ITALIAN ORNAMENT.
This noble artist was born at Florence, of an ancient family, in the year
1477.  Having at an
early age displayed a remarkable predisposition for Art, he was placed by
his mother with Andrea
Contucci of Monte Sansovino (of whom we have briefly spoken in Chapter XVII.),
then working at
Florence, who, says Vasari, "soon perceived that the young man promised
to become very eminent."


Their attachment speedily assumed such a character that, being regarded almost
as father and son,
Jacopo was no longer called " de' Tatti," but " di Sansovino;"
and as he was then named so is he
called now, and ever will be. Having distinguished himself by his abilities
at Florence, and being con-
sidered a young man of great genius and excellent character, he was taken
to Rome by Giuliano da
San Gallo, architect to Pope Julius II.  At Rome he attracted the notice
of Bramante, and made
a large copy in wax of the "Laocoon" (under Bramante's direction),
in competition with other artists,
among whom was Alonzo Berruguete, the celebrated Spanish architect. Sansovino's
was adjudged to
be the best, and a cast was taken of it in bronze, which finally coming into
the possession of the
Cardinal de Lorraine, was taken by him into France in the year 1534.    San
Gallo falling ill was
obliged to leave Rome, and Bramante, therefore, found a dwelling for Jacopo
in the same house with
Pietro Perugino, who was then painting a ceiling for Pope Julius in the Torre
Borgia, and who was
so pleased with Jacopo's ability that he caused him to prepare many models
in wax for his use. He
also became acquainted with Luca Signorelli, Bramantino di Milano, Pinturicchio,
Cesare Cesariano,
famous for his Commentaries on Vitruvius; and was finally presented to and
employed by the Pope
(Julius). He was in a fair way of advancement, when a serious illness caused
him to return to his
native city.  Here he recovered, and successfully competed with Bandinelli
and others for a large
marble figure.  He was in continual employment at this time, and among other
works he executed
for Giovanni Bartolini the beautiful "Bacchus," now in the Gallery
degli Uffizii at Florence.
In the year 1514, great preparations being made at Florence for the entry
of Leo X., Jacopo was
employed in making various designs for triumphal arches and statues, with
which the Pontiff was
so much pleased, that Jacopo Salviati took his friend Sansovino to kiss the
feet of the Pope, by
whom he was received very kindly. His Holiness immediately gave him. an order
to make a design
for the facade of San Lorenzo at Florence, which would seem to have given
so much satisfaction,
that Michael Angelo, who was to compete with him for the control of its construction,
would appear
to have outwitted Sansovino, and effectually prevented his success; for,
says Vasari, "Michael Angelo
was determined to keep all for himself."  Not disheartened, however,
he continued in Rome, and
was employed both in sculpture and architecture, and gained the great honour
of being the successful
competitor for the Church of St. John of the Florentines, against Raffaelle,
Antonio da Sangallo,
and Balthazar Peruzzi.   Whilst superintending the commencement of the works
he fell, and was
so severely hurt that he left the city. Various causes led to the suspension
of the works until the
pontificate of Clement, when Jacopo returned and recommenced it. From that
period he was engaged
in every work of importance at Rome, until, on the 6th of May, 1527, that
city was taken and
sacked by the French.
Jacopo sought refuge in Venice, intending to visit France, where the King
had offered him employ-
ment. The Doge, Andrea Gritti, however, persuaded him to remain, and to undertake
the restoration
of the cupolas of St. Mark's. This work he performed so satisfactorily, that
he was appointed Proto-
Maestro to the Republic, assigned a house, and provided with a stipend. The
duties of this office he
performed with such sagacity and diligence, that by various improvements
and alterations of the city he
materially added to the income of the State. Amongst his finest works here-and,
indeed, among the
finest examples of Italian Art anywhere-are to be noted, the Libreria Vecchia,
the Zecca or Mint, the
Palaces Cornaro and Moro, the Loggia round the Campanile of St. Mark, the
Church of San Georgio
dei Greci, the Statues of the Giant's Staircase, the monument of Francesco
Veniero, and the bronze
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