SFORZA

(_After_ Andrea dal Monte Sansovino [Andrea Contucci]. _Rome: S. Maria
del Popolo_)

_Alinari_]

Having been nine years in Portugal, and growing weary of that service,
and desirous of seeing his relatives and friends in Tuscany again,
Andrea determined, now that he had put together a good sum of money,
to obtain leave from the King and return home. And so, having been
granted permission, although not willingly, he returned to Florence,
leaving behind him one who should complete such of his works as remained
unfinished. After arriving in Florence, he began in the year 1500 a
marble group of S. John baptizing Christ, which was to be placed over
that door of the Temple of S. Giovanni that faces the Misericordia; but
he did not finish it, because he was almost forced to go to Genoa, where
he made two figures of marble, Christ, or rather S. John, and a Madonna,
which are truly worthy of the highest praise. And those at Florence
remained unfinished, and are still to be found at the present day in the
Office of Works of the said S. Giovanni.

He was then summoned to Rome by Pope Julius II, and received the
commission for two tombs of marble, which were erected in S. Maria del
Popolo--one for Cardinal Ascanio Sforza, and the other for the Cardinal
of Recanati, a very near relative of the Pope--and these works were
wrought so perfectly by Andrea that nothing more could be desired, since
they were so well executed and finished, and with such purity, beauty,
and grace, that they reveal the true consideration and proportion of
art. There may be seen there, also, a Temperance with an hourglass in
her hand, which is held to be a thing divine; and, indeed, it does not
appear to be a modern work, but ancient and wholly perfect. And although
there are other figures there similar to it, yet on account of its
attitude and grace it is much the best; not to mention that nothing
could be more pleasing and beautiful than the veil that she has around
her, which is executed with such delicacy that it is a miracle to
behold.

In S. Agostino at Rome, on a pilaster in the middle of the church, he
made in marble a S. Anne embracing a Madonna with the Child, a little
less than lifesize. This work may be counted as one of the best of
modern times, since, even as a lively and wholly natural gladness is
seen in the old woman, and a divine beauty in the Madonna, so the figure
of the Infant Christ is so well wrought, that no other was ever