not only a good sculptor, but an able goldsmith; and that by him were partly executed the twelve apostles in silver which stood, before the sack of Rome, on the altar of the Papal chapel. On these figures Niccolo della Guardia and Pietro Paolo da Todi also worked; these artists were both disciples of Paolo Romano, and afterwards good masters in sculpture, as may be seen by the tombs of Pope Pius II. and Pope Pius III., on which are the portraits of the two pontiffs taken from nature.[1] There are also medals of three of the Caesars, with others of other high personages, by the same artists.
Paolo Romano likewise executed a statue of an armed man on horseback, which formerly stood in San Pietro, near the chapel of Sant’Andrea, but is now thrown down.[2] One of Paolo Romano’s disciples was the Roman Gian Cristoforo,[3] who was an able sculptor; works from his hand may be seen in Santa Maria Trastevere, and other places.[4]
Chimenti Camicia, of whose origin nothing more is known than that he was a Florentine, attached himself to the service of the king of Hungary, for whom he erected palaces, laid out gardens, made fountains, constructed churches, built fortresses, and executed other buildings of importance, with decorations of carving in wood and stone, sculpture, and similar ornaments, which were added with much care by Baccio Cellini.nota After the completion of these various works, Chimenti Camicia, moved by love for his native land, t Bottari tells us that nothing was known of this statue when he wrote (1759), nor are we better informed at the present time.</ref>
- ↑ The monuments of the pontiffs Pius II. and III. are in Sant’ Andrea della Valle; but it is to be remarked that in the Life of Filarete, Vasari attributes that of Pius II. to Pasquino da Montepulciano. See ante p. 6.
- ↑ The only works in sculpture to be seen in Santa Maria in Trastevere are certain recumbent figures on different tombs, with a few busts; tliese may probably be by Gian Cristoforo. So far Bottari. The German annotator, Forster, remarks that there is an Assumption also, but by a different hand.
- ↑ In the first edition of Vasari, the life of Paolo Romano closes thus:— “After the victory obtained by him, he was always held in the utmost esteem in life, and his memory was honoured after death. But desiring to do well rather than much, he withdrew himself from active life, and passed his days in solitude and repose; he died in his native city of Rome at the age of fifty-seven, and was there honourably interred.”
- ↑ Of this artist Vasari gives further notice in the Life of Benedetto da Majano.
