sorrow of Sansovino; and the other named Aurora. The remains of Jacopo Sansovino were borne with great honour to his own Chapel in San Gimignano,[1] where his son placed a marble Statue, which had been executed by the great master himself, on his tomb. The following epitaph was also inscribed thereon, as the memorial of so much excellence:—
Jacoho Sansovino Florentino P. qui Romae Julio II., Leoni X., Clementi VII., Pont. Max. Maxime gratos, Venetiis Architecturae Sculpturae que intermortuum decus. primus excitavit, quique a Senatu ob eximiam virtutem liberaliter honestatus summo civitatis moerore decessit, franciscus f. hoc mon. p. vixit ann. xciii. ob. v. cal. dec. mdlxx.
The Florentines in Venice also celebrated publicly the obsequies of Jacopo at the Church of the Frari, having made honourable preparations for the same, and the funeral oration was performed by Messer Camillo Buonfigli, who is also an excellent person.[2]
THE ARETINE, LIONE LIONI, AND OTHER SCULPTORS AND ARCHITECTS.
[Flourished for the most part from the end of the 15th, to somewhat beyond the middle of the 16th century.]
What we have previously said of the Aretine Sculptor, the Cavalier Lione Lioni, having been spoken incidentally, it will not be amiss that we should here enumerate in order the works performed by him, and which well merit to be retained in the memory of future ages. Lione first studied the art of the goldsmith, and in his youth produced many good works, more especially dies for medals, cut in steel, and representing portraits from the life; nay, so excellent did he become in a
- ↑ When the Church of San Gemignano was demolished, the remains of Sansovino were first removed to that of San Maurizio and afterwards to the private Oratory of the Seminario della Salute.
- ↑ To this Life of Sansovino, some of the Florentine and Venetian editors of our author’s works (but not the Roman Bottari), have added an account of his disciples and their labours, but this the want of space prevents us from re-producing here. Such of our readers as may desire to see the same will find it in the Edition of Stefano Audin, Florence, 1822, and in that of Antonelli, Venice, 1828, and in the Passigli Edition (1832-8).
