Lupo; this Agostino commenced the sepulchral monument of Monsignore di Foix, which still remains incomplete. Many large figures designed for this work are still to be seen, some entirely finished, others half done, and others again merely sketched, there are also numerous historical events represented in basso-rilievo, but all in fragments and unfixed in their places, with a vast number of pieces whereon are carved foliage, trophies, and other ornaments.[1] Agostino constructed another monument for the Biraghi family, but this is finished and erected in the Church of San Francesco; it has six large figures and a basement or pedestal decorated with stories in relief, and other rich ornaments, the beauty of all affording ample testimony to the skill and experience of that excellent master.[2]
Among other sons whom Baccio left at his death, was one called Raffaello, who also devoted himself to sculpture, and not only equalled his father, but even surpassed him to a very great degree. This E-affaello, beginning in his earliest youth to work in clay, in wax, and in bronze, acquired the reputation of being an excellent sculptor, and was therefore invited to Loretto with many others, by Antonio da San Gallo, there to aid in completing the decoration of the Holy House, according to the designs and directions left by Andrea Sansovino. Here Raffaello entirely finished the Sposalizio or Marriage of the Virgin, which Sansovino had begun, completing many parts in a most admirable manner, some of them after the sketches left by Andrea, and some from his own invention, he was therefore deservedly accounted among the best masters labouring there in his time.
This work was finished about the time when Michelagnolo,
- ↑ Of the admirable and precious works in sculpture prepared for the tomb of Gaston di Foix, one portion is preserved in the Gallery annexed to the Ambrosian Library in Milan; another part of them is in the Gallery of the Brera in the same city, and many pieces are finally dispersed among private collectors in Milan and elsewhere. See Cicognara, Storia della Scultura Moderna.
- ↑ A sculptor worthy of the highest admiration, in the opinion of all competent authorities, many declaring that in the handling of the chisel for the finish of minute parts he had no equal in Italy. See Cicognara, as abovecited, lib. v.
and even Zambaja. He has been named in the life of Vittore Carpaccio, vol. ii., and will be further mentioned in that of Girolamo Carpi, which will be found in the present volume.
