Jacopo Sansovino

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(b Florence, bapt 2 July 1486; d Venice, 27 Nov 1570). Sculptor and architect. After establishing his reputation in Florence and Rome, he moved to Venice following the Sack of Rome (1527) and remained active there until his death. His most important architectural works were buildings that transformed the Piazza S Marco. The influence of his sculptural style continued well into the 17th century.

Part of the Sansovino family

See the Abbreviations for further details.

The Italian artist Jacopo Sansovino (1486-1570) executed sculpture and architecture in Venice whose quality and extent create much of the effect of the city today.

Trained in Florence and active in Rome and Florence in the crucial early decades of the 16th century, Jacopo Sansovino became the man of destiny for Venetian architecture and trained so many young sculptors that Giorgio Vasari credited him with virtually running an academy. In his 40 years of service as principal architect to the city of Venice, Sansovino profited by his early Florentine training in his skillful use of sculpture to enrich and animate buildings distinguished by a breadth, grandeur, and structural harmony surely based on his close study and understanding of ancient and current Roman architecture.

Jacopo Tatti was born in Florence, the son of Antonio Tatti. In 1502 Jacopo entered the workshop of the sculptor and architect Andrea Sansovino and adopted his master's name. Jacopo followed Andrea to Rome in 1505; he may have assisted his teacher in the Rosso and Sforza tombs in S. Maria del Popolo, but he also worked independently restoring antiques and making one of the first copies of the newly excavated Laocoon.

Sansovino's earliest major commissions came shortly after he returned to Florence in 1511: the large statue St. James for the Cathedral of Florence and the nearly lifesize statue Bacchus. Both works reveal his technical facility; the ease in handling drapery invests the spare figure of St. James with a needed surface enrichment, and the graceful, swinging movement and dextrous carving makes the Bacchus instantly attractive.

After collaborating on the decorations for Pope Leo X's triumphal entry into Florence, Sansovino was disappointed in hopes for a share in the project to complete the facade of the Medici church of S. Lorenzo. He returned to Rome in 1518 and executed such varied works as the idealized Madonna in S. Agostino, the more taut and complex St. James in S. Maria del Monserrato, and the elaborate tomb of Cardinal St. Angelo in S. Marcello. He was also consulted on the preliminary designs for the Florentine church in Rome, S. Giovanni dei Fiorentini.

The violent disaster of the sack of Rome in 1527 proved ultimately a blessing for Sansovino, who, fleeing Rome for France, found in Venice a city that stimulated his full development as an artist and provided a totally congenial atmosphere. His first work there was the utilitarian but crucial problem of strengthening the dangerously weakened fabric of S. Marco. This led to his appointment as protomagister to S. Marco in 1529 and his decision to stay in Venice. While he soon became a leading figure in Venice, the friend of such men as Titian, Tintoretto, and Pietro Aretino and the easy associate of noble patrons, Sansovino never felt himself above a concern for the countless practical details that together affected the appearance of his adopted city.

Appointed principal architect of Venice in 1529, Sansovino also continued to execute sculpture, creating works ranging from the fluent precision and richness of his bronze sculpture for S. Marco (tribune reliefs, 1530s; statues of the Evangelists, 1553; doors, 1563) to the harsh colossal figures Mars and Neptune on the Scala dei Giganti of the Ducal Palaco (1550s). A more chilly and disciplined classicism characterizes his marble reliefs for the church of S. Antonio in Padua (1562).

Sansovino's most formidable assignments as an architect were centered in and near the Piazza di S. Marco. The Library, designed to provide handsomely for the collection left to the city of Venice by Cardinal Bessarion, the Mint, and the Loggetta involved different functions, but all demanded a careful adjustment to the preexisting buildings. The memorable impression of all these buildings in their relation to each other and to the one large open space in Venice, the Piazza di S. Marco demonstrates Sansovino's brilliance and originality as an architect. The Mint (1537-1554) is deliberately compact in its use of the severe Doric order and heavy rustication to emphasize its function as a secure treasury. The Library (1536-1554; completed by Vincenzo Scamozzi in 1588), with its long, horizontal facade kept low to harmonize with the Ducal Palace on the opposite side of the Piazzetta, is far richer in its architectural and sculptural detail and strong contrasts of light and shadow. The small Loggetta received the greatest amount of sculptural adornment in the form of a triumphal arch to act as a firm base for the soaring bell tower.

In addition to his major public buildings, Sansovino also regulated the markets, improved the city, and executed countless designs for churches, private dwellings, and mainland villas. While some of his designs were never executed or were completed by other architects, Sansovino's presence and the ideas expressed in his drawings and buildings exerted a strong and lasting influence on contemporary and later Venetian architects. His grand Corner Palace (begun 1537), for example, was decisive in its transformation of the lighter arcades and ornamental patterns of the persistent Venetian Gothic into the measured balance of the larger, simpler forms of Donato Bramante and current Roman architecture, adapted to Venetian requirements.

Sansovino died in Venice; one son was a distinguished writer. The quality of Sansovino's life is touchingly conveyed by Vasari, who wrote that he was "very dear both to the great and to the small and to his friends" and that "his death was a grief to all Venice."

Further Reading

The fullest and most important study of Sansovino remains that by Giorgio Vasari in Lives of the Most Eminent Painters, Sculptors, and Architects, edited by Gaston du C. de Vere, vol. 9 (1915; abr. ed. 1959). There is no modern biography in English, but John Pope-Hennessy, Italian High Renaissance and Baroque Sculpture, vol. 2 (1963), includes a discerning presentation of Sansovino's work as a sculptor. For a discussion of his architecture see Peter Murray, The Architecture of the Italian Renaissance (1963), and T. A. West, A History of Architecture in Italy (1968).

Additional Sources

Howard, Deborah, Jacopo Sansovino: architecture and patronage in Renaissance Venice, New Haven: Yale University Press, 1975.

Florentine architect and sculptor, he spent most of his working life in Venice, where he created some of the greatest buildings of the High Renaissance, although Mannerism was not entirely absent from his designs. His finest works were the Biblioteca Marciana (begun 1537 and completed by Scamozzi in 1588—a powerful composition featuring superimposed Ionic and Doric Orders between the columns of which are arcuated arrangements of great sophistication); the Zecca (Mint—of 1535–47); and the Loggetta (1537–42—a composition of three overlayered triumphal arches), all near the Doge's Palace, and contributing to the brilliant urban scenery of Venice. The Biblioteca (Library of St Mark) was the first Venetian building in which the Orders were used in a thoroughly scholarly way, and was recognized by Palladio as one of the most authoritative buildings erected since Antiquity, and indeed drew on the exemplar of the Theatre of Marcellus in Rome for its arrangement of Orders.

Sansovino also designed the Church of San Francesco della Vigna (1534—completed by Palladio), and built the influential Palazzo Corner della Ca' Grande (begun 1537), with a rusticated ground-floor slightly reminiscent of Sanmicheli's Palazzo Canossa, Verona, but with curiously placed Mannerist consoles over the openings on either side of the triple-arched centre. Above, the façade has superimposed Orders with arched windows set back behind the plane of the Orders. He also designed the Villa Garzoni, Pontecasale, near Padua (designed c.1540), with a five-bay arcaded loggia in the centre over the entrance, a composition of grave serenity worthy of the Ancients.

Bibliography

• Boucher (1991)
• D. Howard (1975, 1980)
• Lotz (1977)
• P.Murray (1969, 1986)
• Placzek (ed.) (1982)
• G. Romanelli (1993)
• Jane Turner (1996)
• Tafuri (1972)

The full bibliography for this book is available to download as a pdf file.
Download the bibliography for A Dictionary of Architecture and Landscape Architecture (PDF: 1.2MB)

Portrait of Jacopo Sansovino by Tintoretto.

The Loggetta of Campanile di San Marco, Venice.

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Jacopo d'Antonio Sansovino (July 2, 1486 – November 27, 1570), was an Italian sculptor and architect, known best for his works around the Piazza San Marco in Venice. Andrea Palladio, in the Preface to his Quattro Libri was of the opinion that Sansovino's Biblioteca Marciana was the best building erected since Antiquity. Giorgio Vasari uniquely printed his Vita of Sansovino separately.

Biography

He was born in Florence and apprenticed with Andrea Sansovino whose name he subsequently adopted, changing his name from Jacopo Tatti.

In Rome he attracted the notice of Bramante and Raphael and made a wax model of the Deposition of Christ for Perugino to use. He returned to Florence in 1511 where he received commissions for marble sculptures of St. James for the Duomo and a Bacchus, now in the Bargello. His proposals for sculpture to adorn the façade of the Church of San Lorenzo, however, were rejected by Michelangelo, who was in charge of the scheme, to whom he wrote a bitter letter of protest in 1518.

In the period of 1510-17 he shared a studio with the painter Andrea del Sarto, with whom he shared models. Like all sixteenth-century Italian architects, Sansovino devoted considerable energy to elaborate but temporary structures related to courtly ritual. The triumphant entry of Pope Leo X into Florence in 1515 was a highpoint of this genre. He subsequently returned to Rome where he stayed for nine years, leaving for Venice in the year of the Sack of Rome.

In 1529 Sansovino became chief architect and superintendent of properties (Protomaestro or Proto) to the Procurators of San Marco, making him one of the most influential artists in Venice. The appointment came with a salary of 80 ducats and an apartment near the clocktower in San Marco. Within a year his salary was raised to 180 ducats per year ^[1] . His masterworks embody prominent structures and buildings in central Venice found near Piazza San Marco, specifically the rusticated Zecca (public mint), the highly decorated Loggetta and its sculptures adjoining the Campanile, and various statues and reliefs for the Basilica of San Marco. He also helped rebuild a number of buildings, churches, palaces, and institutional buildings including the churches of San Zulian, San Francesco della Vigna, San Martino, San Geminiano (now destroyed), Santo Spirito in Isola, and the church of the Incurabili. Among palaces and buildings are the Scuola Grande della Misericordia (early plans), Ca' de Dio, Palazzo Dolfin, Palazzo Corner, Palazzo Moro, and the Fabbriche Nuove di Rialto ^[2].

His masterpiece is the Library of Saint Mark's, the Biblioteca Marciana, one of Venice's most richly decorated Renaissance structures, which stands in front of the Doge's palace, across the piazzeta. Construction spanned fifty years and cost over 30,000 ducats^[3]. In it he successfully made the architectural language of classicism, traditionally associated with severity and restraint, palatable to the Venetians with their love of surface decoration. This paved the way for the graceful architecture of Andrea Palladio.

He died in Venice and his sepulchre is in the Baptistery of St. Mark's Basilica. His most important follower in the medium of sculpture was Alessandro Vittoria.

See also

• Renaissance Classicism

Further reading

• Boucher, Bruce. The Sculpture of Jacopo Sansovino. 2 vols. (New Haven: Yale University Press) 1991. Monograph and catalogue raisonnée of the sculpture.
• Tafuri, Manfredo (Jessica Levine, translator). Venice and the Renaissance. (Cambridge MA: MIT Press) (1985) 1989. Sansovino's cultural context.
• Deborah Howard. Jacopo Sansovino Architecture and Patronage in Renaissance Venice. Yale University Press 1975.</ref>
• http://www.britannica.com/EBchecked/topic/522717/Jacopo-Sansovino

1. ^ D. Howard page 9.
2. ^ D. Howard.
3. ^ D. Howard page 155.

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