work, in the manner here described, the above-named Signori executors declared themselves to be most perfectly satisfied, as did the whole city of Naples.
Giovann’ Agnolo then remembered that he had promised Prince Doria to return to Grenoa, there to erect the sepulchral monument of that Sovereign himself. This was to be constructed in the Church of San Matteo, and the Frate was furthermore to decorate the entire church. He departed from Naples, therefore; and having arrived in G-enoa, at once, prepared the models for such works as the above-named Signori had commanded, and which pleasing the latter greatly, Griovann’ Agnolo set hand to the same. Prince Doria allowing him a good stipend, and the monk being assisted by a fair number of masters. Thus dwelling in Grenoa, Griovann’ Agnolo made many friends among the Grenoese nobles and men of distinction, but more especially with certain physicians, and these persons were of great use to him, seeing that they dissected large numbers of human bodies; and, mutually aiding each other, they studied architecture and the laws of perspective in common; by which means Griovann’ Agnolo rendered himself most excellent in his art.
Labouring in this manner, the days of the monk passed on, the Prince going frequently to the place where he was at work, finding much pleasure in his conversation, and ultimately conceiving a great friendship for him. Now about this time one of the nephew^s of Giovann’ Agnolo, whom he had left in the custody of Maestro Zaccheria, was sent to him at Genoa, and this one, called Angelo,[1] was a youth who then gave promise of fair ability and very good dispositions. At the same time there was sent to the Frate by the same Maestro Zaccheria, another young man called Martino, the son of Bartolommeo, a tailor. Both these youths whom the monk instructed as carefully as he might or
- ↑ Or Agnolo; the two being identical, and merely different forms of the same name.
of Montorsoli, by comparing these statues with those executed in other places by Sautacroce, has found no one to support his opinion. Dominici indeed, Vite dei Pittori Scultori e Architetti Napolitani, denies that they are by either of the two artists above-named, nor does Vasari attribute them to Montorsoli, but merely mentions them as being among the other sculptures in the chapel which he is describing.”
