general amnesty in 1834. He was named captain-general of Arragon, and elected a member of the cortes. He opposed the regency of Espartero, and was equally hostile to the dictatorship of Narvaez and the count of San Luis (Sartorius). In the insurrection of July, 1854, he was chosen president of the revolutionary junta, and was named by the queen, captain-general of Madrid, and minister for all departments, pending the arrival of Espartero. He was for some time the provisional president of the cortes, and voted for the maintenance of the monarchy. He afterwards became a member of the senate, and commander of the queen's body guard. He has written a history of the insurrection of Riego; a treatise on the art of war; and a work on the civil war in Spain, 1836. He is, however, more generally known as the author of the celebrated hymn of Riego.—F. M. W.
SANNAZARO, Jacopo (in Latin, Actius Sincerus Sannazarus), poet, born in Naples, his family being of Spanish origin, 28th July, 1458; died in or near the same city, 1530. The story of his boyish unavailing love for Carmosina Bonifacia recalls the somewhat similar passion ascribed to Dante. Later in life, as the friend of Frederick the last Arragonese king of Naples, he sold his property to relieve his fallen master, followed him into France, and abode in voluntary exile until the king's death. Sannazaro has left admired writings both in Italian and Latin. Chief amongst the former is the "Arcadia," a pastoral in prose and verse; amongst the Latin poems a sacred composition, "De Partu Virginis," which obtained the approbation of two popes, and some Piscatory Eclogues, are noticeable.—C. G. R.
SANSON, Nicolas, who is considered as the founder of mathematical geography in France, was born at Abbeville on the 20th of December, 1600, and died in Paris on the 7th of July, 1667. From a very early age he was encouraged and assisted in the study of geography by his father. About 1616 he prepared a map of ancient Gaul, by which he afterwards attained a high reputation. It was published in 1627, and attracted the notice of Cardinal Richelieu, who conferred on its author an appointment as a government engineer in Picardy. Sanson continued from time to time to publish maps, and in 1640 established himself in Paris as a map-seller. He was appointed geographer to the king, and held that office until his death; having for a time as colleague, his eldest son Nicolas, who was killed during a riot in Paris on the 27th of August, 1648, while defending the chancellor Séguier from a mob. After the death of Nicolas Sanson, the elder, his office was successively filled by his younger son, Adrien Sanson, who died on the 7th of September, 1718; his grandson, Pierre Moulart-Sanson, who died on the 30th of June, 1730; and his great-grand-nephew, Robert de Vaugondy.—W. J. M. R.
SANSOVINO, Jacopo, a famous Italian artist, was eminent alike as a sculptor and architect. He was born at Florence in January, 1479, and was the son of Antonio Tatti. He was carefully educated, and at the age of twenty-one was placed with the sculptor Andrea Contucci da Monte Sansovino, with whom he made such progress as in no long time to surpass his master. Contucci, however, so far from feeling jealous of the superior ability of his pupil, rejoiced in his success, and did all he could to assist his progress. Master and pupil became in fact so mutually attached that the latter assumed the name of Sansovino, and by it is now only known. Jacopo was also much assisted at this time by Andrea del Sarto, the two artists pursuing their studies in common to their mutual advantage. Attracted by the promise of his early works, Giuliano da San Gallo took the young sculptor with him to Rome, and gave him apartments in his house. Here Sansovino executed for Bramante a reduced copy of the Laocoon, which was chosen among many competitors by Raphael for casting in bronze. Sansovino was also employed by Bramante to restore various ancient works for Pope Julius II., and by Perugino to execute several models, including a Deposition in high relief, which was greatly admired. His excessive diligence, however, brought on an illness which compelled him to return to Florence. There he was commissioned to execute some of the colossal figures of the apostles for the church of Sta. Maria del Fiore: that of St. James was regarded as a masterpiece. Several classical statues, groups, and rilievi met with equal admiration. A Bacchus executed for Gio. Bartolini was generally pronounced to be the finest production by a modern master. Unfortunately this famous work was broken to pieces in the fire at the Florence gallery in 1762, but it was restored with extreme care, and now forms one of the chief ornaments of the western corridor. There is a good engraving of it in the Mus. Flor., plate 54. Besides the works in sculpture, Sansovino designed triumphal arches, a temporary façade to Santa Maria, richly adorned with rilievi, &c., in honour of the entrance into Florence of Leo X., who expressed so much admiration of them, that Sansovino was induced to follow the pope to Rome. Here, although not neglecting sculpture, he devoted himself especially to the study and practice of architecture, and with so much success that his design for the church of the Florentines at Rome was preferred to those of Peruzzi, Antonio da San Gallo, and Raphael. The execution of the building, though commenced by Sansovino, was so delayed from various causes, that but little progress had been made with it before the sack of Rome in 1527; after which event Sansovino never returned to the city. Sansovino repaired to Venice, where his first commission was to restore and strengthen the domes of St. Mark's. The manner in which he completed this task was so satisfactory that he was appointed proto-master, or chief of the architects. In this capacity he greatly improved the sanitary condition of the city, and effected various public improvements. One of the earliest and most important of the buildings erected by him for the republic was the Public Library. Unluckily, before it was completed, the vaulting fell in, and Sansovino was immediately deprived of his office, thrown into prison, and fined a thousand ducats. On investigation, however, the senate professed to be satisfied that the fault was not his; his fine was remitted, he was set at liberty, restored to his office, and directed to complete the building. When finished, the richness of the design and the splendour and beauty of the decorations caused it to be considered, says Vasari, as a marvel; and, with Sansovino's other works, it brought about a notable change in the manner of building in Venice. Another famous building constructed by him about the same time was the Zecca, or mint, generally regarded as one of his finest works. Other important public buildings were the Loggia del Campanile; the Fabbriche Nuovo di Rialto; the Scuola and Brotherhood of the Misericordia; San Geminiano; San Giorgio de' Greci, &c. Of the palaces built by him in Venice may be named the Carnaro, one of the leading ornaments of the Grand Canal, and one of Sansovino's purest designs; the Delfino; and the Manin. Sansovino lived in great honour at Venice. Along with Titian, he was by a special decree of the senate exempted from the payment of taxes, on account of the glory conferred on Venice by his genius. He was also constantly consulted by foreign princes and distinguished personages. In his youth, says Vasari, he was of a goodly presence; and in his age, whilst with his beautiful white beard he had an extremely venerable appearance, he retained the carriage of his youth. He possessed all his faculties unimpaired till his ninety-second year, when, after a few days' illness, he died peacefully on the 2nd of November, 1570. Sansovino is, after Michelangelo, perhaps the most distinguished of those remarkable Italian artists who, in the first half of the sixteenth century, shone alike as sculptors and architects. In sculpture he led the way in the return to a bolder and nobler manner. In palatial architecture he was the first who fully displayed the capabilities of the style which has since spread over Europe, and has in our own day and country been reproduced with so much acceptance in our club-houses and civic architecture generally. Sansovino generally introduced a double order into his façades. In his decorative features he inclined rather to the florid than the classical or severe; but in his most profusely ornamented buildings the character of strength and dignity is never absent. Both in architecture and sculpture Sansovino left many eminent pupils, whilst many others closely studied his style.—J. T—e.
* SANT, James, A.R.A., was born in London in 1820. In 1840 he entered the Royal Academy as a student, having previously been a pupil of John Varley. Mr. Sant early acquired a high position as a portrait painter, his portraits of ladies and children being especially admired for their grace and beauty, and his pictures generally for their rich, warm colour. Mr. Sant has been much patronized by the court. He has painted portraits of the Prince Consort, the Princesses Helena and Louisa, and a large number of the nobility and members of the fashionable world. Among his portraits may be named a series, exhibited in London two years back, of twenty portraits of distinguished persons, painted for the countess of Waldegrave. But Mr Sant has not confined himself to portraiture: his works exhibited at the Royal Academy and the British Institution include, among others, the "Children in the Wood:" "Samuel;" "Saxon
