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SOLOSMEO DA SETTIGNANO
and JACOPO COLONNA (FANTONI) 1504-1540)


Extracted from the Life of Jacopo Sansovino

Giorgio Vasari's Lives of the Artists





SANSOVINO HAD MANY DISCIPLES. In Florence: Niccolo, called Tribolo, as has been related, and Solosmeo da Settignano, who finished with the exception of the large figures the whole of the tomb in marble that is at Monte Casino, wherein is the body of Piero de'Medici, who drowned in the River Garigliano. His disciple, likewise, was Girolamo da Ferrara, called Lombardo, of whom there has been an account in the Life of Benvenuto Garofalo of Ferrara; which Girolamo has learned his art both from the first [Andrea] Sansovino and from this second one in such a manner, that, besides the works at Loreto of which we have spoken, both in marble and in bronze, he has executed many works in Venice. This master, although he came under Sansovino at the age of thirty and knowing little of design, being rather a man of letters and a courtier than a sculptor, although he had previously executed some works in sculpture, nevertheless applied himself in such a manner, that in a few years he made such profit from his studies that may be perceived in his works in half-relief that are in the fabrics of the Library and the Loggia of the Campanile of San Marco; in which he acquitted himself so well, that he was afterwards able to make by himself alone the statues of marble and the Prophets that he executed, as has been related, at the Madonna of Loreto.

A disciple of Sansovino, also, was Jacopo Colonna, who died at Bologna thirty years ago while executing a work of importance. This Jacopo made for the Church of San Salvatore in Venice a nude St. Jerome [sic, actually, St. Lawrence] of marble, still to be seen in a niche near the organ, which was a beautiful figure and much extolled, and for Santa Croce della Giudecca he made a Christ also nude and of marble, who is showing His Wounds, a work of beautiful artistry; and likewise for San Giovanni Nuovo three figures, St. Dorothy, St. Lucia, and St. Catherine. In Santa Marina may be seen a horse with an armed captain upon it, by his hand; and all these works can stand in comparison with any that are in Venice. In Padua, for the Church of San Antonio, he executed in stucco the said Saint and San Bernardino, clothed.

Of the same material he made for Messer Luigi Cornaro a Minerva, a Venus, and a Diana, larger than life and in the round; in marble a Mercury, and in terracotta a nude Marzio as a young man, who is drawing a thorn from his foot, or rather, showing that he has drawn it out, he holds the foot with one hand, looking at the would, and with the other hand seems to be about to cleanse it with a cloth; which last work, because it is the best that Jacopo ever did, the said Messer Luigi intends to have cast in bronze. For the same patron he made another Mercury of stone, which was afterwards presented to Duke Federigo of Mantua.



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