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SANSOVINO, JACOPO (1477—1570)

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Originally appearing in Volume V24, Page 184 of the 1911 Encyclopedia Britannica.

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SANSOVINO, JACOPO (1477—1570) , See also:

ITALIAN

Italian sculptor, was called Sansovino after his See also:

MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master See also:

ANDREA, GIOVANNI (1275-1348)

Andrea, his See also:

FAMILY

family name being Tatti. He became a See also:

PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil of Andrea in 1500, and in 1510 accompanied him to See also:

Rome, devoting himself there to the study of See also:

ANTIQUE (Lat. antiquus, old)

antique See also:

sculpture. See also:

JULIUS

Julius II. employed him to restore damaged statues, and he made a full-sized copy of the See also:

LAOCOON

Laocoon See also:

GROUP

group, which was afterwards See also:

CAST (from the verb meaning " to throw "; the word is Scand. in origin, cf. Dan. kaste, and Swed. kasta; " cast " in Middle Eng. took the place of the A.S. weor pan, cf. Ger. werf en)

cast in See also:

BRONZE

bronze, and is now in the Uffizi at See also:

Florence. In 1511 he returned to Florence, and began the statue of St See also:

James the See also:

Elder, which is now in a See also:

NICHE (through Fr. niche from Ital. nicchia, nicchio, shell; possibly from Lat. mitulus, a sea-mussel; cf. " napkin " from mappa)

niche in one of the See also:

GREAT

great piers of the Duomo. He carved a nude figure of " Bacchus and See also:

Pan," now in the Bargello, near the "Bacchus" of See also:

MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo, from the contrast with which it suffers much. Soon afterwards Jacopo returned to Rome, and designed for his See also:

FELLOW

fellow-citizens the See also:

GRAND

grand See also:

church of S. Giovanni dei Fiorentini, which was carried out 'by See also:

Antonio See also:

SANGALLO

Sangallo the younger. A See also:

MARBLE (from Lat. marmor, Gr. pApµapos, shining stone)

marble group of the " Madonna and See also:

Child," heavy in See also:

style, now at the See also:

west of S. See also:

Agostino, was his next important See also:

WORK

work. In 1527 Jacopo fled from the See also:

SACK

sack of Rome to See also:

Venice, where he was welcomed by See also:

Titian and Pietro See also:

ARETINO, PIETRO (1492-1556)

Aretino; henceforth till his See also:

DEATH

death tie was occupied in adorning Venice with magnificent buildings and many second-See also:

RATE

rate pieces of sculpture Among the latter Jacopo's poorest See also:

WORKS

works are the See also:

COLOSSAL

colossal statues of "See also:

Neptune" and " See also:

Mars" on the grand See also:

STAIRCASE

staircase of the ducal See also:

PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace. His best are the bronze doors of the See also:

SACRISTY (through Fr. sacrist-le, from med. Lat. sacristies or sacristina)

sacristy of St See also:

Mark, cast in 1562; inferior to these are the See also:

SERIES (a Latin word from serere, to join)

series of six bronze reliefs See also:

ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round the See also:

CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir of the same church. In 1565 he completed a small bronze See also:

GATE

gate with a graceful See also:

RELIEF

relief of " See also:

Christ surrounded by Angels "; this gate shuts off the See also:

ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar of the Reserved See also:

HOST

Host in the choir of St Mark's.

Jacopo's See also:

CHIEF (from Fr. chef, head, Lat. caput)

chief claim to distinction rests upon the numerous See also:

FINE

fine Venetian buildings which he designed, such as the public library, the See also:

mint, the Scuola della Misericordia, the Palazzo de' Cornari and the Palazzo Delfino, with its magnificent staircase—the last two both on the grand See also:

canal. Among his ecclesiastical works the chief were the church of S. Fantino, that of S. Martino, near the See also:

ARSENAL

arsenal, the Scuola di S. Giovanni degli Schiavoni and, finest of all, the church, now destroyed (see VENICE), of S. Geminiano, a very See also:

GOOD, JOHN MASON (1764-1827)

good specimen of the Tuscan and Composite orders used with the graceful freedom of the See also:

RENAISSANCE, THE

Renaissance. In 1S45 the roof of the public library, which he was then constructing, See also:

fell in; on this See also:

account he was imprisoned, fined and dismissed from the See also:

OFFICE (from Lat. officium, " duty," " service," a shortened form of opifacium, from facere, " to do," and either the stem of opes, " wealth," " aid," or opus, " work ")

office of chief architect of the See also:

CATHEDRAL

cathedral, to which he had been appointed by a See also:

DECREE (from the past participle, decretus, of Lat. decernere)

decree of the signoria on the 7th of See also:

APRIL

April 1529. Owing to the intervention of Titian, Pietro Aretino and others, he was soon set at See also:

LIBERTY (Lat. libertas, from liber, free)

liberty, and in 1549 he was restored to his See also:

POST

post. He did good service for St Mark's by encircling its failing domes with bands of See also:

IRON [symbol Fe, atomic weight 55.85 (0=16)]

iron. Sansovino's architectural works have much beauty of proportion and See also:

grace of See also:

ORNAMENT (Lat. ornare, to adorn)

ornament, a little marred in some cases by an excess of sculptured decoration, though the See also:

CARVING

carving itself is always beautiful, both in See also:

DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design and See also:

EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution. He used the classic orders with great freedom and tasteful invention. His numerous pupils were mostly men of but little See also:

TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

End of Article: SANSOVINO, JACOPO (1477—1570)

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