the same subject in the Loggietta, and his statuette of St. Jerome in the same church is altogether insignificant. Another artist from Lugano, Maestro Galeazzo, worked upon capitals, architraves, &c., for the chapel of St. Anthony in his Basilica at Padua (1500-1502), together with an Alessandro from Saronno (1502-1516), a decorative sculptor of ability. From Bergamo came Pietro, who worked at Ferrara (1551) and Naples; Giovanni Castello, called Il Bergamasco, who sculptured the poor statue of Hope in the Lercaro Chapel in the Cathedral at Genoa; and Pietro di Bonomo de' Maffeio (1526-1579), who carved many animals in wood for the choir of Sta. Maria Maggiore at Bergamo. At Como there were no worthy successors of the brothers Rodari already spoken of, or at Cremona of the Giovanni Gaspari Pedoni, whose works in the municipal palace have been mentioned. His son Cristoforo, who sculptured the Arca di San Arcaldo (1533-1538) in the crypt of the Cathedral, the brothers Jacobus and Galeatino de' Cambi, who worked at Bergamo, and the brothers Campi, one of whom, Bernardino, painted frescoes in the Church of St. Sigismond (1550), complete the list of Cremonese sculptors known to us. The Pietro of Pavia, who sculptured the life-size statue in fig-tree wood of Christ bound to the column, in the church of San Giovanni a Monte at Bologna, was evidently a follower of Michelangelo. The head is expressive, and the body shows careful anatomical study. Simone of Pavia, one of Pietro's contemporaries, commenced an "ancona" of gilded bronze with niches, columns, cornices, and chiselled silver figures two feet in height, for the confraternity of Sta. Maria della Misericordia at Bergamo, but died at the end of the century, leaving it unfinished.

VENICE.

In a previous chapter we gave some account of Pietro Lombardo's works at Venice, Ravenna and Treviso, and mentioned his sons Tullio and Giulio. Tullio has been called the best of Venetian sculptors, though his style is cold and monotonous, and his compositions are rarely felicitous. One of his two large bas-reliefs in the Capella del Santo at Sant' Antonio at Padua, of a youth who was healed by St. Anthony

after he had cut off the offending foot with which he had kicked his mother in a moment of anger, shows ten unmoved spectators in a row, looking at the equally unmoved sufferer whose body, stiffly stretched across the composition, produces a series of awkward and disagreeable lines. The other relief which illustrates the scripture text, "where a man's treasure is, there will his heart be also," represents St. Anthony finding the heart of a miser lying in his money chest. We have but to cross the church to the high altar to feel the hollowness of Tullio's style, as we see how Donatello has treated the same subject with point, vigour, and clearness, never distracting the eye from the main centre of action-true to nature and sentiment in every line and detail, and incomparable in style. None of Tullio's works at Venice justify his great reputation. The angels which support an altar at San Martino are without expression, and monotonously uniform in drapery and action, and the Christ with the Twelve Apostles in relief at San Giovanni Crisostomo, though carefully draped and smoothly worked, are wanting in life and stiff in arrangement. The bas-relief on the façade of the Scuola di San Marco, which represents St. Mark baptizing S. Ansano, is said to be one of Tullio's works, but the composition is so good, the treatment so sculptural, and the gradation of relief so well managed that we hesitate to attribute it to him. His hand is, however, clearly recognizable in other equally unauthenticated marbles, as for instance in some of the bas-reliefs from the Palazzo Suffiolo, near Modena, which are said to have been sculptured by him and his brother Antonio for the Duke Alfonso d'Este, to decorate the Palazzo Belriguardo at Ferrara.* Though four of them, representing classical subjects, are in the same cold and unsympathetic style as Tullio's bas-reliefs in the Capella del Santo, they are more highly finished. The others, which consist of griffins, eagles, tritons, and arabesques, are excellent examples of Renaissance

* When the dukes of the house of Este left Ferrara they brought with them many precious works of art, including these bas-reliefs, and placed them in the Palazzo di Suffiolo, which eventually passed into the possession of Count d'Espagnac, who brought the marbles to Paris, where they now are in the Spitzer collection. The Cav. L. N. Cittadella, director of the public library at Ferrara, states that nothing is known of their history at Ferrara, and that no mention is made of them in the Boschini MS.

ornament, and worthily represent the school of Pietro Lombardo. We have yet to mention the uninteresting monument to the Doge Giovanni Mocenigo, which Tullio sculptured for San Giovanni e Paolo, and the coarse and vulgar statues of Adam and Eve in the Palazzo Vendramin Calergi, from the monument to the Doge Andrea Vendramin in the same church.* A few years before his death at Venice, Nov. 17, 1530, Tullio worked with his father at Treviso, and sculptured the very beautiful eagle upon the sarcophagus of Bishop Zanotti's monument.† His brother Antonio (d. 1516) is chiefly known to us by a large bas-relief (1505) in the Cappella del Santo, at Padua,‡ of an infant bearing witness to the innocence of its mother, who had been unjustly accused of infidelity. This work is altogether second-rate, the figures are clumsily proportioned, stiffly posed, and without expression.§ One of the best anonymous marbles at Venice, which is classed as belonging to the school of the Lombardi, is a bas-relief over a doorway in the museum of the Ducal Palace. It represents St. Mark with a bishop and a saint, in the act of presenting the Doge Lionardo Loredano to the enthroned Madonna, who by her impassive countenance and dignified presence recalls Giovanni Bellini. [ The Divine Child standing upon one knee bends forward to

*See p. 359.

Tullio was buried at Venice in the church of San Stefano. See the Registri di San Stefano, MS. Cod. della Bib. Marciano, quoted by Morelli in his notes to l'Anonimo, note 102, p. 193. ^

Gonzati, op. cit. vol i. doc. 101. Antonio received 2,480 lire for this bas-relief (ibid. p. 170).

§ It is certain that the two pretended families of Lombardi at Venice and Ferrara were in reality one and the same. Antonio di Pietro, who was the founder of the Ferrarese branch, came to Ferrara in 1505, was still in the Duke's pay in 1515, and as we know from his widow's will was dead in 1516. His sons Aurelio, Lodovico, and Girolamo were all under age at the time of his death. Aurelio and Lodovico were in Ferrara in 1523. In 1530, or 1534, Girolamo went with his brothers to Loreto, and worked there. They afterwards married and settled in Recanati. Aurelio died in 1563. Girolamo left several sons, among whom were Antonio and Paolo, sculptors, and Pietro, sculptor and painter (Letter from the Cav. L. N. Cittadella).

Loredano seems to have especially cultivated the worship of the Virgin, for we find him again represented as kneeling before her, upon the "quattrino," a square coin which was struck during his reign (I Dogi di Venezia).

listen to the aged suppliant, whose expressive face and clasped hands are full of character and truth. The long trailing folds of his ducal mantle are disposed with great skill, and worked out with great care. If it be difficult to believe any of the Lombardi capable of so admirable a work as this, it is equally difficult to credit them with the marbles of the Giustiniani chapel at San Francesco delle Vigne, which is said to have been built by Agnesina Badoaro after the death of her husband Girolamo Giustiniani, and

decorated by Tullio, Anto-
nio and Santi Lombardo*
(1532). The marbles are
evidently by three different
artists, but not by Tullio,
as he was dead at the time,
or Antonio, who though
alive had not the requisite
capacity, or Santi, who was
an architect. The earliest
and best of them, perhaps
executed before the chapel
was built, consist of a
delicately-sculptured bas-
relief of the Last Judg-
ment, an excellent statuette
of St. Jerome (see wood-
cut), and of statuettes of
the Archangel Michael,
SS. Agnes, Anthony and

James, which have much more spontaneity and freedom than the cold but highly-finished alto-reliefs of the Evangelists upon the walls of the chapel.

*Zanotti, Guida di Venezia.

+ Cicognara, Storia della Scultara, vol. iv. p. 338, ed. in 8vo, and Selvatico, op. cit., both ascribe these works to the fourteenth century. The latter, at p. 381, says Jacopo Sansovino built the church in 1534. Sansovino, Venezia Descritta, p. 48, says the church was rebuilt in his day.

Selected by Agnesina Badoaro because their names were the same as those of certain members of her own family and of that of her husband.

The transition period at Venice between the Gothic and the Renaissance, is well represented by the bas-reliefs upon the marble parapet around the choir of the church of Sta. Maria de' Frari, whose flat spaces are adorned with half-figures of prophets and saints. One of these is supposed to be a portrait of the unknown sculptor (1475), whose motto, "Soli Deo Honor et Gloria," is engraved upon the cartel which he holds in his hand. Another anonymous sculptor (1484) made the monument of Jacopo Marcello at the Frari,* which is one of the first examples of that use of incongruous elements in monumental art which gradually destroyed its solemn character. The statue of the deceased, with a banner in his hand, stands above the highly-ornate sarcophagus, which is supported by male figures in Venetian costume. The tomb of the Doge Nicolo Tron, a towering overcrowded pile, shows still more plainly the decay of taste. It has three niches with statues of the Doge and the Virtues in the first story, an epitaph and bas-reliefs of children with vases of fruit in the second, a sarcophagus with recumbent effigy and three statuettes in the third, seven niches with as many symbolical statuettes in the fourth, and at the top a lunette, containing a relief of the Resurrection of our Lord, surmounted by a God the Father, with the Madonna and the Angel of the Annunciation.† We need not dwell upon this monument, whose confused effect proves that no richness of detail can compensate for the absence of simplicity and unity of design. Other Renaissance monuments at the Frari, in which the skilful hand vainly strives to hide the want of pure taste and correct sentiment, are those of Melchiorre Trevisan (1500), general of the Venetian republic, of Benedetto Brugnolo, and that of Pietro Bernardo, an ornate casket flanked by two seated lions, crowned by a statuette, and supported upon a fluted cornice held up by consoles. Below them is a sarcophagus resting upon consoles shaped like Doric capitals, between which an eagle spreads his wings.

The peculiarly North Italian fashion probably first set in the monuments of the Scaligers at Verona, of surmounting tombs with equestrian statues of the deceased became so

* A brave Venetian captain who perished under the walls of Gallipoli during the war between Venice and Ercole, Duke of Ferrara.

Perhaps designed by Antonio Rizzo.