Lives of the Most Excellent Painters, Sculptors, and Architects/Andrea del Monte Sansovino

by Giorgio Vasari

 

THE SCULPTOR AND ARCHITECT, ANDREA DEL MONTE SANSOVINO.

[born 1460—died 1529.]

Although Andrea di Domenico Contucci of Monte Sansovino, was born of extremely poor parents, his father being a labourer of the earth, and was himself brought up to guard the flocks, he was nevertheless of so exalted a mind, of intelligence so remarkable, and of so bold a spirit, that, whether in works or discourses relating to the difficulties of architecture and perspective, the period at which he lived could show no genius more truly elevated, no mind more subtle than his own. Neither was there any master by whom the doubtful points of these matters were more effectually explained and rendered more lucidly clear than by himself; wherefore this artist well deserved to be enumerated, as he was by all who understood the subject at that period, among the most extraordinary men of those professions.

Andrea was born, as we find it related, in the year 1460, and being employed in his childhood to herd the cattle, as is recorded of Giotto, he employed himself all day with drawing in the sand, or formed figures in clay, which he copied from some one or other of the animals he was guarding. It thus happened, that one day while the boy was in this manner employed in keeping his cattle, there passed by a certain Florentine citizen, said by common report to have been Simone Vespucci, who was then Podesta or majmr of the Monte, and who, seeing this child intent on his occupation of drawing or modelling in clay, called him to come and speak with him, when, finding the strong bent of his inclination, and hearing whose son he was, he demanded the boy of his father. This request was readily granted by Domenico, Simone promising to place the child where he might attend to the study of design, that all might see to what the natural inclination of which he gave proof could attain, when aided by instruction and by continual application.

Having returned to Florence, Simone placed the boy with Antonio del Pollaiuolo, with whom Andrea learned so much and so rapidly, that in a few years he became an excellent master. In the house of this same Simone, which is situate at the Ponte Vecchio, may still be seen a Cartoon executed at this time by his hand, and wherein he has delineated Christ Scourged at the Column, a work performed with the greatest care. There are besides, two wonderfully beautiful heads in terra-cotta by Andrea Sansovino, in the same place; these are copies from ancient medals, they represent, the one the head of Nero, the other that of Galba; and serve as the ornament of a chimney-piece; but it is to be remembered that the head of Galba has now been transferred to Arezzo, and is in the house of Giorgio Vasari.^[1]

While still in Florence, Andrea executed a work in terracotta, for the church of Sant’ Agata, at Monte Sansovino; this represents San Lorenzo and other Saints, v/ith certain historical scenes: the figures are very minute, but all are finished with much ability; and no long time after, the master produced another, that last being a very beautiful Assumption of Our Lady, with Sant’ Agata, Santa Lucia, and San Lomualdo, a work which was afterwards vitrified, or glazed, by some of the della Robbia family.^[2]

Pursuing his studies in sculpture, Andrea executed two capitals for the pilasters of the Sacristy of Santo Spirito, these he did Avhile still in his youth, for Simone Pollaiuolo, otherwise called II Cronaca; and they obtained so much commendation for their author, that he was commissioned to erect the Anteroom between the Sacristy and the Church.^[3] The space at his disposal being very small, Andrea was compelled to consider the matter very carefully, and he finally determined to erect twelve columns of the Corinthian Order, in the stone called macigno, six on each side; above the columns he then placed the architrave, frieze, and cornice, constructing a coved ceiling, all of the same stone, and dividing the latter into compartments finely decorated with carvings; this was then a new thing, and the work being moreover exceedingly rich and varied, was very greatly admired and extolled. It is true that the work would have been brought much nearer to perfection, if those compartments of the ceiling and the divisions of the cornice, by which the squares and niches forming the decoration of the compartments are separated, had been made with a more careM relation to the lines of the columns; and this might have been very easily effected. But according to what I have heard from old friends of Andrea, he defended himself by reference to the Rotundo at Rome, which had served as his model. Here, as he observed, the ribs that descend from the circular opening in the centre, which gives light to the building, form the compartments, which are divided transversely into those deepened recesses that secure the rosettes, and which diminish by regular degrees from the base to the summit, as do the ribs also, wherefore the latter do not fall precisely on the centres of the columns. He added, that if he who had erected that Temple of the Rotundo, which is the most admirable and most carefully considered edifice known, and is constructed with the most exact proportions, paid no regard to that circumstance in a vaulting of so much greater size and so superior in importance, still less was he required to consider it, in the compartments of a space so much smaller. Be this as it may, many artists, among whom is Michelagnolo, are of opinion, that the Rotundo was erected by three different arehitects, the first of whom raised the building to the completion of the cornice which is above the columns; the second they consider to have carried it from the cornice upwards, that part namely, wherein are windows of a more delicate manner; and this portion is certainly very different from that beneath, the vaulting having been then continued without any regard whatever to the relation required between its eompartments and the divisions of the lower part. The third master is believed to have executed that portico which is held to be so exquisite a work. He, therefore, who should now permit himself to fall into the error of Andrea, could scarcely offer the same excuse.

Having completed this work, our architect received a commission from the Corbinelli family, for the construction of the Chapel of the Sacrament, in the Church of the Santo Spirito, a task which he completed with infinite care, imitating Donato and other excellent masters, in the bassirilievi, and sparing no labour or pains in his desire to do himself honour, wherein he succeeded aecordingly. In two niches, which are one on each side of a very beautiful tabernacle, he placed figures of two Saints, somewhat more than a braccia in height, these are San Jacopo and San Matteo, and they are executed with so much animation, and in so good a manner, that the observer perceives every kind of excellence in them, while he can discover absolutely no fault. Of equal merit are two Angels in full relief, which serve as the completion to this work; they are in the act of flying, and are draped in the most graceful vestments that can possibly be conceived. In the centre is a small figure of the Infant Christ entirely nude, and exceedingly graceful. There are also certain small historical representations on the predella, and over the tabernacle; the figures are minute, but so well done, that the point of the pencil could not effect, without difficulty, what Andrea has done with the chisel.

But he who shall seek cause for admiration and astonishment at the extraordinary diligence of this remarkable artist, let him consider all the details of this work, let him examine the architectural minutiae of the tabernacle, which, small as it is, is so admirably finished, and the various portions are so carefully conjoined in every part, that one might believe it to have been chiselled from one entire stone. Very highly extolled, likewise, is the large marble figure of the Dead Christ, which Andrea executed in mezzo rilievo, for the decoration of the altar; the figures of the Madonna and of San Giovanni, who are both weeping, are also much admired.^[4] Nor would it be possible to imagine more beautiful works in foundry, than are the bronze gratings, with their decoration of marble, by which that chapel is enclosed. Stags, which are the device or crest of the Corbinelli family, serve as a portion of their ornaments, and are besides used to adorn the chandeliers of bronze, wherewith the fabric is further enriched.^[5] This Chapel was, in short, completed without sparing any labour, and with all that careful forethought which could most effectually secure the desired result.

By these and other works, the name of Andrea became widely known; and the King of Portugal made his request to Lorenzo the Magnificent, in whose garden it is said that Andrea pursued the studies proper to his art, to the effect that the master might be sent to his court. Lorenzo despatched him thither accordingly, when he executed numerous works in sculpture and architecture for that monarch, more particularly a most beautiful palace, having four towers; with many other edifices. One part of the above-mentioned palace was painted also from Cartoons designed and prepared by the hand of this architect, who drew admirably well, as may be seen in our book of designs, wherein there are some drawings by Andrea, which are finished with the point of charcoal; we have besides, in our possession certain architectural studies, which are of great merit.

This master likewise executed an altar carved in wood for the same king, the decorations being figures of the Prophets, he also prepared a battle-piece in clay which was ultimately to be executed in marble, representing events from the wars which the Portuguese sovereign had waged with the Moors, and wherein he had conquered them. Never did a work of greater spirit or of more extraordinary force proceed from the hands of Sansovino than is exhibited in this battle, whether we consider the various movements and attitudes of the horses, the carnage intimated by the number of the dead, or the wild fury of the soldiers who are still engaged in deadly combat; all are indeed most admirable. He executed a marble figure of San Marco likewise, which was also considered to be a work of remarkable excellence.

While in the service of the king of Portugal, Andrea produced several fanciful and difficult architectural works in the manner peculiar to that country, and to do pleasure to that sovereign; of these things I formerly saw a book at Monte Sansovino, in the possession of Andrea’s heirs, and it is said to be now in the hands of Maestro Girolamo Lombardo, who was the disciple of our artist, and by whom, as we shall relate hereafter, some of the works left incomplete by Andrea were subsequently finished.

When this master had been nine years in Portugal,^[6] his servitude in that country became distasteful to him, he desired to see once more the kinsfolk and friends whom he had left in Tuscany; and having got together a fair sum of money, he determined, with the good leave and favour of the king, to return to his own land. Having obtained his dismissal therefore, though with difficulty, he departed and returned to Florence, leaving behind him one who might complete such of his works as he had left unfinished.

It was in the year 1500 that Andrea returned to Florence, and he almost immediately commenced a group in marble representing San Giovanni in the act of baptizing the Saviour; this work was to have been placed over that door of the church of San Giovanni which looks towards the Misericordia, but the master did not finish it, because he was almost compelled to betake himself to Genoa. There he completed two statues in marble, representing Christ or San Giovanni,^[7] and the Madonna; these last are truly worthy of commendation; the two previously mentioned as remaining unfinished in Florence, are still there in the same condition, and may be seen in the building occupied by the “wardens of works in the cathedral.^[8]

Andrea was next invited to Rome by Pope Julius II. from whom he received a commission to execute two marble tombs in the church of Santa Maria del Popolo, one for the cardinal Ascanio Sforza, the other for the cardinal of Recanati, a very near relation of the pope;^[9] these works were completed in so perfect a manner by the master that nothing better could be desired, they have the propriety, beauty, and grace of wellexecuted and carefully-finished works, exhibiting all the thoughtful consideration and just proportion of art. There is a figure of Temperance also, by the hand of Sansovino, in this place, which is extolled as one of divine beauty. She is holding an hour-glass, and has in truth not so much the appearance of a work executed in modern times as that of a most perfect specimen from the antique; other figures of the same work have also great and similar merit, but the attitude and grace of the Temperance are such as to render that figure much the best; the veil by which this statue is enveloped has a charm and beauty beyond the power of words to describe, and it is finished with so much lightness and grace, that the work is wonderful to behold.

In the church of Sant’ Agostino in Rome, on one of the pillars in the middle of the building that is to say, this master executed a group in marble, consisting of Sant’ Anna, who holds the Virgin with the infant Christ, in her embrace; the size of the figures is somewhat less than that of life.^[10] The work here alluded to may be accounted as one of the most excellent among the productions of modern artists; in the countenance of the elder woman there is an expression of joy and gladness most naturally rendered, the face of the Madonna is adorned with divine beauty, and the figure of the infant Christ exhibits a grace and lightness which have never been surpassed; few indeed have ever been finished to such perfection; well therefore did Andrea merit the sonnets and many other ingenious and learned compositions, which, during so many years, were perpetually appended to this group; insomuch that the monks have a whole book filled with them; I have myself seen this collection, and with no little admiration.^[11]

The reputation of Andrea continued constantly to increase; and Leo X., resolving that the decoration in marble of the House of the Virgin in the church of Santa Maria di Loreto,^[12] which had been commenced by Bramante, should be completed, entrusted the commission for that work to our artist. The marble incrustation, as commenced by Bramante, had four double ressaults at the angles, and these, decorated with pilasters of which the bases and capitals were carved, were supported by a socle or basement, two braccia and a half high, which is also very richly carved. Immediately above this basement, and between the two pilasters, which from the decoration of the angles, the architect formed a large recess or niche, with the purpose of placing a seated figure therein, and over each of these is another and smaller niche, which last reaching to the collarino of the capitals crowning the pilasters, left a frieze of height equal to that of the capitals; on these the master then placed the architrave with the frieze and richly-carved cornice, continuing the latter, which projected over the four angles, entirely around all the four sides of the holy house. In the centre of each of the larger or principal sides (for the length of that edifice is somewhat greater than the 'width) are left two spaces, in the midst of which there is a ressault similar to those of the angles, the larger niche below and the smaller one above, of which we have just made mention, having a space to the extent of five braccia on each side of them. In this space were two doors, one on each side namely, by which entrance was obtained to the chapel, and over the doors was a space between one niche and another, of five braccia in extent, in each of which historical representations in marble were to be executed. The fagade was of similar character, but had not the niches in the centre, and the height of the basement with the ressault, formed an altar enclosed on each side by the projecting edges of the pilasters and the niches of the angles. On this front there was besides a space for the reception of historical subjects in relief, of the same extent with those on the other walls, that below being of similar height with those on the side walls. But on this side, and commencing immediately above the altar, was a grating in bronze, exactly opposite to the internal altar; through this the mass could be heard, and the inside of the holy house itself could be seen, together with the altar of the Madonna. The spaces and compartments thus left for the stories were in all seven, one on the front namely and over the grating, two on each of the principal or longer sides, and two above, that is to say behind the altar of the Madonna.^[13] There were moreover eight large niches and eight small ones, with other minor spaces for the arms and devices of the pope and those of the church.

Having found the work in the state of progress here described, Andrea proceeded to decorate the lower spaces with a finely-ordered series of rich and beautifully executed historical representations from the life of Our Lady. In one of the compartments of the two side walls, he commeneed a story, the subject of which was the Birth of the Madonna; of this he executed the half only, it was therefore completed at a later period by Baccio Bandinelli. In the other compartment he began the representation of the Sposalizio or Marriage of the Virgin, but this also remained unfinished, and was completed after the death of Andrea, by Raifaello da Monte Lupo, in the manner which we now see. On the façade, and in two small spaces which stand one on each side of the bronze grating, Andrea had arranged for the execution of two works in relief, the one a Visitation, the other representing Joseph and Mary going to Jerusalem to be taxed; these works were afterwards executed by Francesco da San Gallo, who was then very young. But in that part where the greater space is left, Andrea himself represented the Annunciation to the Virgin by the angel Gabriel, (an event which took place in the very chamber which these marble decorations enclose,) and this he did with such exquisite grace, that nothing better could possibly be seen. The Virgin in particular is most deeply intent on the salutation she is receiving; and the angel, who is kneeling, does not appear to be a mere figure of marble, but a living being of truly celestial beauty, from whose lips the words, “Ave Maria,” seem to be sounding. Gabriel is accompanied by two other angels, in full relief, and entirely detached from the marble which forms the ground, one of these follows immediately behind Gabriel, the other appears in the attitude of fiying. There are, furthermore, two angels besides these, seen to be advancing from behind a building, and so delicately chiseled that they have all the appearance of life. In the air, on a cloud so lightly treated as to be almost entirely detached from the marble beneath, is a group of angels in the form of boys, who support a figure of God the Father, in the act of sending down the Holy Spirit; this is effected by means of a ray which streams from the person of the Almighty, and the marble of which being entirely detached, affords a most natural representation of the object; the same may be said of the Dove which represents the Holy Spirit.

In this work there is a vase of flowers which is sculptured with such extreme delicacy by the most graceful hand of this master, that it would not be possible for words to describe its beauty and perfection; the plumes of the angels also, the soft flow of the hair, the loveliness of the countenances, the grace of the vestments, every part in short gives proof of such extraordinary excellence, that no praise bestowed on this divine work could be adequate to its deserts. Nor of a truth could that most holy place, which was the very home and habitation of the Mother of God’s divine Son, receive any more beautiful, rich, or worthy adornment (so far as the power of this world can extend or is in question) than it has obtained from the architecture of Bramante, and the sculpture of Andrea Sansovino. Nay, were the whole work of the most precious oriental jewels, the worth of it would be little or nothing in comparison with the innumerable merits of that which it now exhibits. Our artist expended an almost incredible amount of time on that portion of the work just described, insomuch that he had not leisure to complete the others which he had begun; for in addition to those we have already mentioned, he also commenced the Birth of Christ in a compartment on one of the side walls, where he represented the Shepherds with four Angels singing, figures which are all so finely executed, that they appear to be alive, and these he executed with his own hand: but the story of the Adoration of the Magi, which Andrea began immediately above that just mentioned, was afterwards completed by his disciple Girolamo Lombardo, and by others.^[14]

On the hindermost wall of the building, Andrea had designed the execution of two large representations, one above the other namely—in one of these is the death of the Virgin, and the Apostles are seen bearing her to her burial; in the air four angels are hovering, and beneath are numerous Jews who are plotting to steal that most holy corpse; this also was finished after Andrea had departed from life, by the sculptor Bologna.^[15] Beneath the last mentioned story, our artist had determined to represent the miracle of Loretto, showing in what manner that chapel, which was the dwelling of Our Lady, the place where she was horn, wherein she w^as brought up, and where she had received the salutation from the angel: where she had reared her divine Son moreover, up to his twelfth year, and where she had finally dwelt ever after his death; he proposed, I say, to represent in what manner that chapel had ultimately been carried by angels, first into Sclavonia, next into a wood belonging to the territory of Recanati, and lastly to that place where it is still held in such high veneration, and is constantly visited by all Christian nations with such solemn frequentation.

This story, I say, in pursuance of the orders given and arrangements made by Andrea,'was executed in marble on that wall by the Florentine sculptor Tribolo, as will be related in its due place.^[16] The figures of the Prophets were also sketched by Andrea, but as one only was entirely finished by himself, the others were afterwards completed by Girolamo Lombardo and other sculptors, as will be seen in the lives w^hich are to follow. But as regards the works that were performed by Andrea himself in this church, they are the most beautiful and most perfectly executed specimens of sculpture ever seen up to that time.

The palace of the Canonicate was also continued by Andrea, after the designs which had been prepared by Bramante in obedience to the orders of Pope Leo. But as the building still remained unfinished after the death of Andrea, it was continued by Antonio da San Gallo, under the Pontificate of Clement VII., and subsequently, up to the year 1563, that is to say, by the architect Giovanni Boccalino, under the most reverend Cardinal da Carpi.

Whilst Andrea was working at the aforesaid Chapel of the Virgin in Loretto, the fortifications of that place were also proceeded with, together with other works, which were highly commended by the most invincible Signor Giovanni de’ Medici, with whom Andrea stood in terms of the closest intimacy, he having been previously made known to that prince in Rome.

At the time when Andrea was labouring at Loretto, he had four months in every year allowed him for his repose, which period he spent at Monte Sansovino, his native place, occupying himself with agriculture, and enjoying meanwhile the society of his kinsfolk and friends in a most tranquil retirement. Being thus at the Monte during the summer, he there built a very commodious house for his own use, and bought several pieces of land. He likewise caused a cloister to be erected for the Augustinian Monks of that place; and this, although small, is extremely well planned; but it could not be made exactly square, because the monks desired to have it built on the old walls. It is true, that for the interior Andrea did contrive to secure the form of the square, and this he accomplished by increasing the thickness of the piers supporting the angles, by which means he brought what had previously been imperfectly proportioned to a just and correct measurement. For a Company which belongs to that Convent, and which is called the Brotherhood of Sant’ Antonio, Andrea likewise prepared the design for a most beautiful door, with decorations of the Doric order, as he also did those for the middle aisle and pulpit of the Church of Sant’ Agostino. Before the door which leads to the old deanery also, and midway down the declivity by which the monks descend to. go to the fountain, he built a small chapel for their use, although they did not desire that it should be done.

In the city of Arezzo this master prepared a design for the house of Messer Pietro, a most learned and skilful astrologer. At Montepulciano, also, he formed a large figure in clay, representing the King Porsenna, and this was a very remarkable w^ork, but I have never seen it since the first time that it was shown to me, whence I have some fear that it may have been destroyed. For a German priest, who was his friend, Andrea Sansovino executed a figure of San Rocco in terra-cotta, the size was that of life, and the production was an exceedingly beautiful one: the priest above-mentioned caused it to be placed in the Church of Battifolle, a village in the neighbourhood of Arezzo, and this was the last work in sculpture ever executed by Andrea.

The design for the steps by which the ascent to the Cathedral of Arezzo is effected, was also given by this master, and for the Church of the Madonna delle Lagrime, in the same city: lie likewise prepared the design for a very rich ornament, which was to be executed in marble: four figures, each four braccia high, were to form part of this work, but this design has not been put in execution, the work being impeded by the death of the master, which took place when he had attained his sixty-eighth year. Being a man who would never remain idle, Andrea had repaired to his house in the country, for the purpose of superintending the removal of certain piles from one place to another. Thus occupied he took cold from overheating himself, and this being aggravated by fever, he died, after a few days’ illness, in the year 1529.^[17]

The death of Andrea caused much grief in his native land, to which he did so much honour; he was greatly lamented by his three sons and his daughters, for the great love they bore him, as Tvell as for the loss they sustained by his departure: nor did any long time elapse before he was followed by one of those sons, Muzio Camillo namely, who had given evidence of a fine genius for learning and the sciences, and whose death took place, to the great loss of his family, as well as to the regret of their friends.

Andrea Sansovino was not only distinguished in art, but was in other respects a remarkable man; in conversation he was prudent and wise, speaking well and to good purpose, whatever might be the subject on which he discoursed; upright and well-regulated in every action, he was a friend to the good and learned, in whose society, and in that of natural philosophers particularly, he took great delight. He gave some attention to questions of cosmography, and left many drawings to his heirs, with certain writings on the subject of distances and measurements. Somewhat small of stature, he was nevertheless well-proportioned, and of good constitution; his hair was long and soft, his eyes light, the nose aquiline, the complexion fair, with a good colour, but he had a slight impediment in his speech.

The disciples of Andrea Sansovino were the above-named Girolamo Lombardo, the Florentine Simone Cioli, Domenico of the Monte Sansovino, who died a short time after him, and Leonardo del Tasso, also a Florentine, who executed a .figure of San Sebastiano in wood over the tomb of his master in the Church of Sant’ Ambruogio in Florence,^[18] with a work in marble for the nuns of Santa Chiara. The Florentine Jacopo Sansovino—so called by his master—was also a disciple of Andrea; of him we shall speak at length in another place.^[19]

Architecture and sculpture are thus deeply indebted to Andrea Sansovino, seeing that he enriched the first by the elucidation of many laws relating to measure and proportion, by various methods for the raising of weighty bodies, and by a diligent forethought in the execution of works which, before his time, had not been sufficiently accorded to them. As regards the second, artists have by him been taught in what manner works in marble may, by judgment, care, and practice, be carried to the most admirable perfection.

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1. This work has now disappeared. —Ed. Flor. 1832 -8.
2. On the suppression of the Convent of St. Agatha, these works were taken to the house belonging to the Brotherhood of Santa Chiara. —Ibid.
3. Neither the sacristry nor the ante-room has, up to the present time, 1838, been subjected to any alteration whatever.—Ibid.
4. All these sculptures still adorn the Corbinelli Chapel, and well deserve tho encomium here bestowed on them by our author. —Ed. Flor. 1832 -8.
5. The ornaments in bronze are no longer to be found.—Ibid.
6. During the reigns of John II. and Emanuel, that is to say.—Ed. Flor. 1832-3.
7. The two statues executed by Andrea for the chapel of St. John the Baptist, in the cathedral of Genoa, represent St. John, and the Virgin with the infant Christ in her arms; beneath the figures is the inscription: Sansovinus Florentinus faciebat. For certain details of interest respecting this work, see Gaye, as before cited.
8. They were afterwards completed by Vinc. Danti, of Perugia, and were placed over that door of San Giovanni which faces the cathedral. The figure of an Angel by Innocenzio Spinazzi was added to them during the last century. Outlines of those by Andrea will be found in Cicognara, Storia della Scultura, vol. ii. plate lxii.
9. They are in the choir of the church, and are accounted among the best specimens of their style.in Rome. — Ed. Flor. 1832 -8.
10. Cicognara, speaking of this group, which is still in the church, has the following remark; “This work has ever been the subject of surprise and admiration; it is indeed most beautiful, and has largely contributed to the fame of the sculptor.” —See Storia della Scultura, &c.
11. This collection has been printed. — Bottari.
12. The reader who shall desire minute details respecting this work is referred to the notice inserted by Schom, (the Bericht über die Sta Casa namely,) in the work of Thiersch, entitled, Reisen in Italien.
13. Vasari has forgotten here to name two small compartments, to which he alludes at a later period, and which are in the fagade, on each side of the grating namely. These also are adorned with sculptures in relief — Schorn.
14. For minute details respecting Girolamo Lombardo, of Ferrara, see Baldinucci, Decenn. iv. sec. 4.—Ed. Flor. 1832-8.
15. Domenico Lancia, of Bologna.
16. In the life of that sculptor namely, which follows.
17. In the first edition, this life closes as follows: “Many epitaphs were written for him in various tongues, but it shall suffice me to give two of these, which are as follow:—

    
    Sansovinii aeternum nomen, tria Nomina pandunt
    Anna; Parens Christi, Christas et ore sacro.
    
    

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    Si possent sculpi mens ut corpora ccelo,
    Humanum possim vel reparare genus.
    Humanas enirn sculpo quascumque Jiguras
    Esse homines dicas, pars data si ilia foret."

18. The St. Sebastian is still in the above-named church. Padre Richa is in error when he attributes this work to Andrea Conradi. See Notizie Storiche delle Chiese Florentine, tom. ii.
19. In the life of Jacopo Sansovino.