tari with the
Venetian soldiers, who went to its defence against the Turks. Rizzo
showed himself so brave in action, and was so severely wounded, that
after his return to Venice the Senate gave him a pension which lasted
through twenty years. Rizzo so won the confidence of the Venetians that
he was appointed to important offices with large salaries, and it is sad
to be forced to add that he proved to be a dishonest man, and when his
accounts were examined he fled to Foligno, where he soon died. We will
not speak of him as an architect; as a sculptor he is known by statues
of Adam and Eve in niches opposite the Giant's Staircase in the Ducal
Palace, and by sepulchral monuments in the Church of the Frari. While
his works cannot be highly praised for beauty, they do show the style of
the Renaissance distinctly.

LOMBARDO is the family name of three sculptors of this period in Venice.
They were PIETRO and his two sons, TULLIO and ANTONIO, and the three
together are spoken of as the Lombardi. Pietro, the father, was as much
an architect as a sculptor, and the works of the father and son are so
associated that it is difficult to speak of them separately. We know
that Tullio was the superior artist of the three, but there are no works
of theirs that command a detailed description here. The monument to the
Doge Pietro Mocenigo, in the Church of SS. Giovanni e Paolo, the angels
of the font in San Martino, an altar-relief in the altar of San Giovanni
Crisostomo, reliefs on the front of the Scuola di San Marco, and two
reliefs in the Church of San Antonio at Padua, are the principal
sculptures of the Lombardi.

ALESSANDRO LEOPARDO, who flourished about 1490, was the most eminent
bronze-caster of his time, and was distinguished for the happy manner in
which he adapted classic ideas to his needs in his works.

Very little is known of the life of this sculptor, and that little is
not to his credit. He lived in Venice, and had a studio in the Piazza
del Cavallo, and in 1487 committed a forgery, for which he was banished
from the city. But when Verocchio died, leaving the Colleoni statue
unfinished, the Senate desired to have it completed by Leopardo, so they
sent him a safe-conduct for six months, and he returned to Venice. As
there is no account of his again leaving the city, it is supposed that
he was allowed to remain as long as he chose. There has been much
difference of opinion as to which artist--Verocchio or Leopardo--should