in his best work, the Arcadian bas-relief upon the tomb of the Neapolitan poet Giacomo Sanazzaro (b. 1458, d. 1532). In the life of Fra Giovan Angelo Montorsoli* we mentioned this monument as the joint work of Montorsoli and Santacroce, who died while it was in progress (1537 ?), after completing the relief which, unlike any other work of the Neapolitan school, shows that the sculptor had studied the antique as well as Michelangelo. The classical subject, Apollo's Victory over Marsyas, is represented in an ingenious composition, made up of the triumphant Sun-god playing upon the lyre (Klapwdos), dressed in the long robes which belong to him as leader of the Muses,† and attended by Pan, a satyr of the true antique type playing on the syrinx, Neptune with his trident, while the unhappy Marsyas

"Drawn out of the scabbard of those limbs of his,"

writhes in the background, his body bent backwards like that of a Monad in a Bacchanal. The surface of the marble is highly polished, the accessories are elaborated with great care, and the work, though not pure in style, is that of an accomplished sculptor.

Santacroce's other works at Naples, among which it will suffice to mention two bas-reliefs of the "Taking Down from the Cross," one at San Pietro ad Aram and the other at the Annunziata, and an Incredulity of St. Thomas at S. Maria delle Grazie, are so inferior to the Arcadian bas-relief that we must regard them as "juvenilia," of which the sculptor may himself have lived to be ashamed.

Other sculptors of his century were Naccarini, who made the tombs of Ferdinando Majcica and Porzia Camilla at San Severino, and his pupil Domenico d'Auria (d. 1575), sculptor of the poor monuments of Niccolò di Sangro and Bernardino Rota at San Domenico, and the bas-relief of the Conversion of St. Paul at S. Maria delle Grazie; and Annibale Caccavello (1515–1596), author of the tomb of Fabriccio Brunaccio in the same church, and of a coarse and unmeaning bas-relief of the Beheading of St. John at San Giovanni Maggiore.

Book iii. ch. ii. p. 322.

† Pythius in longa carmina veste eonat-Prop. ii. xxx. 16.

BB

ROME, 1500-1600.

In the sixteenth century, as in the centuries which preceded it, foreign artists produced great works at Rome without any stimulating effect upon native genius. In vain did Andrea and Jacopo Sansovino, Michelangelo, Cellini, and other distinguished Tuscan sculptors make it their home and adorn it with their works, so far as the Romans were concerned, judging by the fact that but two native sculptors of the sixteenth century are recorded, Giovanni Battista and Andrea Romano, both of whom worked at Mantua. The tombs at Ara Caeli of Pietro di Vincenzo (d. 1504), Cardinal Ludovico Lebretti (1531) and Ludovico Grati, and a bas-relief at Sta. Francesca Romana,t representing the entrance of Pope Gregory XI. into Rome on his return from Avignon (1377), are anonymous, and probably foreign works.

*

VERONA, CARRARA AND VICENZA, 1500-1600.

In the sixteenth century Verona produced one able sculptor, Girolamo Campagna (b. 1522), who was the pupil of Danese Cattaneo of Carrara, poet and sculptor, of whom we shall first speak. Son of an honest tradesman who settled at Carrara shortly before his birth, Danese went to Rome at an early age to study sculpture under Jacopo Sansovino, and thence followed him to Venice to assist in decorating the façade of the Library, the Zecca, and the Loggietia of the Campanile. A statuette of Apollo in the cortile of the Zecca, and a mannered figure of St. Jerome, with busts of Andrea Dolfin and his wife Benedetta Pisani by Danese, do not give us any very high idea of his capacity, and lead us to believe that Temanza is right in saying that he practised sculpture rather as a means of gaining a livelihood than for love of the art, and that poetry may have been his vocation. This belief is strengthened by the

Il Conte d'Arco, op. cit. p. 13.

Erected by the Roman Senate in 1584.

Torquato Tasso, in Linaldo, speaks of Cattaneo as an equally

insipid statue of Christ which he made (1565) for the Fregoso altar in the church of Sant' Anastasia at Verona, whose only recognizable merit is the modelling of the arms and hands. About 1552 Danese went to Pad a to assist Tiziano Minio in casting bronze gates for the Cappella del Santo, and returned there some twenty years later to sculpture a bas-relief for the same chapel, upon which he had made little or no progress at the time of his death (1573). The commission was then given to his scholar Girolamo Campagna da Verona, who is first heard of at Venice (1542) as working upon the statue of the Doge Loredano, for a very mediocre monument designed by his master Cattaneo. At what period he made the bronze statues of the Madonna with the Angel of the Annunciation for the façade of the Palazzo del Consiglio at Verona, and that of the Virgin for that of the Collegio dei Mercatanti is not known, but they are so mannered in style, affected in attitude, and "baroque" in drapery, that we cannot doubt them to have been modelled under the influence of Vittoria, with whom he must have come into contact at Venice. Some better influence prompted him at Padua in his masterpiece, the bas-relief in the Cappella del Santo, which was assigned to him after the death of Cattaneo. Its subject is St. Anthony's resuscitation of a murdered man who, according to the legend, was miraculously transported from Padua to Lisbon that he might testify to the innocence of his father, who had been falsely accused of having murdered him. The bas-relief is well composed and carefully executed, and though somewhat conventional in style. is superior to the bas-reliefs by the Lombardi, Sansovino, and other sculptors of note in the same chapel.t After completing it he returned to Venice and married, but on the death of his wife (1580) he came again to Padua to make the

illustrious poet and sculptor, while Bernardo Tasso in his Armadigi, places him on the mountain of glory, and calls him,—

Spirto alto ed egregio,

E poeta, e scultor di sommo pregio.

Two MS. volumes of Cattaneo's poems exist in the Chigi Library at Rome.

*Eventually melted down.

Completed in 1577, and signed "Hieronymus Campagna, Veronen. Sculp."

elaborate and much-overloaded bronze tabernacle which decorates the altar in the chapel of the Holy Sacrament at Sant' Antonio. During the remainder of his life he lived at Venice, and produced many works, among which are small statues of Sta. Chiara (1591) (see tailpiece), and St. Francis at Sta. Maria de' Miracoli (1593), a bronze group of God the Father with angels standing on a gilded globe,* and a heavy illproportioned marble group of the Virgin and Child with angels at San Giorgio Maggiore (1595), the figures in relief upon the Ponte del Rialto of the Virgin and the Angel of the Annunciation and the patron saints of Venice, a Sta. Giustina over the door of the arsenal, as also statuettes of SS. Mark and Francis, and a bronze crucifix in the church of the Redentore, and the colossal figure of St. Sebastian at the Zecca. The time of his death is unknown, but it has been assigned to too late a date by writers who have confounded him with another artist of his name, Girolamo the younger,† who sculptured (1604) the very mediocre statue of Federigo, Duke of Urbino, on the staircase of the Ducal Palace at Urbino, and was still alive in 1623.‡ The only other Veronese sculptors of this period are Giulio di Girolamo della Torre, who having in his youth read law at Padua with great applause and gained some notice as an author, attained distinction as a bronze-caster and medallist; § Giovan Battista, who made a crucifix for the Duomo at Mantua (1531) which is highly praised by Vasari;|| and Alessandro Rossi, who made a statue of San Bernardo Abate for the church of Sta. Maria at Carrara (1584), and sculptured one of the ugly hunchbacks

* Cost 1,650 gold ducats. Girolamo was assisted in casting it by his brother Giuseppe (Cicognara, vol. iii. p. 267, and doc. 239, p. 342).

The suggestion that there were two Campagnas from Verona of the same name was first made by the Abate Zani. Gualandi, op. cit. serie v. pp. 75-78, gives the contracts which he thinks belong to Girolamo the younger. They are dated May 8 and April 27, A.D. 1604.

Temanza, pp. 519-28.

§ His treatise De Felicitate, published in 1531, was dedicated to his sister Paulina. Maffei, op. cit. vol. iii. lib. iv., places him among Veronese authors. In vol. iv. ch. vi. p. 301, he suggests that he may have made the bronze bas-reliefs on the Della Torre monument at San Fermo-but this is impossible, as they are known to be by Andrea Riccio. See Vasari, ix. 168.

under a holy-water vase in the church of Sant' Anastasia at Verona.*

The beautiful marble candelabra in the Cathedral are firstrate examples of Renaissance ornamental work, and belong, judging from the more rounded character of their salient portions, rather to the sixteenth than to the preceding century. A certain Paolo from Rome, called "delle Breze," is said to have sculptured them, but the only Paolo Romano known to us. never practised ornamental sculpture so far as we are aware. To the Veronese we may add the names of a few Vicentine sculptors of the sixteenth century, such as those of Girolamo da Vicenzat (1517), who made the tomb of Pope Celestine V. in the church of Sta. Maria Collemaggio, at Aquila in the Abruzzi; his contemporary Rocca, who executed certain unknown marbleworks for the Collegiata of Sta. Maria Maggiore at Spello; Vincenzo da Vicenza, a sculptor of ornament who worked at Trent in the church of Sta. Maria Coronata ;§ and Nicolò da Cornedo, who made a marble "ancona" of little merit for a church at Trissino.

PADUA, 1500–1600.

The impulse given to the art of bronze-casting at Padua in the fifteenth century by Donatello bore some fruit in the works of his Paduan scholar Bellano or Vellano, but it attained its greatest result in those of Bellano's famous pupil, Andrea Briosco, called Riccio or Crispo, from his closely curling hair. Paduan by birth (April 1, 1470), he was the son of Ambrogio,¶ a Milanese goldsmith, who doubtless taught him the goldsmith's art, and perhaps inspired him with that love of classical orna

* Its pendant is said to be by Gabriello Caliari, the father of Paul Veronese.

+ Leosini, p. 232.

Ricci, op. cit. iii. 90.

§ Ibid. iii. 337.

|| Cicognara, ii. 159. Faccioli (Mus. Lap. Vic. iii. 147) mentions a statue at Priabone by Nicolò.

Mentioned as M. Ambrogio Briosco. M. Piero Briosco, who worked about 1442 at Bologna with other sculptors employed to finish the uncompleted bas-reliefs by Giacomo della Quercia, may have been his grandfather.