patron Agostino Chigi, stopped the prosecution of this work, and both statues, of which the Jonah was then finished, and the Elias only blocked out, remained in Lorenzetto's studio for thirty-four years before they were set up in the Chapel. Admitting that Raphael designed, and perhaps modelled the Jonah, * we can scarcely suppose that he did more for the Elias than to leave behind him a pencil sketch, so feeble is it in character, and so wanting in significance. The Jonah, on the contrary, is a pleasing figure, not unworthy of the prince of painters. Resting his right foot upon the whale's jaw, the young prophet sits in a graceful attitude holding up his mantle above his left shoulder, whence it falls behind his back and over his thigh in well-disposed folds. Raffaello da Montelupo tells us nothing in his autobiography about this figure, but he says that when he came to Rome, Lorenzetto employed him to work upon a statue of the Madonnat to finish the figure of Elias for the Chigi Chapel, and to sculpture the sepulchral effigy of Bernardino Capella, Canon of St. Peter's, for his monument at San Stefano Rotondo.

While thus occupied he was seized with the plague, and lay for fifty days between life and death in an upper chamber of Lorenzetto's house. On his recovery he found but little work to do, owing to the disturbed state of the times. Evil days were at hand, and the sacking of the Borgo by the Cardinal Colonna in 1526, proved but an insignificant prelude to the events of the following year, when the Constable de Bourbon and his German mercenaries took Rome and gave it over to plunder and rapine. Lorenzetto and Raffaello were among the fugitives who sought refuge in the Castle of St. Angelo, with the Pope who effected his escape (Dec. 1527), after an imprisonment of seven months, but before this time Raffaello had made his way to Loreto, where he found employment with other artists in finishing the bas-reliefs commenced by Sansovino for the Santa Casa. Three years later (1530) he was working under Michelangelo at Florence upon a statue of St. Damian for the Sacristy of San Lorenzo.

* Passavant, vol. i. p. 205, states his decided belief that nachael sculptured the statue.

The so-called Madonna del Sasso, over the altar under which Raphael was buried.

Designed by the great master, and put into marble under his eye, the merit of this figure, such as it is, can hardly be attributed to Raffaello, and yet Michelangelo thought so well of him for it, that when he made his final contract with the Duke of Urbino for the tomb of Julius II. (1542) he designated Raffaello as a fit person to finish the statues of Active and Contemplative Life, designed and blocked out by himself, and to model a prophet and a sibyl.* When they were finished, he openly expressed great dissatisfaction with them, and found but little consolation in the plea of ill-health urged by Raffaello as his excuse for not having performed his task better. They who knew what he did when left to himself, can only wonder that Michelangelo should have been surprised at the result in this case. He was, however, an able workman, and acquitted himself with great credit when called upon to model decorative figures, such as the fourteen statues in clay and stucco which were set up on the Ponte St. Angelo when Charles V. made his triumphal entry into Rome in 1536, and those of the Rhine, and the Danube, with which the Ponte Santa Trinità was shortly after adorned when the same monarch rode into Florence to become the guest of Alessandro de' Medici.

Little more remains to be said of him. At one time he filled the position of architect of the Castle of St. Angelo, where a marble angel which he sculptured for its summit exists in a niche on the stairway. The effigy of Leo X. at Santa Maria sopra Minerva, a monument to Baldassare Turini who filled several important offices at the Roman court, in the Cathedral at Pescia, and a bas-relief of the Adoration of the Magi in the Chapel of the Magi in the Cathedral of Orvieto, of which he was architect and inspector-general in the latter part of his life, complete the list of his more important works. He died at Orvieto in 1566, and was buried in the same tomb with his lamented friend Simon Cioli, called Il Moscha, who was a decorative sculptor of rare skill.†

By his contract with Michelangelo, dated February 20, and Augast 23, 1542, in which three figures are mentioned as already blocked out, Montelupo agreed to finish the four in eighteen months' time for 400 scudi. MS. British Museum, Nos. 17 and 19, vol. xxii. 731.

+ His best work is in the Cappella Cesia in S. Maria della Pace at Rome. See Tosi, Mon. Sep. di Roma, vol. ii. plates 30-35. At Orvieto he sculptured the capitals, cornices, &c., in the chapel of the Magi, and a

Fra Giovan' Angelo Montorsoli (b. 1500, d. 1563) who worked with Raffaello da Montelupo under Michelangelo, was the more able sculptor of the two, if we judge them by their respective statues of St. Cosimo and St. Damian in the sacristy of San Lorenzo. Both statues were retouched by Michelangelo, who is even said to have modelled the head and hands of the Saint Cosimo in clay; but although equally Michelangelesque it has more individuality than the St. Damian. A larger share of credit thus belongs to Mon. torsoli, who was the son of Michele d' Agnolo da Poggibonsi, by whom he was first set to work as a stone-cutter in the quarries at Fiesole. There he attracted the notice of the sculptor Andrea Ferrucci, who gave him some instruction, and then sent him to Rome where he obtained employment at St. Peter's. He was employed at Volterra with other sculptors upon the monument of Raffaello Maffei (b. 1454, d. 1522), a renowned scholar of that city,* and later at Florence, where he was enrolled among the assistants of Michelangelo at San Lorenzo.

The works upon the Sacristy and the Library were suspended in 1527, and Montorsoli, being of a peaceful disposition which led him to prefer a religious to a military life, took the vows in the convent of the Servi in 1530 without renouncing his profession, in which he found occupation, first from the monks, who employed him after the restoration of the Medici to remodel the wax statues of Popes Leo X. and Clement VII., which had been destroyed during the war, and then from Clement himself, to whom he was sent by the General of the Servites by Michelangelo's advice. While at Rome he modelled the Pope's bust, and restored the left arm of the Apollo Belvidere and the right arm of the father in the Laocoon group before returning to Florence, as he did when work was resumed at San Lorenzo, to assist Michelangelo in bas-relief of the Adoration. Other works in this chapel are by Frisson Francesco, called Il Moschino (1560-71.) This Francesco had a son Simon, sculptor and architect, who died at Rome in 1610.

* Called Il Volterrano. In 1526 Sylvio Cosini began this monument, for which Stagi di Pietro Santa finished the effigy after 1531, and sculptured the ornaments. Montorsoli sculptured the statuettes of the Archangel Raphael and of St. Gherardo Cagnoli, in niches. See Gozzini's Mon. Sep de la Toscane, p. 135.

finishing the statues of Lorenzo and Giuliano de' Medici, and to sculpture the already-mentioned statue of San Cosimo. (See tail-piece.) In 1534 he went to France with letters of recommendation from Ippolito de' Medici, but as the terms of his appointment at court were not satisfactory, he returned to Florence in time to assist Raffaello da Montelupo and other sculptors in preparing for the triumphal entry of Charles V. (1536). During this visit he sculptured the mannered and Michelangelesque statues of Moses and St. Paul in the Painters' Chapel at the Annunziata, the monument of Cardinal Dionisio Beneventano, General of the Servi, in the church of S. Piero at Arezzo, and the colossal statues of Minerva and Apollo, which form part of Girolamo Santacroce's monument to the poet Sannazzaro (d. 1537) in the church of Sta. Maria del Parto at Naples. On his return from that city Montorsoli was called to Genoa by Prince Doria to sculpture his statue and to adorn the church of S. Matteo with works in marble and stucco.†

Among the former, the four Evangelists on one of the two pulpits, those in the choir, and the Pietà, very much resemble Michelangelo in style, but the Christ with the emblems of the Passion on the left-hand pulpit, and the bas-reliefs of the Annunciation, the Adoration, and a St. Matthew, are more individual. The reliefs with which he decorated the ceiling of the cupola include a God the Father, the Creation of Adam and Eve, the Temptation, and the Expulsion in which the three figures are very violent in action. Besides these works, Montorsoli modelled a gigantic Jupiter in stucco for the Villa Doria, where it may still be seen.

Desirous of meeting Michelangelo, from whom he had been long separated, he left Genoa in 1547 for Rome, where he fell in with certain persons from Messina who were in search of a sculptor to make a fountain for the Piazza of their city. Having accepted the commission, Montorsoli accompanied them

The names of Judith and Moses were inscribed upon these colossal statues to save them from a Spanish Governor who, under pretence that Pagan deities were out of place in a church, was about to take them into his possession.

Two statues were erected to the famous Admiral Andrea Doria in 1528 and 1551 by the Geneose Senate. They were thrown down in 1797, and the two mutilated torsos placed in the cloisters of S. Matteo.

to Messina in the same year, and remained there until he had sculptured numerous bas-reliefs, masks, marine monsters, and other ornaments for the fountain, which is one of the most claborate works of its kind in Italy; had finished the façade of the Duomo (an edifice in the old Sicilian Gothic style); had designed the statues of SS. Peter and Paul for one of its chapels, and had sculptured a Madonna for the Cicala monument, a bas-relief for the Bari Chapel at S. Domenico, and a St. Catherine for a church at Taormina. His many friends were anxious to induce him to take up his residence in

Sicily, and the Grand Master of Rhodes endeavoured to persuade him to become a knight of his order, but when Pope Paul IV. (1557) ordered all unfrocked friars under grave penalties to return to their duties, he resumed the cowl at Rome, and then, to the great joy of his brother Servites, once more settled himself at Florence in the convent to which he belonged. He left it for a time to work at Bologna in the church of the Servites upon the statues of Moses, Adam, Christ, the Madonna, St. John, the Church Fathers in relief (see wood-cut), and the angels supporting a bas-relief of the Crucifixion to decorate an altar, and then returning to Florence, re-entered the service of Duke Cosimo,