- 
 lishment of the Normans in Apulia, 4. Con- 
 dition of, under the Lombards, 97 
 
 JACOPO DA CAMPION E, his works at 
 Modena, 106 
 Jacopo da Carrara, made I..ord of Padua, 221 
 Jacopo of Pistoja, his work at Parma, 261 
 Jacopo di San Severino, statue of, 2U8 
 James, St., statuette of, at Parma, 185. In 
 
 the Giustiniani chapel at Venice, 201 
 Januarius, St., bas-reliefs from the history of, 
 
 49. Statuette of, at Carpi, 23i) 
 Jeremiah, statuette of, in the duomo of Salerno, 
 50 
 
 Jerome, St., bas-relief of, 66, tiofe^. Mosaic 
 of, 82. Statuette of, in the church of 
 St. Sebastian, 101. At Venice, 198. In 
 the Giustiniani chapel at Venice, 201. 
 Statue of, at the Frari at Venice, 211. 
 Figure of, in San Francesco at Modena, 255. 
 Statue of, at Venice, 268 
 
 Jesse, Stem of, bas-relief of the, at Genoa, 
 264 
 
 Jews, how treated in Rome by Pope Paul IV., 
 158, note^ 
 
 Joanna I., Queen of Naples, 56. Her monu- 
 ment to her grandfather. King Robert, 56. 
 Her character, 56. Tomb of her lover, 
 Caracciolo, 61. Probable bust of, 51 
 
 Joannes di Venetia, his work in Sta. Cosmedin 
 at Rome, 171 
 
 John, St., the Evangelist, meaning of the 
 animal symbol of, 10, notc^. Bas-relief of, 
 in the duomo at Salerno, 50. And at San 
 Lorenzo at Naples, 59. Statuette of, at 
 
 R 
 
 JUL 
 
 San Domenico at Naples, 68. Statue of, in 
 San Gregorio at Rome, 91. On the duomo 
 at Milan, 140, note*. Bronze figure of, at 
 Milan, 150. Statue of Tomaso della Porta, 
 154, At Rome, 159. At St. Mark's at 
 Venice, 188. Figure of, in the Academy at 
 Parma, 256. 
 John, St., the Baptist, bas-relief of, at St. 
 Andrea at Barletta, 35. In Santa Chiara 
 at Naples, 58. At San Giovanni Maggiore 
 at Naples, 71. In the duomo at Milan, 118. 
 At the Certosa at Parma, 127. In the 
 baptistry at Parma, 259, 260. At Carpi, 
 239 
 
 — , statue of, in St. Andrea in Barletta, 42. 
 In St. Mark's at Venice, 197. In terra-cotta 
 in the duomo at Ferrara, 245. In San 
 Pietro at Modena, 255. In the Chiesa 
 Votiva at Modena, 255 
 
 — , statuette of, at Aquila, 48. At San Celso 
 at Mantua, 122, notc^. At Venice, 198. By 
 Tommaso Lombardo, 160. At San Stefano 
 at Venice, 207. At Bologna, 242. In San 
 Francesco at Modena, 255. In the Academy 
 at Parma, 256. 
 
 — , head of, at Parma, 266 
 
 John, St., the Bishop, statue of, at Ortona, 
 29 
 
 John XXII., Pope, his quarrel with the Vis- 
 conti, 107, 108 
 
 Jonah, history of, in the church of Santa 
 Maria in Lago, at Moscufo, 30. Bas-relief 
 of, at Padua, 224 
 
 Joseph, St., bas-relief of, at St. Leonardo, 
 near Foggia, 39. Bas-reliefs from the his- 
 tory of, 49. Coloured figure of, in San 
 Giovanni Decollato at Modena, 252. Bas- 
 relief of, in San Teodoro at (ienoa, 265 
 
 Joseph of Arimathea, terra-cotta figure of, at 
 Ferrara, 245 
 
 Joseph of Arimathea, figure of, in San Fran- 
 cesco at Modena, 255. And at Sant' Agos- 
 tino at Modena, 255 
 
 Joseph, bas-relief of the patriarch, at Padua, 
 224 
 
 Joseph and Potiphar's wife, bas-relief of, at 
 
 Bologna, 241 
 Jovian, the Emperor, his diadem, 43, 7iu(e * 
 Judas, bas-relief of, in the Certosa at Pavia, 
 
 266 
 
 Judgment, Last, bas-relief of the, in the Gius- 
 tiniani chapel at Venice, 201 
 
 Judith, statue of, on the duomo at Milan, 140, 
 note'^. Bas-relief of the story of, at Sant' 
 Antonio at Padua, 226 
 
 Julia, Santa, bas-relief of the martj'rdom of, 
 100. Worship of, 100 
 
 Julian, the Emperor, his diadem, 42, note * 
 
 Julius II., Pope, his war with France, 14(>. 
 
308 
 
 INDEX. 
 
 JUP 
 
 Ilis defeat at Eavenua, 147. Statue of, at 
 Bologna, 246 
 
 Jupiter, bas-relief of, on a candelabrum at 
 Sant' Antonio at Padua, 227 
 
 J ustice, winged statue of, 54. Figure of, 57. 
 Statues of, 61, 62. Emblem tj'pical of, 61. 
 Statuette of, at Milan, 111. Figure of, at 
 Cremona, 1G2. The sculptured column of, 
 in the Ducal Palace at Venice, 177. Statu- 
 ette of, at Venice, 181. Bas-relief of, on 
 Riccio's candelabrum at Padua, 227. In 
 the baptistry at Parma, 260 
 
 LABOURERS iu the Vineyard, bas-relief 
 of the parable of the, at Parma, 259 
 Ladislaus, King, tomb of, 60. Notice of him, 
 
 GO, note ^ Statue of, 61 
 Lalatta, Giovanni, sepulchral slabs of, and his 
 
 wife, at Parma, 262 
 Lalle Count, of Aquila, his tomb, 46 
 Lamb, Paschal, bas-relief of the, on Riccio's 
 
 candelabrum at Padua, 227 
 Lamberti, Niccolo di Piero di, his works at 
 xMilan, 119 
 
 Lamberti, Ventura dei, period in which he 
 
 flourished, 2,38 
 Lanci, Guiscarda de', tomb of, at Bergamo, 
 
 107 
 
 Lanfranco, San, tomb of, near Pavia, 128. 
 
 Notice of him, 128 
 Lanfrani, Jacopo, his Tuscan education, 179. 
 
 His works at Venice and at Bologna, 179, 
 
 180 
 
 I.ascari, Gio. Ettore Maria, 208, note'^ 
 l.ateran, monumental relics at the, 77. Fires 
 in the, 77 
 
 L.iureutius, Bishop of Sipontuni, and the cave 
 
 of Mons Garganus, 13 
 Lavalongo, Federigo, tomb of, at Padua, 222. 
 
 Notice of, 222, note ^ 
 Lazarus, bas-relief of the raising of, at the 
 
 Certosa, 134 
 Lebretti, Cardinal Ludovico, his tomb at Ara 
 
 Cojli, 92 
 
 Ijccaro, Daniele, his work, at Genoa, 26-5 
 Lecco, Angelina da, his Nativity at the Cer- 
 tosa, 127, note * 
 Lecco, Antonio da, his terra-cotta figures at 
 
 the Certosa, 127, note * 
 Leg-name, Cristoforo del, his works, 209, note"^ 
 Legnano, memorial of the, 103. Bas-reliefs 
 of the, 104 
 
 I-,eo the Great, I'ope, his tomb in St. Peter's, 
 76 
 
 Leo III., Pope, his churches, 74 
 Ijeo X., Pope, statue of, at Iiome, 242 
 Leonard, St., bas-relief of, near the entrance 
 to the Academia, \'euicc, 172. Church and 
 
 LOM 
 
 monastery of, near Foggia, 38. Sculptures 
 at, 39 
 
 Leonas, Abbot, rebuilds the church of San 
 Clemente a Casauria, 20. His representa- 
 tion on the doors of the church, 20, 7iote^ 
 
 Leopardi, Alcssandro, 204. His residence at, 
 and banishment from, Venice, 204. His 
 part in the statue of Bartolomeo Coleoni, 
 204. His bronze standard bases on the 
 Piazza of St. Mark's, 206. His candelabra 
 in the Academy, 206. His architectural 
 works, 206. Date of his death, 206 
 
 Leuti, Pellegrino de', Luini's treatment of, 
 154, note* 
 
 Levite, bas-relief of a, in the baptistry at 
 Parma, 260 
 
 Life, human, bas-relief, in the baptistry at 
 
 Parma, representing, 259, note * 
 Lion, the, as a Cliristian sj'mbol, 10. Notion 
 
 of his effacing his footsteps, 10, note ^ 
 Lion of St. Mark at Moscufo, 30. At Bitonto, 
 
 36 
 
 Lion, stone, by Vassalleto at Rome, 83. 
 Winged, of Pietro Lombardo, at Ravenna, 
 194. Lions supporting the columns of the 
 cathedral at Parma, 261 
 
 Lionardo, his works at Rome, 158 
 
 Lioni, Leone, his birthplace, 154. His style 
 and character, 154. His style and character, 
 154. His residence at Brussels, 154. And 
 in Spain, 155. His works, 155. Returns 
 to Milan, 155. His works in Italy, 155. 
 Director of the mint at Milan, 15(5 
 
 Lioni, Pompeo, 156. His residence and works 
 in Spain, 156. Character of his work, 156, 
 157 
 
 Liucci, Mondino de', tomb of, at BologTia, 261. 
 Bas-relief of him and his scholars, 262 
 
 Locate or Donati, Gio. Ambrogio de,' his work 
 in the duomo of Milan, 142, note'^ 
 
 Loches, captivity of Lodovico il Moro in the 
 castle of, 139 
 
 Lodovico Sf(U'za, il Moro, Duke of Milan, 
 opposes the appointment of Johann von 
 Gratz, 135. Tomb to the memory of his 
 wife, 138. His escape from Milan, and 
 captivity, 139. His death, 139. His patron- 
 age of art and letters, 140. Three letters 
 from Caradosso to, 272-274 
 
 Lomazzo, Alvisio, his work on the duomo of 
 Milan, 142, note* 
 
 Lombai'd style of architecture, 05 
 
 Lombardi, notice of the, 102. Anonymous 
 marbles attributed to them, 200. The two 
 families of Lombardi and Ferrara, 200, 
 note ' 
 
 Lombardi, Santi, sculptures in the Giusti- 
 
 niani chapel, at Venice, attributed to, 201 
 Lombardo, Antonio, 192 His quarrel with 
 
INDEX. 
 
 309 
 
 LOM 
 
 Leopardi, 197, note^. His works, 198, 200. 
 
 Character of his style, 200. His residence 
 
 at Farrara, 200. His death, and descendants, 
 
 200, twte ' 
 Lombardo, Giulio, 192 
 Lombardo, Martino, 192 
 
 Lombardo, Pietro, notice of him, 192, 193. 
 His church of Santa Maria de' Miracoli, 
 
 193, 194. His tomb of Dante, 193. His 
 S. Apollinare and a winged lion at Kavenna, 
 
 194. Various work attributed to him, 195. 
 His claims to be the pioneer of tlie Renais- 
 sance style in Venice, 190. Appointed chief 
 architect at Venice, 196. His works at 
 Treviso, 196, 197. His duomo at Cividale, 
 in Friali, 197. His part in the tomb of 
 Pietro Mocenigo, 198. His statuettes, 198 
 
 Lombardo, Tommaso, his works at Venice, 
 160 
 
 Lombardo, Tullio, his works, 90, note^, 192. 
 His style, 198. His work at Padua, Venice, 
 and Ferrara, 198, 199. His burial-place, 
 200, note ^ 
 
 Lombardy, condition of art under tlie Goths 
 of, 94. Paile of the Lombards, 90. And 
 condition of Italy at this period, 97. In- 
 fluence of Queen Theodolinda, 97 
 
 Longhi, Giacomo Scilla, his bas-reliefs in the 
 Abbey church of Nonantola, 159 
 
 Longinus, statue of, on the duomo at Milan, 
 140, note* 
 
 Loredano, Paolo, tomb of, at Venice, 182. 
 His services to the Republic, 182 
 
 Loredano, Lionardo, Doge of Venice, bas-relief 
 of, 201. His cultivation of the worship of 
 the Virgin, 201, note '. Profile head of, on 
 one of the standard bases on the I'iazza of 
 St. Mark's at Venice, 206. Campagna's 
 statue and tomb of, at Venice, 217. Tomb 
 of, 267 
 
 Lorenzo d' Ascoli, his crucifix in the church 
 
 of Monte (Jassiano, 41 
 Lorenzo, San, at Naples, tomb of Duchess 
 
 Catharine of Austria at, 59 
 Lorenzo, San, bas-relief of the martyrdom of, 
 
 in the duomo at (ilenoa, 204 
 Loreto, works of "N^arignana di Bologna at, 
 
 242 
 
 Louis II., Emperor of Germany, conveys the 
 relics of St. Clement to, and founds the 
 church of San Clemente a Casauria, 19, 20. 
 His representation on the doors of the 
 church, 20, note And on the architrave, 
 21 
 
 Louis XII., King of France, takes Milan, 139. 
 Statue of, by Ludovico Demugiano, 139, 
 note ^ 
 
 Louis, St., of Toulouse, his figure, on his 
 mother's tomb, 54, Statuette of, 59 
 
 MAD 
 
 Lucera, palace of the Emperor Frederick II. 
 at, 39. Duomo of Charles II. at, 40. 
 Establishment of the Saracens at, 40, note ^. 
 Disappearance of the sarcophagus of Charles 
 U. from, 44 
 Luchino Visconti, his rule of Milan, 110 
 Lucia, Sta., statue of, on the duomo at Milan, 
 140, note*. Bas-relief of, in Como cathe- 
 dral, 160 
 
 Luciano da Lausana, architect of the Ducal 
 
 Palace at Urbino, 142, ?iote * 
 Ludovico of Aquila, his tomb, 46 
 Ludovico Sforza, Duke of Milan, presides at 
 
 the competition for the cupola of the duomo 
 
 of Milan, 135 
 Lugano, artists from, in the fifteenth century, 
 
 161 
 
 Lugano, Galeazzo de, his work at Padua, 161 
 Lugano, Stefano de, his work on the duomo at 
 Milan, 161 
 
 Luigi, Cardinal, tomb of, at Bergnmo, 106 
 
 Luke, St., meaning of the animal symbol of, 
 10, tiote'^. The ox of, at Bitonto, 36 
 
 Lupi, Boiiifazio di, Marchese di Soragna, cha- 
 pel at Padua built for, 185. Notice of hini, 
 185, note Statuettes of him and his wife, 
 185. His tomb, 185. His works at Flo- 
 rence, 185, )wte ^ 
 
 Lupi, Ugolotti, tomb of, at Saragna, 261 
 
 Lysippus, his medal portraits, 234 
 
 MADONNA. See Mary, the Virgin 
 Madonna and Child at San Bernardino 
 at Aquila, 41. Bas-reliefs of the, at Santa 
 Maria, at Toscanella, 86. At Santa Maria di 
 Beltrade, at Milan, 102. At Milan, 114. 
 At San Gregorio at Rome, 91. In the Cer- 
 tosa at Pavia, 124, 125, 127. At Ferrara, 
 144. Group of, with St. John, in the 
 church of St. Sebastian, 100. Bas-reliefs of, 
 in the Carmine Church, Venice, 172. And 
 near the entrance to the Academia, 172. 
 Statuettes of, common on Venetian tombs, 
 180, 182. In San FeHce, 185. Group of 
 the, in wood, at Pavia, 186. At Sta. jMaria 
 dell' Orto, 186. Statue of, in St. Mark's, 
 Venice, 197. Bas-reliefs of the, on the 
 Ducal Palace at Venice, 200, 201. Alto- 
 relief of the, in the duomo at Verona, 215. 
 Group of, at San Giorgio Maggiore at 
 Venice, 218. Bas-reliefs of, in bronze, at 
 Padua, 224. In Sant' Antonio at Padua, 
 221, 222. Bas-relief of, at Sant' Antonio at 
 Mantua, 231. At Brescia, 236. At Carpi, 
 239. Statue of, in the Chiesa Votiva at 
 Modena, 255. Figure of, in the Academy 
 at Parma, 256. Group of the, on the Cam- 
 panile at Borgo San Donnino, 201. Bas- 
 
310 
 
 INDEX. 
 
 MAD 
 
 reliefs of the, at Genoa, 264. And on the 
 Trivulzi candelabrum, at Milan, 272 
 
 Madonna deUa Misericordia on the Ponte del 
 Paradiso, at Venice, 172. And at Sta. 
 Maria dell' Orto, Venice, 172. Statuette of, 
 in the Abazia, Venice, 189 
 
 Maffeo, Reggian sculptor, 249, note ^ 
 
 Maffiolo or dei Massioli, Alberto, his bas- 
 relief over the Lavatojo dei Monaci, 126, 
 127. His work at the Certosa at Pavia, 
 
 [ 266. Appointed capo maestro at Cremona 
 cathedral, 266. Resides at Parma, 266 
 
 Maggi, Bernardo, tomb of, at Brescia, 107, 
 twte ' 
 
 Magi, Adoration of the, at St. Leonardo, 30. 
 Bas-relief of the, in San Martino, at Friuli, 
 98. In the Certosa, 124. On Riccio's 
 candelabrum at Padua, 227. At Bologna, 
 248 
 
 Maglione, period in which he flourished, 52, 
 
 ntte ^ 
 
 Majano, Benedetto da, his work in the church 
 
 of Monte Oliveto, 63 
 Majano, Giulio da, his portal of Santa Barbara, 
 
 at Naples, 63 
 Majo, Francesco, his work in the duomo of 
 
 Cremona, 162 
 Majorca, Ferdinando, his tomb in San Se- 
 
 verino, 71 
 Malegazzi monument at Reggio, 249 
 Malojo, Gio. Battista, named as the sculptor 
 
 of the sarcophagus of SS. Pietro and Mav- 
 
 cellino, at Cremona, 162 
 Malta, Knights of, 89, note Church of, at 
 
 Rome, 89 
 
 Malvito, Tommaso, his statue of Cardinal 
 Oliviero Caraffa at Naples, 162 
 
 Manno, his colossal statue of Pope Boniface 
 VIII. at Bologna, 2.38. Paintings attri- 
 buted to him, 2.38, note ^ 
 
 Mantegazza, the, similarity between the reliefs 
 of, and the school of Van Ej ck, 123. Their 
 work in the Certosa, 125, 126. Their 
 merits and defects, 126 
 
 Mantegazza, Antonio, notice of, 125. His 
 work at the Certosa, 125, 126. His deatli, 
 127 
 
 Mantegazza, Antonio (son of the preceding), 
 
 at work at the Certosa, 127 
 Mantegazza, Cristoforo, notice of, 125. His 
 
 work at the Certosa, 125. His death, 126 
 Mantegna, Andrea, his residence at Mantua, 
 
 232. His birthplace and burial-place, 2.'52. 
 Bust of him at Mantua, 232. His will, 233, 
 note Another bust of him at Sant' Andrea, 
 
 233, 7iote ' 
 
 Mantova, Alfonso di, his bronze statue of 
 Pietro Pomponazzo at Mantua, 234. Notice 
 of, 234, note ' 
 
 MAR 
 
 Mantova, Bernardino di, his work in the Ducal 
 Palace at Venice, 192, note^ 
 
 Mantova, Domenico di, his work in the Ducal 
 Palace at Venice, 192, note ^ 
 
 Mantua, work of Jacopino da Ti'adate in San 
 Celso at, 122, note Giovan Battista's cru- 
 cifix in the duomo at, 218. Virgil elected 
 Prince of Mantua, 231. Statue and alto- 
 relief of the poet at, 231. Anonymous 
 sculptures at, 231. Bust of Mantegna at, 
 
 232. Bas-relief in the Museo Patrio at, 
 
 233. Various works of the fifteenth and 
 sixteenth centuries at, 233-235 
 
 Mapolinis, Gio. Ant. de,' his work on the 
 
 duomo of Milan, 142, note * 
 Marcantonio, bust of, at the Academy at 
 
 Venice, 212 
 Marcellino, S., patron saint of Cremona, his 
 
 tomb, 132 
 
 Marcello, Jacopo, 202, note i. Tomb of, 202 
 Marclii, Pantaleone de', his work at the Certosa 
 at Ravia and at the duomo of Milan, 141, 
 
 note ^ 
 
 Marco, San, in Aquila, portal of, 45 
 
 Marco da Cauipione, the first architect of the 
 duomo of Milan, 116 
 
 Marcus Aurelius, the Sormanni's work on tlie 
 base of the statue of, at Rome, 265 
 
 Marcus Romanus, his statue of St. Simeon the 
 Prophet, 87 
 
 Marcus Venetus, his work in San Matteo at 
 Genoa, 171 
 
 Marescotti, Galeazzo, medal of, 242, note^ 
 
 Marescotti, Antonio, his medallion work, 245. 
 His best medals, 245, tiote ^ 
 
 Margaret of Bavaria, profile head of, at Man- 
 tua, 233 
 
 Margaret, St., Bas-relief of, at Carpi, 239 
 Maria, Santa, in Lago, at Moscufo, pulpit in 
 
 the church of, 29 
 Maria, Santa, church of, at Toscanella, 85. 
 
 Sculptures in the, 86 
 Maria Antica, Santa, at Milan, tomb of Cane 
 
 della Scala in, 112 
 Maria d' Arboua, Santa, marble work in the 
 
 church, 36. Endowment and occupation of, 
 
 36, note * 
 
 Maria di Beltrade, Santa, at Milan, ba.s-relief 
 
 of the eighth century at, 101 
 Maria di Castello, at Corneto, Santa. Work 
 
 of Nicolaus and Rainerius on the fafade of, 
 
 84 
 
 Maria di Coleniaggio, Santa, in Aquila, portal 
 of, 45 
 
 Maria in Cosmedin, Sta., at Rome. Works of 
 Venetian sculptors in, 171 
 
 Maria Domna Regina, Sta., foundation and en- 
 dowment of, 54 
 
 Maria della Grazic, Santa, Madonna and Child 
 
INDEX. 
 
 SIX 
 
 MAR 
 
 in the chm-cli of, at Naples, 68. Bas-relief 
 
 of Incredulity in, 70 
 Maria della Grazie, Sta., at Pavia, tomb of 
 
 Beatrice d' Este at, 138 
 Maria Maggiore, Santa, work of Franciscus 
 
 Perrini on the portal of, 41 
 Maria Maggiore, Santa, tombs in, at Rome, 82. 
 
 Tombs of Clement V. and Paul V. at, 159 
 Maria Maggiore, Santa, at Bergamo, pulpit at, 
 
 106. Tomb of Cardinal Luigi at, 107 
 Maria sopra Minerva, Santa, tombs in, at Rome, 
 
 82 
 
 Maria de' Miracoli, Santa, church of, at Venice, 
 194, and note ^ 
 
 Maria Paganica, Santa, in Aquila, portal of, 45 
 
 Maria in Trastevere, Santa, monuments of Car- 
 dinals Stefaneschi and Philipp d'Alen9on in, 
 89. Monumental works of Gian Cristoforo 
 Romano in, 90 
 
 Maria della Valle, Santa, portal statues of the 
 church of, 99 
 
 Maria, Queen, widow of Charles II. of Anjou, 
 monument of, at Sta. Maria Domna Regina, 
 at Naples, 54 
 
 Maria of Austria, Duchess of Calabria, figure 
 of, on the tomb of King Robert, 57 
 
 Maria, Duchess of Durazzo, figure of, in Santa 
 Chiara, 58 
 
 Maria, niece of the Emperor Ilonorius, her 
 tomb, 77 
 
 Martini, Bartolomeo, monument of, at Parma, 
 151 
 
 Martino, pupil of Luini, his master's treatment 
 of him, 154, note^ 
 
 Mark, St., meaning of the animal symbol of, 
 10, )wte \ The lion of, at Moscufo, 30. 
 And Bitonto, 36. Statue of, at St. Mark's, 
 Venice, 188. Recovery of the body of, 169, 
 172. The ring of, brought to the Doge 
 Bartolomeo Gradenigo, 172, 182, note^. 
 Statuette of, at Venice, 184. Bas-relief of, 
 at the Scuola di San Marco, Venice, 199. 
 Statuette of, in the Redentore at Venice, 
 218 
 
 Mark's, St., at Venice, harmony of its details 
 despite its incongruous elements, 165. An- 
 cient cathedra in, 168. Rebuilt by Byzan- 
 tine artists, 168. Tombs in, 168, 169. The 
 columns in the piazetta, 170 
 Mars, statuette of, on the sarcophagus of Bar- 
 tolomeo Coleoui, 130 
 ISIarsyas, bas-relief of, 69, 70 
 Marta, Santa, church of, at Naples, 60 
 Martin V., Pope, his visit to Milan, 121. His 
 statue in the duomo there, 121. Inscription 
 on it, 120 
 Martinengo, tomb of, at Brescia, 236 
 Martino, Gio^'anni, da Fiesole, his works at 
 Venice, 176, note ^ 
 
 SIAS 
 
 Martino, Maestro, his statue of the Doge Fran- 
 cesco Dandalo, at Venice, 182, tiote * 
 
 Martino, Pietro di, his triumphal arch atCastel- 
 nuovo, 64, 141, note ^ 
 
 Martyrium, the, at San Clemente, Rome, 79 
 
 Mary Magdalen, St., statuette of, on the sar- 
 cophagus of Medea Coleoni, at Basella, 129. 
 Figure of, in San Francisco at Modena, 255. 
 In a corridor at Modena, 255. Statue of, in 
 Sta. Maria del Carmine, 255 
 
 Mary, the Virgin, bas-relief of, in the duomo 
 at Ruvo, 29. In the Ognissanti church at 
 Trani, 29. At St. Andrea in Barlotta, 35. 
 At the cathedral at Atri, 39. At the basilica 
 of St. Michael at Bitetto, 40. Of Franciscus 
 Perrini, 41. Of Pietro Dini, at Amatrice, 
 41. At the shrine of San Bernardino at 
 Aquila, 47, 48. In Sta. Chiara at Naples, 
 58. In San Lorenzo at Naples, 59, 63. At 
 the duomo at Naples, 62. In the Chapel of 
 San Severino at Naples, 67. At San Aniello 
 at Naples, 68. In Monte Oliveto at Naples, 
 68. In the duomo at Milan, 118. On the 
 sarcophagus of Giovanni Borromeo, 133. In 
 the Frari at Venice, 202. At Santo Stefano 
 at Venice, 203. In San Teodoro at Genoa, 
 265. Of the meeting of Mary and Elizabeth 
 at Friuli, 99. And at Genoa, 204. Of the 
 Death of the, at Venice, 181, 183. Of the 
 Coronation of the, at Bologna, 184. Of 
 the Life of the, at Venice, 202 
 
 — , statuette of, at Santa Maria ^Vntica at 
 Milan, 112. At San Celso at Mantua, 122, 
 note ^. On the sarcophagus of Medea Co- 
 leoni at Basella, 129. In Como Cathedral, 
 159. At Venice, 184, 207. In Begarelli's 
 Descent from the Cross, at Modena, 255 
 
 — , statue of, at Monte Oliveto at Naples, 09. 
 At San Celso, 157. At St. Mark's at Venice, 
 188. At the Frari at Venice, 188. In 
 bronze, on the Palazzo del Consiglio at Ve- 
 rona, 217. Coloured figure of her in San 
 Giovanni Decollato at Modena, 252 
 
 — , altar-group of the, with angels and .saints, 
 at San Pietro at Modena, 255, note ^. The 
 Madonna di Coustantinopoli, 242 
 
 — , half-figure of, at Venice, 194 
 
 — , intaglio head of, by Properzia de' Rossi, 
 240. Head of, at Parma, 266 
 
 — , mortorio of, at Bologna, 246 
 
 Massegne, delle, Giovanni Bindo, detto, period 
 in which he flourished, 239 
 
 Massegne, Jacobello and Pieti'o Paolo delle, 
 their Tuscan education, 179, 183. Their 
 Gothic ancona in the church of San Fran- 
 cesco at ]3ologna, 183. Their works at 
 Venice, 184. Works attributed to them, 
 184 
 
 Massegne, Paolo delle, liis originality and 
 
INDEX. 
 
 MAS 
 
 fertility of invention, 184, 185. His works 
 at Venice and elsewhere, 184, 185 
 Massilio da Carrara, Lord of Padua, 221, 
 note ^ 
 
 Mastino di Giovanni da Bergamo, his work at 
 
 Sant' Antonio at Padua, 230 
 Mastino II., Signorio della Scala, his rule, 113. 
 
 His tomb at Verona, 113 
 Masaccio I., architect and sculptor, account of 
 
 him and his works, 52 
 Masuccio II., his part in the church of San 
 
 Lorenzo at Naples, 52, note His works, 
 
 53. Obscurity respecting him, 59 
 Matteo I., Visconti, Imperial Vicar of Milan. 
 
 See Visconti 
 Matteo II., Visconti, Duke of Milan. See 
 
 Visconti 
 
 Matteo II., Acquaviva, his imprisonment, 151. 
 Altar at Atri erected by his wife, 151 
 
 Matteo da Canipione, his probable work at 
 Pavia, 109. His equestrian statue of Ber- 
 nabo Visconti, 111. Becomes architect of 
 the duomos at Monza and Milan, 111. His 
 fa9ade at Monza, 112. His pulpit, 112 
 
 Matthew, St., meaning of the animal symbol 
 of, 10, note Angel symbolic of the Evan- 
 gelist at Bitonto, 36. In the duomo of Sa- 
 lerno, 50. Statuette of, 68. Mosaic of, 82. 
 Emblem of, at Venice, 189 
 
 Mazzoni, Guido, character of his works at 
 Modena, 252. His mortorio in San Gio- 
 vanni Decollato, 252. His subsequent his- 
 tory, 252, note ^. His mortorios at Naples 
 and Venice, 252, 25.3. His honours, 253. 
 His tomb of Charles VIII. at St. Denis, 253. 
 His return to Modena, 251. His wealth, 
 254. His death, 254 
 
 Medals, portrait, by Pisanello and his pupils, 
 216 
 
 Medici, Giovanni Angelo, his reign and burial- 
 place, 156, note * 
 
 Medici, Giovan Giacomo de', INlarquis of Mele- 
 gnano, bronze monument to, in the duomo at 
 Milan, 156 
 
 Melchiore da Faenza, Maestro, his work on 
 
 Corpus Domini at Bologna, 242 
 Melfi seized by the Normans, 5 
 Melo, his revolt against the Greek Catapan, 3. 
 
 His defeat and death, 4 
 Memo, Messer Donato, his votive offering in 
 
 the duomo of Murano, 171 
 Menegauti, Alessandro, period in which he 
 
 flourished, 242 
 Meneganti, Tiberio, period in which he 
 
 flourished, 242 
 Merliano, Giovanni, da Nola, his work on the 
 
 arch at Castelnuovo, 65. Notice of him, 65. 
 
 His master Aniello, 65. His works, 66, 67 
 Micliael, St., grotto of, 12. Statue of, at San 
 
 MIL 
 
 Pietro a Majolla, at Naples, 08. Statuette 
 of, in the Giuituiiani chapel at Venice, 201. 
 Statue of, on the Ducal Palace at Venice, 176, 
 177. In the duomo at Mantua, 2.32. 
 
 Michel-Angelo, statue of St. Michael attri- 
 buted to, 13, note His style copied by 
 the Milanese artists, 152. His opinion and 
 influence on Citadella, i!46. 
 
 Michele, Fra, Carmelitano, period in which he 
 flouiished, 239 
 
 Michelozzo, his part in the tomb of Cardinal 
 Brancacci, 63. His work in the Palazzo 
 Vismara, at Milan, 124 
 
 Michieli, Domenico, Doge of Venice, brings 
 the columns of the piazetta of St. Mark's 
 from the Holy Land, 170 
 
 Michieli, Vitale, Doge of Venice, sarcophagus 
 of, at St. Mark's, 169 
 
 Milan, barbarity of the Goths in, 101. Ne- 
 glected by the Lombards, 101. Early sculp- 
 tures at, 101. Regenerated by Archbishop 
 Anspertus, 102. Indiff'erence of the Arch- 
 bishops to the arts in the city, 102. Inven- 
 tion of their Caroccio, 103. Memorial and 
 bas-reliefs commemorating the battle of 
 Leg-nano, 103, 104. Monuments at Milan 
 in the fourteenth century, 105. Heretics 
 first burned at, 105. Heretical sects at, 
 early in the thirteenth century, 105. Con- 
 dition of, in the first half of the fourteenth 
 century, 107. Foundation of the duomo 
 of, 115. Date of its commencement, 116, 
 note The first architect, 116, and 116, 
 note ^. State of the Dukedom after the 
 death of Gian Galeazzo, 120. Reigns of 
 Giovanni-Maria and Filippo-Maria, 120. 
 Overthrow of the Visconti, and formation of 
 the republic, 120, note 121. The new 
 school developed at Milan in the beginning 
 of the fifteenth century, 122. Tuscan artists 
 at, 123. Work of Brunelleschi, in the duomo, 
 123, 124. Adornment of the Palazzo Vismara 
 by Michelozzo, 124. Fresco of the Lord's 
 Supper in the convent of Santa Maria della 
 Grazie, 124. Competition for the cupola of 
 the duomo, 1.35. The city taken by Louis 
 XII. of France, 139. Condition of the arts in 
 Milan under Lodovico il Moro, 140. Works 
 of Solari in the duomo of, 140. A new 
 model made for the cupola of the duomo, 
 140. Various sculptors attached to the 
 duomo, 141. Gold pax by Ambrogio Ca- 
 radosso at, 145. Mortorio by the same 
 master in San Satiro, 146. Statue of Gas- 
 ton de Foix at the Brera, 148. Works bj^ 
 Busti in the duomo, 149. Works of Marco 
 d' Agrate in the duomo, 150, 151. The 
 church of the Madonna di Saronno near, 
 154. Frescoes of Lnini in the, 154. Tonib 
 
INDEX. 
 
 313 
 
 MIL 
 
 of Giovan Giacomo de' Medici in the diiomo, 
 150. Eattista 1' Ascouino's statues on the 
 exterior of the duomo, 157. Biffi's work 
 on the pulpits of the duomo, 158. Statues 
 of Daverio and Basgape, on the exterior of 
 the duomo, 158. Analogies between the 
 Milanese and Venetian sculptors, 182. 
 Terra-cotta ancona of Anzolino da Brescia 
 at, 235. The bronze candelabrum in the 
 duomo at, 271 
 Milano, Anibrogio or Ambrogino da, his 
 work at the Ducal Palace at Urbino, 142. 
 His tomb of Lorenzo Roverella, 143 
 Milano, Bernardino da, his work at Ferrara, 150 
 Milano, Cristoforo, son of Ambrogio, 143, 
 note 
 
 Milano, Lucchino da, his fafade of the duomo 
 
 at Como, 159 
 Milano, Mall'eo da, his work at the duomo at 
 
 Milan, 141, note ^ 
 Minello, Antonio, his work at Sant' Antonio 
 
 at Padua, 230 
 Minello da Bardi, Giovanui, his works at 
 
 Padua, 230 
 
 Minio, Tiziano, di M° Guido, his bronze work 
 
 at I'adua, 230 
 Minutolo, Cardinal Enrico, his church of San 
 
 Giovanni a Pappacoda, G2. Figure of him, 
 
 G2. His tomb, 62. His burial-place, 02, 
 
 note ' 
 
 Minutolo, Filippo, his burial-place, 02, note 
 Mirobello, park of, 117, note ■ 
 Mocenigo, Giovanni, Doge of Venice, tomb of, 
 200 
 
 Mocenigo, Pietro, Doge of 'S'^enice, tomb of, 
 198. His military renown, 198 
 
 Mocenigo, Tomaso, Doge of Venice, proposes 
 the reconstruction of the Ducal Palace at 
 Venice, 175. His tomb, 170, note ' 
 
 Mocking of Christ, bas-relief of the, at the 
 Certosa, 134 
 
 Modena, work of Wiligelmus at the duomo at, 
 213. The colossal Lepidus and Hercules 
 before the Ducal Palace at, 250. Sculptures 
 on the facade of the duomo at, 251. Works 
 of Prospero Clementi Spagni, 251. Works 
 in clay of Guido Mazzoni, 252. And of 
 Antonio, Begarelli, 255 
 
 Moderation, winged statue of, 54 
 
 Modesty, bas-relief of, in the baptistry at 
 Parm'a, 260 
 
 Mola, Antonio, his work at Venice and Mantua, 
 234 
 
 Mola, Paolo, his work at Mantua and Venice, 
 234 
 
 Molfetta, notice of the duomo at, 269 
 Jlonreale, bronze gates of the duomo at, 33 
 Montelini, Franceschino di, leads a riot at 
 Ferrara, 243 
 
 NAP 
 
 Monti, Ippolita de', the tragical story of her 
 three sons, GO, G7 
 
 Montorsoli, his part in the tomb of Sannazaro, 
 69. His works in San Matteo at Genoa, 205 
 
 Monz.i, building of the duomo of, 97. Con- 
 dition of, under the Lombards, 101. Fa9ade 
 of the duomo at, 112 
 
 Moranzone, Francesco, his carved frame for a 
 picture of Donato Veneziano, 180, note ^ 
 
 Moranzone, Gaspar, his huge wooden statue of 
 St. Christopher, 180, note^. His fonts at 
 S. Stefano and S. Giobbe, 18G, 7iote^ 
 
 Moranzone, Jacopo, his carved frame for a pic- 
 ture by Pellegino da San Dauiele, 180, note ' 
 
 IMorena, a, made for the Certosa, by Omodeo, 
 131 
 
 Moro, Cristoforo, Doge of Venice, statue of, 
 on the fa9ade of the Ducal Palace, 192, note^. 
 His death, 192, note^. His election to the 
 dukedom, 195, note ^. Prophecy of his 
 friend, St. Bernardino of Siena, 195, note* 
 
 Morosini, Marino, Doge of Venice, his tomb 
 in St. Mark's, 109. His chapel at San Sal- 
 vatore, 109 
 
 Morosini, Micheli, Doge of Venice, his tomb, 
 184 
 
 Morronto, Gualterius, his work in San Pietro 
 d' Alba, 84 
 
 Mortegno, Antonio da, his part in the monu- 
 ment to Francesco Maria Kiingoni and his 
 wife at Parma, 235 
 
 Mortorio in Sta. Chiara at Naples, 58. At San 
 Satiro at Milan, 140. In the duomo at 
 Ferrara, 245. At Modena, 252. Of wood 
 at Parma, 201 
 
 Mosaics of the two Torriti, 75, note^ 
 
 Mosca, Giovanni Maria, his tomb of King 
 Sigismund II. of Poland, 230 
 
 Moscufo, pulpit at, 29 
 
 Moses on the duomo at Ortona, 29. Statue of, 
 on St. Francesco della Vigne, 212. The 
 colossal statue of, at the Fountain de' Ter- 
 mini at Home, 235, and note 265. Bas- 
 relief of, in the baptistry at Parma, 258 
 
 Murano, anonymous ancona in the duomo at, 
 171 
 
 Murano, architect of the chui'ch of S. Cristo- 
 foro at, 195 
 
 Music, bas-relief of, on a candelabrum at Sant' 
 Antonio at Padua, 226. At Milan, 272 
 
 NACCARINI, his works in San Severino, 
 Naples, 71 
 
 Naldo da Briseghella, Dionigi, statue of, at 
 
 Venice, 209 
 Naples, earliest art records of, 49. Early 
 
 sculptures in the neighbourhood of, 50. 
 
 Works of Mas'.iccio I. at, 52. Of Maauc- 
 
IXDFA'. 
 
 NAT 
 
 cio II. at, 53. Of Aiulroa Ciccione, GO. Of 
 Baniboccio, G2. Of Pietro di Martino, 05. 
 Of Giovanni Merliano da Nola, 65. Of 
 Ag-nolo Aniello di Fiore, 65. Work of Pietro 
 of Bergamo in tlie Annunziata, TGI. Sta- 
 tue of Cardinal Oliviero Carafta at, 162. 
 Mazzoni's mortorio at Monte Oliveto, 252 
 Nativity, bas-relief of the, on the sarcophagus 
 of Bartolonieo Coleoni, 130. On the sarco- 
 phagus of Giovanni Borromeo, 133. At tlie 
 Certosa, 134 At Como, 159. In the 
 duomo at Modena, 252. In the duomo at 
 Genoa, 2G4 
 
 Nava, Giacomo, his work on the facade of the 
 
 Certosa at Pavia, 242 
 Navagero, Andrea, Carino's bust of, at Padua, 
 
 230 
 
 Neptune, bas-relief of, 69 
 
 Niccolo, Pietro di, da Firenze, his works at 
 
 Venice, 176, note ^ 
 Nicholas, St., Bishop of Myra, 15. His relics 
 
 at Bari, 15 
 
 Nicholas, St., the Pilgrim, duomo of, at Trani, 
 
 28. Notice of, 28, note ^ 
 Nicholas IV., Pope, supposed tomb of, 77 
 Nicholas V., Pope, monument of, at Eome, 
 
 2G5 
 
 Nicodemus, his pulpit in Santa Maria in Lago, 
 at Aloscufo, 29 
 
 Nicodemus, figure of in the Descent from 
 the Cross, in San Francesco at Modena, 
 255. And in a pieta at Modena, 255 
 
 Nicolaus, Bishop, completes the duomo at Bari, 
 14. Notice of him, 15, note * 
 
 Nicolaus, sacerdos and protomagi.^ter, his cam- 
 panile at Trani, 28, note ^ 
 
 Nicolaus, St., his pulpit in the duomo of St. 
 Valentinian at Bitonto, 36 
 
 Nicolaus, sculptor at San Zeno at Verona, 
 213 
 
 Nicolo da Cornedo, his ancona at Trissiuo, 219, 
 220 
 
 Nicolo Guardiagrele, Maestro, his silver statue 
 
 in the duomo at Chieti, 40, note *■ 
 Nicolo da Ortona, Maestro, his portal of S. 
 
 Benedetto at Chieti, 40 
 Nicolo, San, ciborium of the church of, at 
 
 Bari, 14. Church council held in, 16 
 Noah, bas-relief of the drunkenness of, at 
 
 Venice, 176 
 
 Nonantola, works of Giacomo Scilla Longhi in 
 
 the abbey church of, 159 
 Normnndy, stylo and plan of the earliest 
 
 churches in, 12, note ^ 
 Normans, first appearance of, in Italy, 3. 
 
 Their second visit, 3. Character of their 
 
 architecture and sculpture, 7 
 Nova, Bartolomeo di Bernardino de', em- 
 
 ploved at the duomo of Milan, 141, vote 
 
 OX 
 
 Nova, Girolamo de', employed at the duomo 
 at Milan, 141, note 142, note * 
 
 Novara, Girolomo da, a pupil of Cristoforo 
 Solari, 141. His monument to the arch- 
 deacon Melchior Longhi, 141 
 
 OBERICUS, his part in the shrine of Edward 
 the Confessor, 80 
 Oderigius, or Oderigi, Peter, his tomb of Count 
 
 Roger, 80, note ^ 
 Oderisius da Eajano, Bishop of Valva, 30, 
 
 note. His church at San Pellino, 31 
 Oderisius of Beneventum, his bronze gates of 
 
 the duomo at Troja, 33 
 Ognissanti church at Trani, 29 
 Oliveto, Monte, church of, at Naples, 60. 
 Woiks of Girolamo Santa Croce in, GO. 
 Tuscan work in, 63 
 Omodeo, Giovanni Antonio Amadeo or notice 
 of, 127. His work at the Certosa, 125, 
 Vj,7, 131. His tomb of San Lanfranco, 
 near Pavia, 128. His monuments of the 
 Coleoni, 129. His works at Cremona, 131. 
 His monuments of the Borromei on the Isola 
 Bella, 133. Appointed head architect of 
 the Certosa, 134. His design selected for 
 the cupola of the duomo of Milan, 135. 
 Troubles and trials of his old age, 136. His 
 death, 136. Qualities and defects of his 
 style, 137 
 
 Omodeo, Protasius, his work with his brother 
 
 at the Certosa, 127 
 Onigo, the Senator, tomb of, at Treviso, 106, 
 
 197 
 
 Orfever, Peter le, his part in the shrine of 
 Edward the Confessor, 80 
 
 Ornament, whence derived, 6. The Norman 
 element, 7. Egyptian and Persian, 8. Cel- 
 tic, 8, note ^ Changed character of orna- 
 ment in Apulia in the thirteenth and four- 
 teenth centuries, .35. Of the facade and 
 portal of San Nicolo at Bari, 16 
 
 Orseolo, Pietro, Doge of Venice, Greek artists 
 brouglit from Constantinople by, 242 
 
 Orsini, Nicola, Count of Pitigliano, monument 
 of, at Brescia, 235. Buried at Venice, 235, 
 note 
 
 Ortona, state of the duomo of, 29 
 Osimo, cross of Pietro Vannini in the duomo 
 of, 41 
 
 Ostensorium, the, in San Clemente, Pome, 79 
 Otho II., the Great, his sarcophagus in St. 
 Peter's, 77 
 
 Otranto, duomo at, B_)zantine influence the 
 
 work in the, 18 
 Ottacio da Campione, his works at Modena, 106 
 Ottaviano, lieggian sculptor, 249, note' 
 Ox, the, of St. Luke at Moscufo, 30. At 
 
 Bitonto, 80 
 
INDEX. 
 
 315 
 
 TAG 
 
 PACIFICO, Maestro, Veronese sculptor, 213 
 Padua, Galeazzo da Lugano's work on 
 Sant' Antonio at, 161. Alessandro from 
 Saronno's work, 161. Works of Maestro 
 Andriolo in the basilica of Sant' Antonio at, 
 185. Of Maestri Andriolo and Raynaldiuus 
 at, 185. Contract for building- San Felice, 
 185. Bas-reliefs by Tullio Lombardo in tbe 
 church of San Antonio at, 198. Antonio 
 Lombardo's bas-relief of St. Anthony in the 
 church of San Antonio at, 200. Alessandro 
 Leopardi's church of Santa Giustina at, 20t5. 
 Work of Vittor Camello on the Contarini 
 monument, 207, nvta ^. Statuette of Santa 
 Giustina in Sant' Antonio at, 208. Works 
 of Girolamo Campagna at, 217, 218. Pi- 
 roni's pilaster in Sant' Antonio at, 210. 
 Tuscan artists and their works at, 220. 
 Overthrow of the tj'rant Ezzelino, 220. 
 Marbles in existence at Sant' Antonio, 221. 
 Tombs of the fourteenth century at, 221. 
 Works by Yellano, 222. And by Andrea 
 Riccio, 225. lufluence of Riccio upon sculp- 
 ture at Padna, 230. Silver busts of SS. 
 Prosdocimo and Giustina at, 249. Works 
 of Danese Cattaneo at, 208. Artists work- 
 ing at Sant' Antonio under Giovanni Minello 
 da Bardi, 230. Other Paduan artists of the 
 sixteenth century, 2.30 
 Palacani, Biagio, sarcophagus of, at Parma, 
 202 
 
 Palazzo, Messer Carlo, Mantnan sculptor, 235 
 
 Palladio, his copies of classical forms, 189 
 
 Pallavicino, Guido, monument of, in the 
 Abbey of Foutevivo, 261 
 
 Pan, bas-relief of, 69, 70 
 
 Pancius (Sancius), the brothers, their monu- 
 ment to King Robert of Sicily, 56 
 
 Pantaleone, the, of Amalfi, 32 
 
 Pautaleoue II., of Amalfi, his gifts of bronze 
 gates to various churches, 32 
 
 Pantaleone 111., of Amalfi, his bronze gate at 
 Atrani, 32 
 
 Pantaleone, Aloise di, his work at Venice, 192, 
 note'' 
 
 Parapet, marble, at the Frari at Venice, 202 
 Pari.siis or Parisio, Giuliano da, employed on 
 
 the duomo at Milan, 141, note ^ 
 I'arma, works of Benedetto Antelami at, 106. 
 Monument to Bartolomeo Martini at, 151. 
 And of Francesco Maria Rangoni and his 
 ■wife at, 235. Works of Antonio Begarelli 
 at, 256. Early buildings and sculptures at, 
 256. Visit of Charlemagne to, 256. Foun- 
 dation and consecration of the duomo at, 
 
 256. Works of Benedetto di Antelamo, 
 
 257. In the duomo, 258. And in the 
 baptistry, 258. Scholars of Benedetto, 
 261. Few sculptors at Parma in the 
 
 PAV 
 
 fourteenth century, 261. Paralysis of the 
 arts during this period, 202. Sculptors of 
 the fifteenth century, 262 
 Parto da Bologna, period in which he flour- 
 ished, 239 
 
 Paschal candlestick in Santa Maria d'Arbona, 
 36 
 
 Paschal Lamb at the duomo at Ruvo, 29 
 Pasqualigo, Martino, 157. His residence and 
 
 friendships at Venice, 157. Ilis portrait by 
 
 Titian, 157 
 
 Passion, bas-reliefs of the, at San Pietro di 
 Civate, 100. Of the instruments of the, at 
 Milan, 145 
 
 Pasti, Matteo do', pupil of 11 Pisanello, 216. 
 
 His works, 216, 7iofe ^ 
 Patience, bas-relief of, in the baptistry at 
 
 Parma, 260 
 
 Patriarchs, bas-reliefs of, at the baptistry at 
 Parma, 258 
 
 Paul, St., statue of, at Aquila, 48. Statuette 
 of, at Naples, 59. Colossal statue of, at 
 Naples. 70. In the Lateran, 77, notv^. 
 Alto-relief of, at Santa Maria in Toscauella, 
 86. Statue of, on the Ponte Sant' Augelo, 
 Rome, 88. Statue of, in the chapel of 
 Cardinal da Montepulciano at Rome, 158. 
 Statuette of, at Venice, 183. At Parma, 
 185. In the duomo at Treviso, 197, notc^. 
 And at Venice, 209. Statue of, on St. 
 Francesco della ^'igne, 212. Bas-relief of, 
 at Verona, 229. Intaglio head of, by Pro- 
 perzia de' Rossi, 240. Figure of, in San 
 Domenico at Modena, 255. Statue of, in 
 San I'ietro in Montorio at Rome, 265 
 
 Paul II., Pope, bust of, at Rome, 223. Bronze 
 statue of, at Perugia, 223. Medal of, 223. 
 Medallion portrait of, 234 
 
 Paul III., Pope, notice of, 153, notv'^. Tomb 
 of, at Rome, 153 
 
 Paul IV., Pope, bronze statue of, at the Mi- 
 nerva, at Rome, 158. His severity to the 
 Jews, 158, note^ 
 
 Paulianus, St., on the doors of the duomo of 
 Troja, 33, nute'^ 
 
 Paul's, St., at Rome, monumental relics at, 
 78 
 
 Paulus, his work at Sim Lorenzo extra JMiiro.'i, 
 Rome, 79 
 
 Paulus, Bishop of Altina, migrates with his 
 flock to Torcello, 166, note* 
 
 Pavia, tomb of Gian Galeazzo Visconti at, 
 90, 141, notc^. Palace of Theodoric the 
 Goth at, 95. Church of San Michele at, 100, 
 101. Residence of Theodoiic at, 101. Fate 
 of his palace and that of King Ugo, 101, 
 note-. The Area di Sant' Ago^tino at, 109. 
 AVork of Matteo and Bonino da Campiono 
 at, 109. Foundation of the duomo of the 
 
316 
 
 INDEX, 
 
 PAX 
 
 Certosa, near, 117. Tomb of San Lanfranco 
 near, 128. Pavian sculptures in the six- 
 teenth century, 163. Fa9ade of the Certosa 
 at, 242. Work of Alberto MafHoli at the 
 Certosa, 266. Terra-cotta ornaments of the 
 arcade of San Lanfranco near, 271 
 Pax, gold, by Ambrogio Caradosso, at IMilan, 
 145 
 
 Peace, allegorical figure of, at Milan, 156. 
 Bas-relief of, in the baptistry at Parma, 
 260 
 
 Pedoni, Cristoforo, bis work in Cremona Ca- 
 thedral, 162 
 
 Pedoni, Giovanni, Gaspare, his work at Cre- 
 mona, 161, 162 
 
 Pedro da Toledo, Don, his tomb, 67 
 
 Pellegrini, Galeazzo, histombof Gian Galeazzo 
 Visconti at Pavia, 90, 141, notc^. His work 
 at the Certosa and at the duomo at Milan, 
 141, note^ 
 
 Pellino, San, town of, 30, note. Pulpit in the 
 
 church of, 30. Church of, 30, vote 
 Pellinus, St., Bishop of Brindisi, 30, note 
 Peltruda, Duchess of Friiili, her monastery, 09 
 Pemone, Duke of Friuli, tomb of, in San 
 
 Martino, 98 
 Pentima di Valva, town of, 45, note'^ 
 Pepoli, Count Guido, bust of, at Bologna, 241 
 Pepoli, Taddeo, monument of, in San Domiuico 
 
 at Bologna, 180 
 Pereira, Maria, Countess of Montorio, her 
 
 tomb and that of her child Beatrice at 
 
 Aquila, 40 
 
 Perrini, or Petrini, Franciscns, his reliefs at 
 
 Santa Maria Maggiore, 41 
 Perrino da Milano, his work at Verona, 215 
 Persians, arabesques of the, 7, note ' 
 Perugia, bronze statue of Pope Paul II. at, 
 
 223 
 
 Pesaro, Admiral Benedetto, monument of, at 
 
 the Frari at "S'enice, 209 
 Peter, frequency of the name of, in Roman 
 
 artists, 80 
 
 Peter, Cardinal, his tomb at Santa Prassede, 
 74 
 
 Peter of Picardy, his version of the ' Phj'sio- 
 logus,' 8 
 
 Peter, St., alto-relief of, in Santa Maria iu 
 Toscanella, 86 
 
 — , bas-relief of, on the duomo at Ortona, 29. 
 In San Pietro in Vincoli at Pome, 92. Of 
 Christ's charge to, at St. I'eter's at Rome, 
 159. In Como Cathedral, 160. In San 
 Francesco at Padua, 224. In the Museo 
 Patrio at Mantua, 232 
 
 — , statue of, at Aquila, 118. At Monte 
 Oliveto at Naples, 69. Colossal, at St. 
 Peter's at Naples, 70. In the Lateran, 
 77, n"tc On the duomo at Milan, 140, 
 
 PIE 
 
 note*. Iu the Chapel of Cardinal Riccio 
 da Montepulciano at Rome, 158. In St. 
 Mark's at Venice, 197. In San Domenico 
 at Modena, 255. In Saa Pietro in Montorio 
 at Rome, 265 
 — , statuette of, fit San Lorenzo at Naples, 59. 
 Statuette of, at Venice, 183, 184, 209. At 
 Parma, 185. In the duomo at Treviso, 197, 
 no/e ' 
 
 Peter MartjT, St., tomb of, at Milan, 57, 109 
 Peter's, St., at Rome, tombs of the Popes and 
 
 others in, 77. Tomb of Pope Boniface VIII. 
 
 in, 83. Silver statues of the Apostles in, 
 
 88, 91. Tomb of Pope Paul III. in, 153 
 Petrarch, his examination by King Robert of 
 
 Naples, 55. His letter to Pope Urban V. 
 
 quoted, 74 
 
 Petronius, St., Bishop of Bologna, his crosses 
 set up at the gates of Bologna, 237 
 
 Petrus Amabilis, his pulpit at San Vittorino, 
 near Aquila, 31 
 
 Petrus from Apulia, 31 
 
 Petrus di Paolo, his works, 31 
 
 Petrus, his work in San Pietro d' Alba, 84 
 
 Pharaoh and his host, bas-relief of, at Padua, 
 224 
 
 Philasterius, St., bas-relief of, at Brescia, 2-36. 
 Philip II., lung of Spain, bust of, at Madrid, 
 155, 7iote ■* 
 
 Philippe d' Alenfon, Cardinal, his monument 
 
 at Rome, 89. Notice of him, 89, 90 
 Philippe de Thaun, his version of the ' Physio- 
 
 logus,' 9, note 
 Philosophy, bas-relief of, on Riccio's can- 
 delabrum at Padua, 228 
 ' Physiologus,' or ' Bestiary,' the, 9 
 Piacenza, decorations of the facade of the 
 
 duomo, 263. Piacentine sculptors, 263 
 Pianella, pulpit in the duoma at, 30 
 Piccolomini, Isabella, her altar in the duomo 
 
 at Atri, 151 
 Pico, Prendiparte, tomb of, at Mirandola, 185 
 Piero of Lugano, his work atFerrara, 161 
 Pieta, in Sta. Maria della Salute, at Venice, 
 
 208. By Begarelli, at San Pietro and at San 
 
 Agostino at Modena, 255 
 Pietro d' Alba, San, Cosmatesque work in the 
 
 church of, 84 
 Pietro ad Aram, San, Madonna della Miseri- 
 
 cordia at, at Naples, 68. Statue of St. 
 
 Michael at, 68. Deposition in, 70 
 Pietro de Pavia, his fig-tree wood statue of 
 
 Christ at Bologna, 163 
 Pietro of Bergamo, his works at Ferrara and 
 
 Naples, 161 
 
 Pietro di Civate, San, in Brianza, church of, 
 100 
 
 Pietro a Majella, San, statue of San Sebastian 
 in the church at Naples, 68 
 
IXDEX. 
 
 317 
 
 PIE 
 
 rietro, San, church of, at Toscaiiella, 85. 
 
 Sculptures in the, 85 
 Pietro in Vincoli, St., at Rome, bas-relief of 
 
 St. Peter and the Angel in, 92 
 Pietro, S., patron saint of Cremona, his tomb, 
 
 132 
 
 Pietro, his bronze doors at the Lateran basi- 
 lica at Rome, 263 
 
 Piety, bas-relief of, in the baptistry at Parma, 
 260 
 
 Pintelli, Baccio, architect of the Ducal Palace 
 at Urbino, 142, note " 
 
 Pio, Manfredo, tomb of, at Cai-pi, 239. Bas- 
 relief of, 239 
 
 Piovano, Matteo, bust of, in San Gimignano, 
 209, note'^ 
 
 I'ironi, Girolamo, his pilaster in Sant' Antonio 
 
 at Padua, 219 
 Pisa, architects of the leaning tower of, 
 
 251 
 
 Pisanello, II, Victor Pisano so called, 216. His 
 medal of Filippo-Maria, Duke of Milan, 121. 
 His school, and period in which he nourished, 
 216. Hi.s works as a medallist, 210. Otht r 
 work attributed to him, 216, note ' 
 
 Pisani, Benedetto, bust of, at Venice, 268 
 
 Pisano, Balduccio, influence of Giotto on the 
 works of, 58. Ilis tomb of St. Peter Martyr 
 at Milan, 109 
 
 Pisano, Giovanni, his era and works, 52, note 
 220 
 
 Pisano, Niccola, his birthplace and parentage, 
 
 31. Period in which he flourished, 52, note 
 
 Work of, at Padua, 220 
 Pistoja, pulpit of Guido da Como in the church 
 
 of St. Andrea, 160, note ^ 
 Pitti, Palazzo, at Florence, style of the, 190, 
 
 note * 
 
 Pius II., Pope, his tomb at Rome, 91 
 Pius III., Pope, his tomb at Rome, 91 
 Pius IV., Pope, his gift of a gold pax to the 
 
 duomo at Milan, 145. Ilis arms, 145 
 Platiiia, Giovanni Maria, his work in the 
 
 duomo of Cremona, 162 
 Platina, medal of, 223 
 
 Plinys, statues of the two, in Como Cathedral, 
 159 
 
 Poetry, bas-relief of, on Riccio's candelabrum 
 at Padua, 228 
 
 Polesine, terra-cotta raortorio in S. Antonio 
 Abate in, 245 
 
 Poniponazzo, Pietro, bronze statue of, at Man- 
 tua, 234 
 
 I'ontano, Giovanni, portrait of, at Naples, 252, 
 note ^ 
 
 Popes, injuries caused to Roman art by their 
 residence at Avignon, 74. Their burial- 
 places before and since 408, 75, note -. The 
 Papal tiara at various periods, 76, note 
 
 POR 
 
 The Pontifical robes of Boniface VIII., 76. 
 
 Bas-relief of their return from Avignon, 92 
 Porlezza, Francesco da, his work at Sant' 
 
 Antonio at Padua, 230 
 Porris, Ambrogio di, employed on the duomo 
 
 at Milan, 141, note * 
 Porta, Antonio della, works on the facade of 
 
 the Certosa, 131 
 Porta, Cavaliere Gian Battista della, his works, 
 
 154 
 
 Porta, Giacomo della, his ciborlura in the 
 cathedral at Genoa, 152 
 
 Porta, Giovan Giacomo della, a pupil of Cris- 
 toforo Solari, 141 
 
 Porta, Guglielmo della, his works, 152. Ilia 
 study of Lionardi da Vinci, 152. His work 
 in the duomo at Genoa, 152. Presented to 
 Michel-Angelo, 153. Succeeds Sebastiano 
 del Piomba at Rome as ' piombatore,' 153. 
 His tomb of Pope Paul III. in St. Peter's, 153 
 
 Porta, Paolo della, 154 
 
 Porta, Teodoro della, his works, 153, 154 
 
 Porta, Tomaso della, his imitations of the an- 
 tique, 154 
 
 Portal sculptures of the church of San Kicolo 
 at Bari, 16. Of the church San Clemente a 
 Casauria, 21. Of the Grave chapel of Bo- 
 hemund, 27. Of the duomo at Trani, 28. 
 Of the Ognissanti church at Trani, 29. Of 
 the duomo at Ortona, 29. Of the duomo 
 at Ruvo, 29. Of the duomo at Troja, 33. 
 Of St. Andrea at Barletta, 35. Of St. Valen- 
 tinian at Bitonto, 35. Of St. Leonardo, 38, 
 39. Of the cathedral at Atri, 39. Of the 
 basilica of St. Michael at Bitetto, 40. Of 
 S. Benedetto at Chieti, 40. Of Santa Maria 
 Maggiore, 41. Of San Bernardino at Aquila, 
 41. Of churches in the Abruzzi, 45. Of 
 San Giovanni a Pappacoda, 62. Of Santa 
 Barbara, 63. Of the monastery of I'eltruda 
 of Friuli, 99. Of the Porta Romana at 
 Milan, 104. Of the chapel of the Holy 
 Sacrament, at Milan, 106. Of the duomo 
 of Milan, 118. At San Celso, at Mantua, 
 122. In the Palazzo Vismara, at Milan, 
 124. At the Certosa, 127, 131, 134. Of 
 the chapel and monument of Bartolomeo 
 Coleoni, 129. At St. Petronius, at Bologna, 
 142, note *. Of the palace of Count Borsio 
 Sforza, 150. Of Como Cathedral, 159. 
 Of Cremona Cathedral, 160, note'^. Of the 
 church of the Annunziata, at Naples, 101. 
 Of the municipal palace at Cremona, 162. 
 Of the church of S. Stefano at Venice, 184. 
 Of the great gate of the palace at Venice, 
 187,188. Of San Giobbe at Venice, 195. Of 
 San Guaronta at Treviso, 197. Of San Toni- 
 maso at Treviso, 197. Of the Ducal Palace, 
 '\'enice, 200' Of the duomo at Modena, 
 
318 
 
 [XJ)EX. 
 
 roR 
 
 213. Of the duomo at Ferrara, 213, 214. 
 Of the duomo at Verona, 215. Of the doors 
 of St. Mark's at "Venice, 234. At the Car- 
 mine Church, St. Andrea, and San Lorenzo 
 at Mantua, 234. Of Nicola Orsini, Count 
 of Pitigliano, 235. Of the duomo at Fer- 
 rara, 243. Of the Pahxzzo Douelli at Keg- 
 gio, 249. Of the duomo at Eeneventum, 
 270. Of San Quintino at Parma, 256. Of 
 the baptistry at Parma, 256. Of the palace 
 of the Conte di Cajazza, 262 
 Portata, Giacomo, da Como, his -work at Cre- 
 mona, 160, note^ 
 Posidonius, S., statuette of, at Carpi, 239 
 Prassede, Santa, at Rome, tombs in, 83 
 Prati, liartolomeo, monument to the juriscon- 
 sult at Parma, 251 
 Presentation of the Mrgin, bas-relief of the, 
 in the duomo at Milan, 118. On the sarco- 
 phagus of Giovanni Borromeo, 133. At 
 Milan, 149. In the baptistry at I'arma, 200 
 Priest, bas-relief of a, in the baptistry at 
 Parma, 200 
 
 Proculus, St., statuette of, at Verona, 216. 
 Figure of, at Bologna, 241 
 
 Prophets, alto-relievo of the, in the duomo at 
 Genoa, 152. Half-figures of the, in- the 
 Giustiniani Chapel at Venice, 202. Statues of 
 the, in San Giovanni e Paolo at Venice, 211. 
 Symbols of the, at the duomo at Veronn, 215. 
 Statues of, at Borgo San Donnino, 260 
 
 Prosdocimo, S., silver bust of, at Padua, 249 
 
 Prudence, winged statues of, 54, 57, 61, 62. 
 Emblem typical of, 61. Statuette of, 66, 
 )iote^. Figure of, in St. Peter's at Rome, 
 153. Figure of, at Milan, 156. Bas-relief 
 of, on Riccio's candelabrum at Padua, 227. 
 In the baptistry at Parma, 260 
 
 Pulpit in the duomo at Troja, 18. In San 
 Sabino at Canosa, 23. At Moscufo, 29. At 
 Pianella, 30. At San Pellino, 30. At San 
 Vittorino, near Aquila, 31. At St. Valen- 
 tinian at Bitonto, 35, 36. M&de for the 
 church of Sta. Reparata at Naples, 49. At 
 Salerno, 50. In San Clemente at Rome, 78. 
 In Santa Maria in Cosmedin at Rome, 83. 
 In Santa Maria di Castello at Corneto, 84. 
 In Santa Maria at Toscanella, 86. At Milan, 
 by Oprando di Busnate, 105. In Santa 
 Maria Maggiore at Bergamo, 106. In the 
 duomo at Monza, 112. In tlie cathedral at 
 Cremona, 138. The two pulpits in the 
 cathedral of Milan, 158. In St. Andrea, at 
 Pistoja, 160, note^. Terra-cotta one at 
 Bologna, 237. Two, in the duomo at Bene- 
 ventum, 270. In the duomo at Milan, 258 
 
 Pyrgoteles, 207. Guarino's verses in praise of 
 'him, 208. His works, 208. Work in the 
 Frari, ^Vnice, attributed to, 188 
 
 REG 
 
 QUATRINI, Bernardino, his works at Padua, 
 209, note^ 
 
 Quatrini, Francesco, his work on the facade of 
 St. Antonio, at I'adua, 209, note 
 
 RACHIS, Duke of Friuli, bas-relief portrait 
 of, 99 
 
 Raimondo da Cardona, commands a papal 
 army against the Visconti, 107, 108. De- 
 feated and taken prisoner, 108, note ^ 
 
 Raimondo da Cremona, his terra-cotta figures 
 at the Certosa, 127, note * 
 
 Rainerio degli Assendi, his tomb at Padua, 222 
 
 Raiuucii, Nicolaus, his work in the facade of 
 Santa Maria di Castello at Corneto, 84 
 
 Raiiiulph, the Norman, seizes Aversa, 4. 
 Created Count of Aversa, 4 
 
 Raiuulphus, Duke, treatment of his body by 
 King Roger II., 17, note ' 
 
 Ramazzotti, Armaciotto de', monument of, 247. 
 His life, 247 
 
 Rangoni, Francesco Maria, monument of, at 
 Parma, 235 
 
 Rangoni, Bishop Ugo, tomb of, at Reggio, 
 250. Cost of the work, 250, note ^ 
 
 Ranzi, Lodovico, his statues at Brescia, 249, 
 note ' 
 
 Raphael, the Ai-changel, statue of, on the 
 
 Ducal Palace at Venice, 176 
 RapoUo, notice of the duomo of, 269 
 Ratcait, of Friuli, bas-relief portrait of, 99 
 Ravello, bronze gates of the duomo at, 33. 
 
 Pulpit in the duomo at, 50 
 Ravenna, palace of Theodoric the Goth at, 95. 
 
 Portrait statue of the Emperor Zeno at, 95, 
 
 note'^. Battle of, 146, jioi'es 
 Raymond del Balzo, his fief of Galatina, 45, 
 
 note ^ 
 
 Raymondo de Podio, Maestro, his works in the 
 
 cathedral at Atri, 39, 40 
 Raynaldinus, his statuettes in the chapel of 
 
 San Felice, at Padua, 185. Price of the 
 
 work, 180, 7iote ' 
 Raynaldus, Abbot, his portal at San Giovanni 
 
 in Venere, near Lanciano, 18 
 Reame, Mino del, character of his works, 70 
 Rebiba, Cardinal Scipio, his coat of arms at 
 
 Troja, 33, note^ 
 Rebiba, Prosper, Bishop of Troja, his restora- 
 
 tiou of the doors of the duomo, 33, note > 
 Regenta, Arma da, Reggian sculptor, 249, 
 
 note ^ 
 
 Regiovis, Antonio de', his work at the duomo 
 
 at Milan, 141, note'^ 
 Reggio, works of Antonio di Santo at, 150. 
 
 Tomb of Pietro da Suzzara at, 161. Works 
 
 of the sculptors Bartolomeo and Prospero di 
 
 Clementi Spani, 249, 250 
 
IXDEX, 
 
 319- 
 
 REX 
 
 Renaissance style, introduction of, into Venice, 
 189 
 
 Sen^ d'Anjoii, his struggle witli Alfonso of 
 Aragon, 04 
 
 Reparata, Sta.. pulpit made for tlie churcb of, 
 at Naples, 49 
 
 Resurrection, bas-relief of, on the tomb of San 
 Bernardino at Aquila, 48. On the tomb of 
 King Robert at Naples, 56. At San Pietro 
 di Civate, 100. At the Certosa at Pavia, 
 131, 134. In San Teodoro at Genoa, 265. 
 
 Revetti or Revertis, Matteo de', his work on 
 the duomo at Milan, 141, note^. His monu- 
 ment to the Count of Valtero and Arquato, 
 141, not'i^ 
 
 Rialto, Gobbo del, at Venice, 207, note'' 
 Riario, Pietro, monument of, at Rome, 91 
 Riccardus, Magister, his bas-reliefs at Ortona, 
 29 
 
 Ricciardi, Palazzo, at Florence, style of the, 
 190, note ' 
 
 Riccio, Andrea, 225. His bas-reliefs at Sant' 
 Antonio, 225. His bronze candelabrum in 
 the same clmrch, 226. His monimients of 
 Girolamo and Antonio della Torre, 228. 
 His bas-reliefs in the Louvre, 228. Works 
 attributed to him, 229. His death, 229. 
 His influence upon sculpture at Padua, 230 
 
 Riccio or Rizzo. See Rregno, Ant. Giov. 
 
 Ridolfi, Eartolomeo, period in which he flou- 
 rished, 212, note'^ 
 
 Righi, his work in a mortorio at Naples, 253, 
 note * 
 
 Rimini, bas-reliefs at, attributed to Pisanello, 
 210, note » 
 
 Ringhieri or Ringhiero, his sculptures in the 
 
 Holy Land, 238 
 Ripa, Eattista da, his work at the duomo at 
 
 Milan, 141, «ofe> 
 Ripa, Pietro da, employed at the Certosa, 127, 
 
 note ' 
 
 Rivere, Palazzo Marchionale di, chimney-piece 
 of the, 233 
 
 Robbia, Luca della, his masterpiece in San 
 
 Bernardino, 48 
 Robert d'Artois, monument of, 59 
 Robert Guiscard joins the Normans in Italy, 5 
 Robert, King of Naples, seated figure of, 54. 
 
 His monument at Sta. Chiara, 55. His 
 
 career and acquirements, 55, 50. His death, 
 
 56 
 
 Rocca, his works at Spello, 219 
 Roccabouella, Pietro, monument of, at Padua, 
 224 
 
 Roccatagliata, Niccolo, his bronze statues of 
 SS. George and Stephen, 209, note ^ 
 
 Rodari, the brothers Jacopo and Tommaso^ 
 their works in Como Cathedral, 159. Where- 
 in their skill lay, 160 
 
 ROM 
 
 Rogati, tomb of the, at Padua, 221 
 Roger of Amalfi, his bronze gates to the 
 Grave chapel of Bohemund, 27. His doors 
 at the Grave chapel of Bohemund, at Ca- 
 nosa, 33 
 
 Roger, Count of Calabria and Sicily, Oder- 
 
 igius' tomb of, 80, note ® 
 Roger II., King of Sicily, his coronation at 
 
 Bari, 15. His pompous device, 15, note'. 
 
 His treatment of the body of Duke Rainul- 
 
 phus, 17, note * 
 Rolando da Pizzola, tomb of, at Padua, 221 
 Romanesque, Romano-Byzantine, Lombard, or 
 
 Comacine style of architecture produced in 
 
 Italy, 95 
 Romano, Andrea, 92 
 
 Romano, Gian Cristoforo, 90. His works, 90 
 Romano, Giulio, his work at the Palazzo del 
 
 T(S, 235. Its character, 235 
 Romano, Paolo, 88. His works at Rome, 
 
 88-90 
 
 Romano, San, statue of, on the facade of the 
 duomo at Ferrara, 242 
 
 Rome ; causes of the indifference of the Ro- 
 mans to art, 72. Statues at Rome in the 
 fifth and sixth centuries, 73. Condition of 
 the city from the ninth to the fifteenth 
 century, 74. Works of art at St. Peter's, 
 75, 83, 90, 91. In Ara Cali, 77, 83, 92. 
 In the Lateran, 77, 86. At St. Paul's, 78. 
 In San Clemen te, 78, 79. At Santa Maria 
 Maggiore, 82. At Santa Maria sopra Mi- 
 nerva, 82. In Santa Balbina, 83. In Santa 
 Prassede, 83. In Santa JIaria in Cosmedin, 
 83. In San Lorenzo, 86. In the Capitol, 
 86. On the Ponte Sant' Angelo, 88. In 
 the church of the Knights of Malta, 89. In 
 Santa Maria in Trastevere, 89, 90. In S. 
 Andrea della Valle, 91. Anony mous works, 
 91. At Santa Sabina, 91. At San Greero- 
 rio, 91. At San Venanzio, 91. In the SS. 
 Apostoli, 92. In San Pietro in Vincoli, 92. 
 In Sta. Francesca Romana, 92. Native 
 talent undeveloped at Rome, 92. Tomb 
 of Pope Paul HI. in St. Peter's, 153. 
 Works of Lionardo and the brothers Casi- 
 gnuola at, 158. And of Ambrogio Bron- 
 vicino, 158. Riot in the city after the 
 death of Pope Paul IV., 158, note «. Bas- 
 relief of Christ's charge to Peter, at Rome, 
 159. Works of Ambrogio Buonvicino at, 
 159. Works of Venetian sculptors in Sta. 
 Maria in Cosmedin at, 171. Works of Bar- 
 tolomeo ^'ellano at, 223. Statue of Leo 
 X. at, 242. Bronze doors of the Lateran 
 basilica, 263. Works of Lionardo and Gio- 
 vanni Antonio Sornianni at, 265. Work of 
 Lionardo da Sarzana at, 265. Monument of 
 Pope Nicholas V. at, 265 
 
320 
 
 INDEX. 
 
 ROM 
 
 Romoaldus, sculptor, his cathedral in San 
 
 Sabino at Canosa, 22 
 Eomualdus II., Archbishop of Salerno, marble 
 
 pulpits made for, 50 
 Rosa, Maestro, da Parma, his tomb of Mon- 
 
 dino de' Liucci at Bologna, 261 
 Rosellini, Antonio, his work in the church 
 
 of Monte Oliveto, 63 
 Rosello, Antonio, 223, note\ Medal of, 223. 
 
 Monument in Sant' Antonio at Padua, 223 
 Rosetto, Jacopo detto, period in which he 
 
 flourished, 2.39 
 Rossi, Alessandro, his statue of San Bernardo 
 
 Abate, 218 
 
 Rossi, Properzia de', notice of, 2-39, 240. Her 
 early works, 240. Her arabesques and 
 marble ornaments, 240. Her bas-reliefs at 
 the duomo at Bologna, 241. An adoring 
 angel at San Petronius attributed to her, 
 241. Her death, 241 
 
 Roverella, Lorenzo, tomb of, at Ferrara, 143 
 
 Royalty, statue of, at Naples, 01 
 
 Ruffini dei Landi, Bishop, tomb of, at Mantua, 
 232 
 
 RufRnus, St., bas-relief of, at Mantua, 232 
 Rufolo, Nicolo, his pulpit in the duomo of 
 Ravello, 50 
 
 Rusconi, Albertino, his work at Ferrara, 143, 
 note'^, 234. And at Bologna, 234, )iote^ 
 
 Rusconi, Giacomo, his work at Ferrara, 234. 
 And at Bologna, 234, )iote^ 
 
 Rusconi, Luigi, his work at Ferrara, 143, 
 note^ 
 
 Ruskin, Mr., on the sculptures of San Michele 
 
 at Pavia, quoted, 131, wote' 
 Rustici, Francesco, his model of St. John 
 
 disputing with a Levite and Phaiisee, 150 
 Ruvo, duomo of, 29 
 
 SABINA, Santa, at Rome, sculptured 
 vine-wood doors of, 91 
 S.abinus, St., his relics at Bari, 14, note^. 
 Church of, at Canosa, 22. Bishop of Canosa, 
 23, tiofe 
 
 Sacrarii by the Mantegnzza, in the Certosa, 
 125. Made by Omodeo for the Certosa, 
 131 
 
 Sacrifatorium, or altar, at San Clemen te, Rome, 
 79 
 
 Saints, at the cathedral at Atri, 39. Statues 
 of, in S. Gregorio, at Rome, 91. Statuettes 
 of the, at Pavia, 107. Statuettes of, at 
 Ferrara, 144. Bas-reliefs of, at Bologna, 
 184. Statuettes of, at Venice, 18.3, 184. At 
 San Mattoo, at Genoa, 171. At St. Mark's, 
 Venice, 189. Bas-reliefs of, at Sant' Anas- 
 tasia at Verona, 217. Statues of, by Varignana 
 da Bologna, at Bologna, 242. Silver statues 
 
 SAR 
 
 of the, at the duomo at Reggio, 249. Bas- 
 reliefs of, in the duomo at Molfetta, 269 
 
 Salerno, defeat of the Normans at, 3, Marble 
 pulpits in the duomo at, 60 
 
 Salvatore Aquilano, his part in the shrine of 
 San Bernardino in Aquila, 47 
 
 Salvatore, San, at Atrani, bronze gates at, 32 
 Inscription on them, 32, note^ 
 
 Salvatore, San, at Brescia, architecture of the 
 church of, 100 
 
 Salvestro dall' Aquila, his shrine of San Ber- 
 nardino at Aquila, 47. Notice of him, 47, 
 note'^. Altar-piece ascribed to him, 48 
 
 Samson, bas-reliefs from the history of, 49. 
 At Padua, 224 
 
 Sancia, queen of Robert of Sicily, figure of, on 
 her husband's tomb, 57 
 
 Sanctis, Filippo de', his sarcophagus of Beato 
 Oderici, 186 
 
 Sanctis, Giovanni de', his Madonna and Child 
 at Sta. Maria dell' Orto, 186 
 
 Sangro, Antonio de, Bishop, his restoration 
 of the doors of the duomo of Troja, 33, 
 note^ 
 
 Sangro, Berterardus de, monument of, at 
 
 Monte Vergine, 270 
 Sangro, Niccolo di, tomb of, in San Domenico, 
 
 Naples, 71 
 
 Sannazaro, Giacomo, Santa Croce's tomb of, 
 69 
 
 Sannazzaro, the poet, portrait of, at Naples, 
 252, tiote^ 
 
 Sansovino, Jacopo, 209, 267. His influence at 
 Venice, 210. His career in Venice, 209, 
 note^. His influence there, 210. His pupil 
 Vittoria and their works, 210, 211. His 
 bas-relief at the Capella del Santo at Padua, 
 220. His disgrace and imprisonment, 267 
 
 Santa Croce, Girolamo, 68. His works, 09, 
 70 
 
 Santo, Antonio di, his works at Reggio, 150 
 Saracens, their incursions into Italy, 3. De- 
 feated by the Normans at Salerno, 3. Their 
 decorations of buildings, and influence on 
 art, 7. Sculpture commemorating the ex- 
 pulsion or forced conversion of the Saracens, 
 at Lucera, 40 
 Saragna, tomb of Ugolotti Lupi at Casa Meli- 
 lupi in, 261 
 
 Sarcofagaio, Daniele detto, Bolognese sculptor, 
 238 
 
 Sarcophagi. See Tombs 
 Sarego, Cavalier Cortesia, tomb of, at Verona, 
 210 
 
 Saronno, Alessandro da, his work at Sant' 
 
 Antonio at Padua, 230 
 Sarzana, Lionavdo da, his part in the Moses of 
 
 the Fountain de' Termini at Rome, 265. And 
 
 other works, 265 
 
INDEX. 
 
 321 
 
 SAV 
 
 Savelli Chapel, at Home, monuments in the, 
 77 
 
 Savii, Antonio, his part in the tomb of Cardinal 
 
 Zeno at Venice, 197 
 Scala, Repina della, her tomb at Milan, 111 
 Scaliger, Giovanni, tomb of, at Verona, 216 
 Scaligeri, their power and patronage of art, 
 
 112 
 
 Scandinavian ornament, 8 
 Scilla, Maestro, his work at Naples, 142, note* 
 Scrovegni, Bartolomea degli, her tomb at 
 Padua, 221 
 
 Scroveguo, Enrico, builds the Arena chapel at 
 Padua, 221, no(c * 
 
 Sculptors, mediaeval, purpose of the, 1 1 
 
 Sculpture, character of, at Venice, IGo. Sub- 
 ordination of, to architecture at, 105. 
 Causes of the multiplication and improve- 
 ment of Italian sculptors, 171. Analogies 
 between the Milanese and Venetian sculp- 
 tures, 182 
 
 Scutari, siege of, by the Turks, 191 
 
 Sebastian, St., statuette of, at Aquila, 48. Statue 
 of, at San Pielro a Majella, Naples, (i8. On 
 the duomo at Milan, 140, tiote *. Colossal 
 figure of, in the Zecca at Venice, 218 
 
 Sebastiano, his works, 209, tiote ' 
 
 Secundinus Melius, St., his burial-place, 17, 
 note Bas-reliefs on the doors of the 
 duomo of Troja, 33, note ' 
 
 Sedulius, his verses in the duomo at Cividale, 
 98 
 
 Self-devotion, small figure of a pelican as, at 
 
 Reggio, 250 
 Serpent of bronze, bas-relief of the, at Padua, 
 
 224 
 
 Sessa, Taddeo di, statue of, 50 
 
 Sesto, Luigi da, his work on the duomo <at 
 
 Milan, 142, ?ioie * 
 Sesto, Stefano da, works on the facade of the 
 
 Certosa, 131. 
 Severino, San, story of the fate of the brothers, 
 
 66. Their monuments by Merliano, 67 
 Sfortiano, Cherubino, tomb of, at Reggio, 250 
 Sforza, Count Borsio, his palace at Reggio, 
 
 150 
 
 Sforza family, monuments of the, formerly at 
 Milan, 105 
 
 Sforza, Francesco, Leonardo da Vinci's eques- 
 trian statue of, at Milan, 124, 125 
 
 Sforza, Galeozzo, medal of, 245, note ^ 
 
 Shrine of Edward the Confessor at West- 
 minster, 80, 81 
 
 Sigelgaita, wife of Nicolo Rufolo, bust said to 
 be of, 51 
 
 Sigelgaita, wife "of Robert Guiscard, her at- 
 tempt to poison Bohemund, 23 
 
 Sigismund II., King of Poland, Mosca's tomb 
 of, 230 
 
 T 
 
 STE 
 
 Silvestro dall' Aquila, liis bas-reliefs on the 
 
 triumphal arch of Alfonso of Naples, 05 
 Silvestro, San, sarcophagus of, in the abbey 
 
 church of Nonantola, 159 
 Silvio di Beruardi, Lorenzo di, Mantuan 
 
 sculptor, 234 
 Simeon the Prophet, St., statue of, at Venico^ 
 
 87 
 
 Simon de Pavia, his part in an ancona at 
 
 Bergamo, 103 
 Simon da Ragusa, his work at St. Andrea at 
 
 Barletta, 35 
 Simone da Cavagnera, his model of the duomo 
 
 of Milan, 116 
 Simone della Canna, Beato, bas-rulief of, at 
 
 Parma, 262 
 
 Simone da Germano, his part in an ancona at 
 Bergamo, 163 
 
 Simonetta, Cecco, statue of, at Como, 160 
 
 Sirtori, Simone di, competes for the cupola of 
 the duomo of Milan, 135 
 
 Sixtus IV., Pope, portrait medal of, 207, note ^. 
 Medallion portrait of, 234 
 
 Solari, Cristoforo, his hostilitj' to Omodeo, 136. 
 Appointed architect to the duomo at Milan, 
 136. Influence of Michel-Angelo on his 
 works, 137. Appointed to the post of ducal 
 sculptor at Pavia, 138. His design for the 
 tomb of Beatrice d'Este, 138. Goes to 
 Rome, 140. But recalled to Mil.m, 140. 
 liis works at the duomo there, 140. As- 
 sists in making a new model for the cupola 
 of the duomo, 140. His scholar.-^, 141 
 
 Solari, Guniforte, his design for tlie facade 
 of the Certosa, 126, 131. Ilis death, 131 
 
 Solomon and the Queen of Sheba, bas-relief of, 
 in the duomo of St. Valentinian at Bitonto, 
 .36. And at ]3ologna, 241 
 
 Solomon, Judgment of, bas-reliefs of the, on 
 the Ducal Palace at Venice, 177, 179. And 
 at Padua, 224 
 
 Sormanni, Giovanni Antonio, his works at 
 llome, 265. And at Madrid, 265 
 
 Sormanni, Lionardo, his statues at Rome, 265 
 
 Spagnuoli, Battista, bust of, in the Museo 
 Patrio at Mantua, 234 
 
 Spalatro, Giovanni di, his work at Venice, 192, 
 note * 
 
 Spazii, Lorenzo degli, becomes chief architect 
 
 of Como Cathedral, 159 
 Spello, works of Rocca at, 219 
 Sperandio of Mantua, pupil of II Pisanello, 
 
 216 
 
 Staircase, panelled, at Moscufo, .30 
 
 Statues, single, rarely made in Italy except in 
 
 Tuscany, 42 
 Staurachios, the Byzantine bronze caster, his 
 
 gates at Constantinople, 32 
 Stefancschi, Cardinal, monument of, in Santa 
 
 T 
 
.322 
 
 INDEX. 
 
 STE 
 
 Maria in Trastevere, 89. Notice of him, 89, 
 note * 
 
 Stephen, St., bronze statue of, by Roccatagliata, 
 209, note 2 
 
 Stilichou, tombs of his daughters INIaria and 
 Thermantia, 77. Palace of, at Jlilan, resto- 
 ration of, 102 
 
 Strength, emblem typical of, Gl 
 
 Strozzi, Palazzo, at Florence, cornice of the, 
 190, note 1 
 
 Stucchis, Cristoforo de', his work on the 
 
 duomo cat Milan, 1 42, note * 
 Sulmona, facade of the municipal palace at, 
 
 42 
 
 Suppei", Last, Anselmo da Campione's bas- 
 relief of the, 106. Of Leonardo da Vinci, 
 at Milan, 124 Bas-relief of, at the Certosa, 
 141, note * 
 
 Sui\li, Don Stephanus, tomb of, in Santa Bal- 
 
 bina, at Pome, 83 
 Siiriano, Stefano, 203, note \ Tomb of, at 
 
 Venice, 203 
 Euzzara, Pietro da, sarcophagus of, 101 
 Sybils, statues of, in San Giovanni e Paolo, 
 
 Venice, 211 
 Sylos, Palazzo, open loggia of the, at Bitouto, 
 
 42 
 
 Symbolism, media3val, Baron Hammer's theory 
 about the introduction of, into Europe, G, 
 note. Difference between Oriental and 
 Christian symbolism, 8. Signification of 
 animal forms in Christian art, 9, 10. In the 
 early Church, 11. St. Bernard's remarks on 
 ornament in churches in his time, quoted, 11, 
 12. Hidden meaning of symbolic forms, 12 
 
 Syria, system of ornament derived from, 7 
 
 TABERNACLE, bronze, in Sant' Antonio at 
 Padua, 218 
 Tabernacles in San Teodoro at Genoa, 2G5 
 Tagliapiera, Domenico, his work at Venice, 
 192, note ^ 
 
 Tagliapiera, Stefano, his work at 'S^enice, 192, 
 note ^ 
 
 Tajapiera, Arduinus, his Madonna and Child 
 in the Carmine Church, Venice, 172 
 
 Tajnpiera, Bottegadi, at Venice, 190. Stone- 
 cutters and sculptors both in the guild of 
 the Tajapiere, 190, note 
 
 Tancredi of Pentima, his fountain Delia 
 Piviera at Aquila, 45 
 
 Tasso, Torquato, his friendship with Cattaneo, 
 2G7 
 
 Te, Palazzo del, work of Bernardino del Buono 
 at, 235 
 
 Tedesco, Gondolo, his work on the Ducal 
 
 Palace at Urbino, 142, note 
 Temperance, figure of, at Naples, o7 
 
 TOM 
 
 Temperance, statues of, at Naples, 61, 62. 
 Figure of, at Cremona, 162. Bas-relief of, 
 on Eiccio's candelabrum at Padua, 227 
 
 Tenda, Beatrice di, her fate, 121 
 
 Terracina, palace of Theodoiic the Goth at, 95 
 
 Theodolinda, Queen, her influence in obtaining 
 the conversion of the Lombards, 97. Builds 
 the duomo at Monza, 97. Bas-relief of, at 
 Monza, 97. Inscription recording her deatli, 
 98, note ^ 
 
 Theodoric, King of [the Ostrogoths, image of, 
 at Naples, 49. His respect for art and 
 letters, 94. His palaces in various cities, 
 95. His royal residence at Pavia, 101. 
 Legend of, on the duomo at Ferrara, 213, 
 7tote * 
 
 Theology, bas-relief of, on Piccio's cande- 
 labrum at Padua, 228 
 
 Thermantia, niece of the Emperor Ilonorius, 
 her tomb, 77 
 
 Throne, Bishop's, in the duomo at Parma, 
 258 
 
 Tiara of the Popes, additions to the, from time 
 to time, 76, note ^ 
 
 Tiepolo, Jacopo, Doge of Venice, his sarco- 
 phagus, 170 
 
 Tiepolo, Lorenzo, Doge of Venice, his tomb, 
 170 
 
 Tiger, the, as a Christian symbol, 10 
 
 Time, bas-relief of, on a candelabrum at Sant' 
 
 Antonio at Padua, 227 
 Tino or Lino da Camaino, ^laestro, his works, 
 
 53, 54 
 
 Titian, his portrait of Martino Pasqualigo, 157 
 Tobias, bas-relief of, on the Ducal Palace at 
 
 Venice, 170 
 Todi, Pietro Paolo da, his works, 90, 91 
 Tomb, Gothic type of, common at Venice, 180 
 Tombs of : — Acqua Sparta, Cardinal Matteo, at 
 Rome, 83. Adrian I., Pope, at St. Peter's 
 at Rome, 7G. Adrian IV., Pope, at St. Peter's 
 at Rome, 75. Agata, Santa, at A'erona, 216. 
 Agnese di Perigord, 58. Albergati, Vian- 
 nesio, 241. Aldamoresco, Lodovico, 63. 
 Aldobrandesca, Valdo, at Ara Coeli at Rome, 
 77. Aliberti, Duccio degli, 181. Anchera, 
 Cardinal, at Rome, 83. Annibaldi, Cardinal 
 Riccnrdo, at Rome, 86. Anselmus, Arch- 
 bishop, 102. Anthony, St., 221. Apulian, 
 43. Aquilan, 45. Assendi, Rainerio degli, 
 222. Ba.ssus, Junius, at Rome, 74. Ber- 
 nardo, Pietro, 203. Bernhard, King of 
 Italy, 102. Berniesi, Girolamo, 262. Birago, 
 Francesco, 141. Bolparo, the brothers, 222. 
 Boniface IV., Pope, at St. Peter's at Rome, 
 75. Boniface VIII. , Pope, at St. Peter's at 
 Rome, 75, 83. Bonifazio di Lupo, Marchese 
 di Soragua, 185. Borromei, the, at Isola 
 Bella, 133, 150. Brancacci, Cardinal, 03. 
 
Es'DEX. 
 
 323 
 
 TOM 
 
 Brancaccio, FaLricio, at Naples, 71. Bria- 
 mont, Captain, at Venice, 207. Bnignolo, 
 Benedetto, 203. Buceellano, Giovanni, 
 Bisbop, 235. Buccliiauico, Akf^na da, at 
 Naples, G6, )wte K Osedwalla, King of the 
 "West Saxons, at St. Peter's at Home, 77. 
 Can I., Signorio della Sc;ila, at Verona, 1 1 1, 
 112. Cappello, Vittore, Admir:il, 208. Ca- 
 racciolo, Ser Gian, Gl. Caracciolo, Cardinal 
 Marino, 149. Caraffa, Francesco, at Naples, 
 06. Caraira, Fra Bartolomeo, at Home, 88. 
 Carbone, Cardinal, G2, Carelli, Marco, at 
 Milan, 119. Catherine of Austria, Duchess, 
 59. Cavalli, Jacopo, 184. Celestine V., 
 Pope, 219. Charles, Duke of Calabria, 
 57. Charles VIII., King of France, at St. 
 Denis, 253. Christian, of the fourth cen- 
 tury, at San Celso at Milan, 101. Cle- 
 ment VIII., Pope, at Piome, 159. Coleoni, 
 Bartolomeo, 129. Coleoni, Medea, 129. 
 Cornavo, Marco, at Venice, 114, note 
 Cornaro, Marco, Doge of Venice, 182. 
 Costanzi, Jacopo di, 52. Curtius, Lan- 
 cinus, 148. Dandolo, Andrea, 181. Dan- 
 dolo, Francesco, Doge of Venice, 181. 
 Dandolo, Sinione, at Venice, 114, note^, 
 Dante, 193. Dolfin, Giovanni, Doge of 
 Venice, 182. Donate, Manno, 222. Du- 
 rante, Bishop Guglielnius, at Home, 82. 
 Durazzo, Carlo da, 59. Durazzo, Margaret 
 of, 62. Este, Beatrice d', 138. Este, Cos- 
 tanza d', 221. Faliero, Vitale, Doge of 
 Venice, 1G9. Fieschi, Cardinal Guglielnius, 
 at Home, 86. Fieschi, Cardinal Luca, at 
 Genoa, 264. Folgoso, Kailaele, 223. Fos- 
 cari, Francesco, Doge of Venice, 188. 
 Franco, Nicholas, 197, wo<e*. Gahbinata, 
 Euftino, 250. Gaetani, at Anagni, 83. Gas- 
 ton de Foix, 146. Giustiuiani, Orsato, 208. 
 Gonsalvi, Cardinal liodrigo, at Rome, 82. 
 Gradenigo, Bartolomeo, Doge of Venice, 181, 
 182. Grato, Ludovico, at Rome, 92. Gre- 
 gory v., Pope, at St. Peter's at Rome, 75. 
 Gregory the Great, Pope, at St. Peter's, 76. 
 Helpis, wife of Boetius, at St. Peter's at 
 Rome, 77. Ilonorius, the Emperor, at St. 
 Peter's at Rome, 77. Ilonorius IV., Pope, 
 at St. Peter's at Rome, 77. Ladislaus, 
 King, 60, Lanfranco, Beato, 128. Laterau 
 museum at Rome, 74, 77. Lavalongo, Fe- 
 derigo da, 222. Lehretti, Cardinal Ludo- 
 vico, at I^ome, 92. Leo the Great, Pope, 
 at St. Peter's, 76. Liucci, Mondino de', at 
 Bologna, 261. Longhi, Melchior, 141. Lo- 
 redano, Paolo, 182. Loredano, Doge of 
 Venice, 217, 267. Lozzo, Count Guido da, 
 221. Lnigi, Cardinal, at Bergamo, 106. 
 Lupi, Ugolotti, in Saragna, 261. Maggi, 
 Bernardo, 107, note Marcellino and Pie- 
 
 TOM 
 
 tro, SS., at Cremona, 132. Marcello, Ja- 
 copo, 202. Maria, Queen, widow of Charles 
 
 II. of Anjou, 54. Maria, niece of the Em- 
 peror Honorius, at St. Peter's, 77. Martini, 
 Bartolomeo, at Parma, 151. Mastino II., 
 signorio della Scala, 113, 114. Medici, Gio- 
 van Giovanni de', at Milan, 156. Michieli, 
 Vitale, Doge of Venice, wife of, 169. Mi- 
 nutolo. Cardinal Eurico, 62. Mocenigo, 
 Giovanni, Doge of A^enice, 200. Mocen- 
 igo, Pietro, Doge of Venice, 198. Mo- 
 cenigo, Toniaso, Doge of Venice, 176, note 
 Morosini, Andrea, at Venice, 114, notc'^. 
 Morosini, INIicheli, 184. Neapolitan, 54. Ni- 
 cholas, Pope, at Rome, 265. Oderici, Beato, 
 at Venice, 180, note^. Onigo, the senator, 
 196, 197. Otho II., Emperor, in St. Peter's, 
 at Rome, 7 7. Palaciui, Biagio, 261. Paul 
 
 III. , Pope, 15.3. Paul V., Pope, at Rome, 
 loO. Pedro, Don, of Toledo, at Naples, 67. 
 Pepoli, Taddeo, at Bologna, 180. Pesaro, 
 Benedetto, Admiral, 209. Peter, Cardinal, 
 at Rome, 78. Peter Martyr, St., 109. 
 Philippe d'Alen^on, Cardinal, at Rome, 89. 
 Pico, Prcndiparte, 185. Pietro and Marcel- 
 lino, SS., at Cremona, 132. Pio, Manfredo 
 at Carpi, 235. Pizzola, Rolando da, 221. 
 Popes, the, at St. Peter's at Rome, 75. 
 Ramazzotti, Armaciotto do', 247. Rangoni, 
 Francesco ^laria, at Parma, 235. Rangoni, 
 Bishop, at Reggio, 250. Ranuzzi, Francesco, 
 241. Pemone, Duke of Friuli, 98. Riario, 
 Pietro, at Rome, 91. Robert, King of Sicily, 
 56. Robert d'Artois, 59. Roccabonella, 
 Pietro, 224. Rogati, the, 221. Roger, 
 Count of Calabria and Sicily, 80, note". 
 Rosello, Antonio, 223. Roverella, Lorenzo, 
 143. Ruffini dei Landi, Bishop, 232. Sangro, 
 Niccolo di, at Noples, 71. Sannazaro, at 
 Naples, 69. Sarego, Cortesia, Cavalier, at 
 Verona, 216. Scala, Regina della, at Ve- 
 rona, 111. Scaliger, Giovanni, 216. Scro- 
 vegui, Bartolomea degli, 221. Sfortiano, 
 Cherubini, 250. Sigismund XL, King of 
 Poland, 230. Silvestro, San, 159. Stefan- 
 eschi. Cardinal, at Rome, 89. Surdi, Don 
 Stephauus, at Rome, 83. Suriano, Jacopo, 
 203. Suzzara, Pietro da, 161. Thermantia, 
 niece of the Emperor Honorius, at St. Peter's, 
 77. Torelli, Pietro, at Eustorgio, 122. 
 Torre, Antonio della, 228, 229. Torre, Giro- 
 lamo della, 228, 229. Trevisan, Melchior, 
 202. Tron, Nicolo, Doge of Venice, 192, 
 
 202. Urban VIL, Pope, at Rome, 158. 
 Valtero and xVrqiiato, Count of, 141, note'^. 
 Vendramin, Andrea, Doge of Venice, 200, 
 
 203. Veuier, Antonio, Doge of Venice^ 182. 
 Vimercati, Giovanni Andrea, 149. Vin- 
 cenzo, Pietro di, at Rome, 02. Visconti, 
 
324 
 
 INDEX. 
 
 TOM 
 
 Gian Galeazzo, at Pavia, 00. Visconti, 
 Arclibisliop Otlio, 105. Vittoria, Alessandro, 
 211. Zanotti, Monsig-no, 190. Zanotti, 
 Bishop, at Treviso, 200. Zeno, Cai'dinal, 
 197 
 
 Tommaso da Tortona, podesta of Ferrara, con- 
 spiracy against, 243. Torn to pieces by tlie 
 mob, 244 
 
 Torcello, emigration of tlie Altinese to, 16G, 
 tw!e ^, 1G7. Antiquity of the duomo at, 107 
 
 Torello, Pietro, tomb of, in Sant' Eiistorgio, 
 122 
 
 Torre, Antonio della, monument of, at Verona, 
 228, 229 
 
 Torre Girolamo della, monument of, at Verona, 
 228, 229 
 
 Torre, Giulio della, notice of, 218. His De 
 
 FMcitate, 218, note^ 
 Toniani, their power in Milan, 107 
 Torriti, Fra Giacouio, works attributed to, 75, 
 
 note ^ 
 
 Torriti, 'Jacobus Torriti pictor,' works of, 75, 
 note ^ 
 
 Toscanella, sculptures in the churches at, 85 
 Totila, his destruction of works of art at liome, 
 73 
 
 Tr.idate, Jacopino da, his work in the duomo of 
 Milan, 121. Ills statue of Pope Martin V. 
 in the duomo, 121. Ilis reputed tomb of 
 Pietro Torello, 122. His works at Mantua, 
 122, 232. His pupils, 122, 
 
 Tradate, Samuele da, 122. Tlis mortuary 
 tablet to his father, 122, Accompanies 
 Andrea Mantegna on a journey, 122, note* 
 
 Trajan, Emperor, group of the, and the widow 
 pi'aying for vengeance, 177, note^. Legend 
 of the saving of his soul by St. Gregory, 178, 
 note ' 
 
 Trani, church of St. Nicholas the Pilgrim at, 
 28. Notice of the town of, 28, note 2. The 
 Ognissanti church at, 29. Bronze gates of 
 Barisanus in the duomo at, 33. Architect 
 of the campanile of the duomo, at, 3G 
 Trent, works of Vicenzo da Vicenza at, 219 
 Tresseno, Podesta Oldrado di, equestrian alto- 
 relief of, at Milan, 105. First who burnt 
 heretics at Milan, 105 
 Trcvisan, Melchiore, tomb of, at Venice, 202 
 Treviso, works of Pietro Lombardo at, 196, 
 197 
 
 Tribolo, H, appointed to superintend the works 
 
 at the duomo at Bologna, 241 
 Trissino, marble ancona in a church at, 220 
 Trivulzio, Giovanni Battista, his gift of the 
 
 candelabrum to the duomo at Milan, 271 
 Troja taken by the Emperor Henry II., 4. 
 
 Foundation of the city of, 10, note ^ The 
 
 duomo at, 10. Bronze gates of the duomo 
 
 at, 33 
 
 VF.L 
 
 Tron, Nicolo, Doge of Venice, monument to, 
 at the Frari, 192. Tomb of, 202. Statue 
 of, 202. 
 
 Turks, the, defeat of the, at Doryclea, 25. At 
 Scutari, 191. And by the Venetian fleet, 
 211 
 
 Tuscan artists working at Naples, G3 
 
 ' Tuscan Sculptors,' addenda to, 275, et seq. 
 
 UBERTINO, his bronze doors at the Lateran 
 basilica at Rome, 2G3 
 Udine, probable builder of the duomo of, 184, 
 note ^. Great window of the Sala del 
 Maggior Consiglio at the Ducal Palace of, 
 184, note 2. Tabernacle of the Madonna at 
 the Palazzo Publico, 189 
 Ugo, King, his palace at Pavia, 101, note 
 Uovo, deir, architect of the castle of, 52, 
 note ^ 
 
 Urban II., Pope, his Council held at Bari, IG 
 Urban III., Pope, his statues of the twelve 
 
 Apostles at Milan, 105 
 Urban VII., Pope, monument of, at Rome, 
 
 158 
 
 Urbino, works of Ambrogio da Milano at the 
 Ducal Palace at, 142, 143. Palace of Count 
 Federigo, 142, note «. Statue of Duke Fede- 
 rigo on the staircase of the palace, 218 
 
 Uriah the (loth, his destruction of works of 
 art at Milan, 101 
 
 Urso, Archbishop of Bari and Canosa, 22 
 
 Urso or Orso, Magister, Veronese sculptor, 
 213 
 
 Usanza, Girolamo, reputed works of, 248 
 
 VAGA, Perino del, his influence on the works 
 of Guglielmo della Porta, 152 
 Vairone, Biagio, assists Andrea da Fusina on 
 the tomb of Francesco Birago, 141, note 
 His statue of David, and bas-relief of the 
 T.,a8t Supper, 141, note * 
 Valeutinian, St., at Bitonto, sculptures on the 
 
 cathedral of, 35 
 Vandals, their destruction of works of art at 
 Rome, 73 
 
 "^'annini, Pietro, his work in the duomo at 
 Osimo, 41 
 
 Varignana di Bologna, Domenico Aimo, delto, 
 his works at Rome and Bologna, 242 
 
 Vassaletto, his works, 83 
 
 Vellano or Bellano, Bartolomeo, period in 
 which he lived, 222, note \ Character and 
 style of his works, 222. His residence at 
 Home, 223. And at Perugia, 223. His 
 medals, 223. His bas-reliefs at Padua, 223, 
 224. His bronzes, 224. Ilis death, 225 
 
INDEX. 
 
 325 
 
 YEN 
 
 Vendramin, Andrea, Doge of Venice, tomb of, 
 200 
 
 Vendramin Calergi, Palazzo, architect of the, 
 105. Statues of Adam and Eve in the, 200 
 
 Venerio, Sebastian, bust of, at the Academy at 
 Venice, 212 
 
 Venice, statue of St. Simeon the Prophet at, 
 87. Works of Tommaso Lorabardo at, IGO. 
 Causes of preference for colour over form at, 
 1G4. Character of sculpture at, 165. Subor- 
 dination of sculpture to architecture at, 1G5. 
 Division of sculpture into styles correspond- 
 ing to those of architecture, 165. Harmony 
 of St. Mark's despite its incongruous ele- 
 ments, 1C5, Legend connected with the 
 early history of the citj', 160. Materials 
 for building brought from the mainland, 167. 
 Early examples of sculpture in the city, 168. 
 Want of good sculptures in the tenth and 
 eleventh centuries, 168. But rich in monu- 
 ments, 108. Early examples of old Roman 
 or early Christian sarcophagi made use of 
 again, 169. Unwilling aid given by Venice 
 to the first crusade, 169. Causes and ex- 
 amples of Byzantine influence at Venice, 
 170. Venetian sculptors before the four- 
 teenth century, 171. Those of tlie fourteenth 
 century, 171. The architect Filippo Calen- 
 dario, and his shameful end, 17.'5, 174. The 
 story of the conspiracy of Marino Falioro, 
 
 173, 174. Examination of the probabilities 
 in favour of Calendario being the artist who 
 designed the sculptures in the Ducal Palace, 
 
 174. Unity of aim throughout the palace 
 sculptures, 175. Description of them, 176. 
 The carved capitals of the columns, 177. 
 Inferiority of all other sculptures at Venice 
 to those of the Ducal Palace, 179. The 
 Gothic type of tomb common at Venice, 180. 
 Analogies between the Milanese and Vene- 
 tian sculptors, 182. The three schools of 
 the Gothic style which prevailed at Venice, 
 187. Works of the Bons, father and sons, 
 at St. Mark's, 187, 188. Figure of, at the 
 Porta della Carta, 187. Introduction of the 
 Eenaissance style into Venice, 189. The 
 Bottega di Tajapiera, or sculptor's work- 
 shop, 190. Works of Ant. Giov. Bregiio 
 at the Ducal Palace, 192. Artists employed 
 on Giant's Staircase, 192, and note ^. Ques- 
 tion as to the architect of San Giobbe, 195. 
 Architect of the clock tower in the Piazza 
 of St. Mark, 195. Works of Tullio Lom- 
 bardo, 199. Anonymous marbles attributed 
 to the Lombardi, 200. Sculptures in the 
 Giustiniani chapel, 201. Marble parapet 
 and monuments at the Frari, 202. The 
 equestrian statue of Coleoni, 204. The bronze 
 standard bases on the Piazza of St. Mark's, 
 
 VIB 
 
 206. Works of Victor Camello, 207. Of 
 Lorenzo Bregno, 209. And of other sculp- 
 tors of small repute, 209, note ^. Jacopo 
 Sansovino's career in Venice, 209. Joint 
 works of Sansovino and his pupil ^'ittoria, 
 211. Works of Girolamo Campagna, 218. 
 Intarsia work of Antonio and Paolo Mola at, 
 2-34. Intaglios and grotesques of Bernar- 
 dino and Domenico at, 235. Mortorio made 
 for the monastery of Sant' Antonio Abbate 
 at, 253. Work of Livio de' Cornaschi at, 
 203. Works of Danese Cattaneo at, 267 
 Venier, Antonio, Doge of Venice, monument 
 to, 184 
 
 Venosa, tombs in the church of Santa Trinity 
 at, 43. Date of its foundation, 43, note * 
 
 Venus, statue of, by the brothers Sormanni, 
 265 
 
 Vercelli, Orazio, Luini's treatment of, 154, 
 7iote * 
 
 Vergine, Monte, notice of the church of, near 
 
 Beneventum, 270 
 Verocchio, ^Vndrea, bis part in the statue of 
 
 Bartolomeo Coleoni at Venice, 204. Facts 
 
 connected with his residence in Venice, 
 
 204 
 
 Verona, palace of Theodoric the Goth at, 95. 
 Works of Bartolomeo Ridolti in the Palazzo 
 Chericato at, 212, note Early Veronese 
 sculptors, 213. Works at San Zeno, 213. 
 Sculptures upon the duomo, 215. Veronese 
 sculpture in the thirteenth and fourteenth 
 centuries, 215-219. Works of Andrea Riccio 
 at Verona, 229. Cattaneo's work at, 267 
 
 Vicenza, sculptors of, in the fifteenth century, 
 219 
 
 Vicenzo da Vicenza, his works at Trent, 219 
 Victory, bas-relief of, at Milan, 149 
 Vigne, Pier delle, statue of, 50 
 Vimercati, Giovanni Andrea, tomb of, at Milan, 
 149 
 
 Vincenzo, Pietro di, tomb of, at Ara Cceli, 
 92 
 
 Vinci, Leonardo da, his Lord's Supper and 
 equestrian statue of Francesco Sforza at 
 Milan, 124, 125 
 
 Virgil elected Prince of Mantua, 231. Statue 
 of him at Mantua, 231. Alto-relief of him, 
 231. Bust of, in the Museo Patrio at Mantua, 
 234 
 
 'S^irtue, military, allegorical figure of, at Milan, 
 156 
 
 Virtues, bas-reliefs of the, in San Teodoro at 
 Genoa, 265. Statues of the, at Naples, 62. 
 Statues of the, at the Porta della Carta, 
 Venice, 187, 188. Statues of the, at the 
 Frari at Venice, 202. Figures of, at Reggio, 
 250. Statuettes of the, at Naples, 56. At 
 Pavia, 109, At Milan, 114, On the sarco- 
 
320 
 
 INDEX. 
 
 VIS 
 
 phagus of Baitolomeo Coleoni, 130. At 
 Sauto Stefano at Venice, 203, 204. At 
 Santa Eufemia, at Venice, 208. At St. 
 Denis, 253. At Genoa, 2G4. Symbols of 
 the, at the duomo at Verona, 215 
 Visitation, bas-relief of the, in the duomo fit 
 Milan, 118 
 
 Visconti family, monuments of the, formerly 
 
 at Milan, 105 
 Visconti, their quarrel with Pope John XXII., 
 
 107, 108. Sketch of their rule of Milan, 
 
 108-110 
 
 Visconti, Caterina, her marriage to Duke 
 
 Gian Galeazzo, 115, tiote'^ 
 Visconti, Gian Galeazzo, tomb of, at Pavia, 
 
 90, 141, note ^. Medallion portrait ef, at 
 
 Pavia, 26G 
 Visconti, Marco, his intrigues, 108 
 Visconti, Matteo, appointed imperial vicar at 
 
 Milan, 107. His quarrel with the Pope, 
 
 107. His buildings at Milan, 108, note ^ 
 Visconti, Matteo II., Duke of Milan, 110. 
 
 Poisoned by his brothers, 110 
 
 Visconti, Otho, Archbishop of Milan, his sar- 
 cophagus at Milan, 105 
 
 Visconti, Stefano, his imprisonment at Monza, 
 
 108. His monument at Milan, 110 
 Vismara, Palazzo, adorned by Michelozzo, 
 
 124. Description of the palace, 124, note ^ 
 Vitale, St., figure of, in the Academy at Parma, 
 256 
 
 Vittoria, Alessandro, account of, 210. Leaves 
 Venice for Vicenza, 210. Employed by 
 Palladio, 210. Ileturns to Venice, and 
 works with his master, Sansovino, 211. 
 His vicious detail, 211. His statues, 211. 
 His busts, 211. His tomb, 211. His scholars, 
 212 
 
 Vittorino, San, pulpit in the church of, 31 
 
 WALTER Alemanno, his tombs of the Cam- 
 poneschi at Aquila, 40 
 Ware, Abbot, bis journey to Eome, 80. His 
 epitaph, 80, note^- 
 
 zee 
 
 Wenceslaus, Emperor of Germany, confirms 
 the power of Gian Galeazzo Visconti, 115, 
 117 
 
 Weyden, Rogier Van der, his style, 123. His 
 altar-piece given to the King of Spain, 123, 
 note ^ 
 
 Wiligelmus. See Guglielmus 
 
 Wiligelmus, his works on the duomo at Modeua, 
 
 251. Question of his identity, 251 
 William of the Iron Arm, his tomb at Venosa, 
 
 44 
 
 Windmills, Rizzo's improvements in the con- 
 structions of, 191 
 
 W^olvinus, his bas-reliefs in gold in Sant' 
 Ambrogio, at Milan, 102 
 
 ZACCARIA, San, at Venice, tomb of Vittoria, 
 at, 211 
 
 Zanotti, Monsignor, monument to, at Treviso, 
 190 
 
 Zanotti, Bishop, tomb of, at Treviso, 200 
 Zaratteri, the Fratelli, their employment at 
 
 the Certosa, 1 27, note * 
 Zenale, Bernardino, assists Cristoforo Solaii in 
 
 making a new model for the cupola of the 
 
 duomo at Milan, 140 
 Zeno, Cardinal, tomb of, at Venice, 197 
 Zeno, Emperor, portrait statue of, at Ravenna, 
 
 95 
 
 Zeno, San, bas-relief of, at Verona, 214. 
 
 Statue of, 215 
 Zodiacal signs, use of, inside the baptistry at 
 
 Parma, 200. Invention of, 200, note ' 
 Zoiles, St., statue of, at Friuli, 99 
 Zoppo, ]\Iarquis Nicolo of Ferrara, detto lo, 
 
 his unjust taxation and its result, 243 
 Zorzi, Zuane (called Pyrgoteles), 207. See 
 
 Pyrgoteles 
 
 Zuane di Alberghetto, his part in the tomb of 
 
 Cardinal Zeno, 197, note^ 
 Zuano, Pier, delle Campane, his work on the 
 
 tomb of Cardinal Zeno at Venice, 197 
 Zuoclii, jSIarcantonio, his intaglia work at 
 
 Parma, 262 
 
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