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Updated: June 4, 2025
This is one of the works which João de Castilho claims as his, and on one of the jambs there is carved a strap, held by two lion's paws on which are some letters supposed to be his signature, and some figures which have been read as 1515, probably wrongly, for there seems to have been no renaissance work done in Portugal except by Sansovino till the coming of Master Nicolas to Belem in 1517 or later.
The material pomp of Venice at this epoch, and the pride of her unrivalled luxury, affected his imagination so powerfully that his genius, tutored by Florentine and Umbrian masters among the ruins of old Rome, became at once Venetian. In the history of the Renaissance the names of Titian and Aretino, themselves acclimatised aliens, are inseparably connected with that of their friend Sansovino.
At first sight they impose: on further acquaintance we find them chiefly interesting as illustrations of a potent civic life upon the wane, gorgeous in its decay. Sansovino was a first-rate craftsman. The most finished specimen of his skill is the bronze door of the Sacristy of S. Marco, upon which he is said to have worked through twenty years.
"Yes, his wife," answered Franchi, crossing his arms with great deliberation. "The Countess Sansovino was received by her attached husband with bouquets, and a band of music. She drove up to the front-door in gala in a four-in-hand,
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.
There was a Byzantine Ducal Palace, a Gothic Ducal Palace, and a Renaissance Ducal Palace. But the third superseded the second in part only, and the existing building is formed by the union of the two. The numbers of the manuscripts referred to in the Marcian Library are given with the quotations. Sansovino. Venetia Descritta. 410, Venice, 1663. Sansovino.
When he determined to erect his chapel in S. Maria Maggiore at Bergamo, he entrusted the execution of this new work to Amadeo, and the monument of Medea was subsequently placed there. See above, p. 113. I have spelt the name Sansovino, when applied to Jacopo Tatti, in accordance with time-honoured usage.
Count Malatesta slapped Franchi on the back. "Come, my Trojan, speak. I insist upon it," said Orsetti, rising. Franchi looked up at him. There was a French cook at Palazzo Orsetti. No one had such Chateau Lafitte. Orazio is far from insensible to these blessings. "Well, listen. Old Sansovino has returned to his villa at Riparata. His wife is with him." "His wife?" shouted Orsetti. "Chè, chè!
Tintoretto has five works here, beside the portrait of himself : the Bust of a Young Man , the Portrait of Admiral Vernier , the Portrait of an Old Man , the Portrait of Jacopo Sansovino , and a Portrait of a Man . His portraits are full of an immense splendour; they sum up often rhetorically enough all that was superficial in the subject, representing him as we may suppose he hardly hoped to see himself.
This peculiarity, which we have already met with in Boccaccio's eclogues, and in his Ninfale fiesolano, was indeed one of the most persistent as it was one of the least admirable characteristics of pastoral composition. Francesco Sansovino, who edited the Ameto in 1545, discovered real personages underlying the characters of the romance.
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