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Updated: May 1, 2025
An excellent sculptor, and likewise a Ferrarese, has been Maestro Girolamo, who, living at Recanati, has executed many works in marble at Loreto after his master, Andrea Contucci, and has made many of the ornaments round that Chapel or House of the Madonna.
"Why," asks the Duchess of Malfi, "do we grow fantastical in our death-bed? Do we affect fashion in the grave?" A more trenchant criticism than this could hardly have been pronounced upon Andrea Contucci di Monte Sansavino's tombs of Ascanio Sforza and Girolamo della Rovere, if Bosola had been standing before them in the church of S. Maria del Popolo when he spoke.
Meanwhile there was a commission to be given for a tomb, a work of great magnitude, for the King of Portugal; and since Jacopo had been the disciple of Andrea Contucci of Monte Sansovino, and had the reputation not only of having equalled his master, a man of great renown, but of having a manner even more beautiful, that work, through the good offices of the Bartolini, was allotted to him.
Andrea Contucci da Sansavino and his pupil Jacopo Tatti, called also Sansovino, after his master, must, however, next be mentioned as continuing the Florentine tradition without subservience to the style of Buonarroti. Andrea da Sansavino was a sculptor in whom for the first time the faults of the mid-Renaissance period are glaringly apparent.
Among those who studied the arts of design in that garden, the following all became very excellent masters; Michelagnolo, the son of Lodovico Buonarroti; Giovan Francesco Rustici; Torrigiano Torrigiani; Francesco Granacci; Niccolò, the son of Jacopo Soggi; Lorenzo di Credi, and Giuliano Bugiardini; and, among the foreigners, Baccio da Montelupo, Andrea Contucci of Monte Sansovino, and others, of whom mention will be made in the proper places.
Appreciating his natural bent towards art, his mother had him secretly taught to draw, hoping that he might become a great sculptor like Michael Angelo, and he was put as apprentice to the sculptor Andrea Contucci of Monte Sansovino, who had recently set up in Florence and was at work on two figures for San Giovanni; and Jacopo so attached himself to the older man that he became known as Sansovino too.
That work was much after the heart of Giovan Francesco, because it was to be set up in a place so celebrated and of such importance, and, besides this, by reason of the competition with Andrea Contucci.
Pope Leo had allotted the work of the ornamentation in marble that surrounds the Chamber of Our Lady at Loreto, with the statues and scenes, to Maestro Andrea Contucci of Monte Sansovino, who had already executed some of these with great credit to himself, and was then engaged on others.
For, designing to give completion to the Chapel of Our Lady at Loreto, which had been begun by Leo and then abandoned on account of the death of Andrea Contucci of Monte Sansovino, he ordained that Antonio da San Gallo, who had the charge of executing that fabric, should summon Tribolo and set him to complete some of those scenes that Maestro Andrea had left unfinished.
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