882 Sir Rennell Rodd [June 3, 



and application the lost art of chiselling (artem celandi) as practised 

 by the ancients. He lived 85 years. It was erected in 1506 by 

 Bartolomeo Bolli, controller of the Papal records, and Catherine, his 

 wife, Bregno's wife, that is ; for another document discovered by 

 Bertolotti shows that Andrea di Brignonibus, a sculptor of the diocese 

 of Milan, who lived in the Rione Trevi, made a testamentary dispo- 

 sition on the 8th of July, 1503, of a part of his house to his wife, 

 Catherine. This will thus refers to him as of Milan, though he was 

 born at Como, where the Bregno family produced at least four 

 members who became eminent in the story of art. Round the 

 cii'cular niche, containing the bust, and in the pilasters are shown 

 all the tools and implements of his craft. The words " arlem celandi,'" 

 the art of chasing or chiselling, which he is said to have revived, have, 

 I believe, a special meaning, and the phrase is not merely complimen- 

 tary. A strict latinist would maintain that celare should signify the 

 chasing of metals, but we find in the latinity of this period such phrases 

 as celatorius marmorum. I have found no record in any of the Papal 

 registers of Andrea Bregno as a goldsmith, and had he revived any 

 lost art in working precious metals, he could hardly have failed to 

 receive commissions from Paul II. or Sixtus IV. He is only referred 

 to as scidtor marmorarius or statuarius celeberrimus, and I believe the 

 meaning to be that he was the first in Rome to reintroduce the art of 

 decorative marble-cutting on incised surfaces, after the manner of the 

 ancients. A study of his works shows that he was indeed the chief 

 initiator in Rome of renaissance surface decoration, ornamenting 

 pilaster and frame with delicate candelabra and foliage and armorial 

 design — and I believe it can fairly be established that it was after his 

 acquaintance with and association with the Roman Andrea that 

 Mino da Fiesole applied such elaboration of ornament to his own 

 monumental work. 



Andrea was born about 1421, and we have no evidence as to how 

 the first forty years of his life were spent. If I may hazard a con- 

 jecture, it would be that he worked with Paolo Romano and Isaiah. 

 There is no time to-night to examine the evidence in support of this 

 theory. It must suffice to say that his first tombs follow the model 

 established by the latter, and I should attribute to him the restora- 

 tions to the tomb of Eugene IV., or, shall we say, the portions which 

 are evidently not by Isaiah himself. Andrea's angels have their 

 prototype in those of Paolo Romano in the shrine of St. Andrew in 

 the crypt, and a third lunette, differing in some respects from the 

 other two, may be his work. In his native Osteno are two tabernacles 

 closely resembling those of St. Maria del Popolo ; they are dated 

 1464, and were probably executed in Rome. For his earlier work 

 here we must go to San Pietro in VincoU, where the monument of 

 Cardinal de Cusa is no doubt rightly attributed to him, and to the 

 church of Aracoeli, where the grave of Cardinal d'Albret (Lebretto) 

 demands particular attention. Lebretto died in 1465, and if this 



