See also:

• ANDREA, GIOVANNI (1275-1348)

ANDREA CONTUCCI DEL See also:

• MONTE

MONTE See also:

• ANDREA CONTUCCI DEL MONTE SANSOVINO (1460-1529)
• SANSOVINO, JACOPO (1477—1570)

SANSOVINO (1460-1529)  , Florentine sculptor, was the son of a shepherd called Niccolo di Domenico Contucci, and was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• MONTE

Monte Sansavino near See also:

• AREZZO (anc. Arretium)

Arezzo, whence he took his name, which is usually softened to See also:

• SANSOVINO, ANDREA CONTUCCI DEL MONTE (1460-1529)
• SANSOVINO, JACOPO (1477—1570)

Sansovino . He was 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 See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio See also:

• POLLAIUOLO

Pollaiuolo, and at first worked in the purer See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of 15th-See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence . Hence his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• WORKS

works are by far the best, such as the terra-See also:

• COTTA
• COTTA, BERNHARD VON (1808—1879)
• COTTA, GAIUS AURELIUS (c. 124—73 B.c.)

cotta altarpiece in See also:

• SANTA

Santa Chiara at Monte Sansavino, and the See also:

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

marble reliefs of the " See also:

• ANNUNCIATION

Annunciation," the " See also:

• CORONATION (Lat. corona, crown)

Coronation of the Virgin," a " Pieta," the "Last Supper," and various statuettes in the Corbinelli See also:

• CHAPEL

chapel of S . Spirito at Florence, all executed between the years 1488 and 1492 . From 1491 to 1500 See also:

• ANDREA, GIOVANNI (1275-1348)

Andrea worked in See also:

• PORTUGAL

Portugal for the See also:

• KING
• KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
• KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
• KING, CHARLES WILLIAM (1818-1888)
• KING, CLARENCE (1842–1901)
• KING, EDWARD (1612–1637)
• KING, EDWARD (1829–1910)
• KING, HENRY (1591-1669)
• KING, RUFUS (1755–1827)
• KING, THOMAS (1730–1805)
• KING, WILLIAM (1650-1729)
• KING, WILLIAM (1663–1712)

king, and some pieces of See also:

• SCULPTURE
• SCULPTURE (Lat. sculptura, from sculpere, to carve, cognate with Gr. yXb4ew)

sculpture by him still exist in the monastic See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of See also:

• COIMBRA

Coimbra . (See Raczinski, See also:

• LES

Les Arts en Portugal, See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 1846, p . 344.) These early reliefs show strongly the See also:

• INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence of See also:

• DONATELLO (diminutive of Donato) (c. 1386-1466)

Donatello . The beginning of a more See also:

• PAGAN
• PAGAN (Lat. paganus, of or belonging to a pagus, a canton, county district, village, commune)

pagan style is shown in the statues of " St See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John baptizing See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ " over the See also:

• EAST
• EAST, ALFRED (1849- )

east See also:

• DOOR (corresponding to the Gr. Bbpa,. Lat. fores or valvae; the English word, with other forms common in allied languages, comes from the same Indo-European stem as the Gr. Obpa and Lat. fares)

door of the Florentine See also:

• BAPTISTERY (Baptislerium, in the Greek Church 4wrurrilpiov)

baptistery . This See also:

• GROUP

group was, however, finished by the weaker See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand of Vincenzo Danti . In 1502 he executed the marble See also:

• FONT (Lat. fans, " fountain " or " spring," Ital. fonte, Fr. les fonts)

font at See also:

• VOLTERRA (anc. Volaterrae)

Volterra, with See also:

• GOOD, JOHN MASON (1764-1827)

good reliefs of the " Four Virtues "and the "See also:

• BAPTISM

Baptism of Christ." In 1505 Sansovino was invited to See also:

• ROME
• ROME (Roma)

Rome by See also:

• JULIUS

Julius II. to make the monuments of See also:

• CARDINAL (Lat. cardinalis)

Cardinal Ascanio Maria See also:

• SFORZA
• SFORZA, CATERINA (1463-1509)

Sforza and Cardinal See also:

• GIROLAMO (1450-1486)

Girolamo della Rovere for the retro-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 S . Maria del Popolo . The architectural parts of these monuments and their sculptured foliage are extremely graceful and executed with the most See also:

• MINUTE
• MINUTE (Lat. minutes, small; minuere, to make less)

minute delicacy, but the recumbent See also:

• EFFIGIES, MONUMENTAL

effigies show the beginning of a serious decline in See also:

• TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste .

These tombs became See also:

• MODELS

models which for many years were copied by most later sculptors with increasing exaggerations of their defects . In 1512, while still in Rome, Sansovino executed a very beautiful group of the" Madonna and See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

Child with St See also:

• ANNE (1665-1714)
• ANNE (1693-1740)

Anne," now over one of the See also:

• SIDE
• SIDE (mod. Eski Adalia)

side altars in the church of S . See also:

• AGOSTINO
• AGOSTINO, or AGOSTINI [AUGUSTINUS], PAOLO (1593-1629)

Agostino . From 1513 to 1528 he was at See also:

• LORETO

Loreto, where he cased the outside of the Santa Casa in See also:

• WHITE
• WHITE, ANDREW DICKSON (1832– )
• WHITE, GILBERT (1720–1793)
• WHITE, HENRY KIRKE (1785-1806)
• WHITE, HUGH LAWSON (1773-1840)
• WHITE, JOSEPH BLANCO (1775-1841)
• WHITE, RICHARD GRANT (1822-1885)
• WHITE, ROBERT (1645-1704)
• WHITE, SIR GEORGE STUART (1835– )
• WHITE, SIR THOMAS (1492-1567)
• WHITE, SIR WILLIAM ARTHUR (1824--1891)
• WHITE, SIR WILLIAM HENRY (1845– )
• WHITE, THOMAS (1628-1698)
• WHITE, THOMAS (c. 1550-1624)

white marble, covered with reliefs and statuettes in niches between engaged columns; a small See also:

• PART

part of this sculpture was the See also:

• WORK

work of Andrea, but the greater part was executed by Montelupo, Tribolo and others of his assistants and pupils . Though the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general effect is See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich and magnificent, the individual pieces of sculpture are both dull and feeble . The earlier reliefs, those by Sansovino himself, are the best .