1910] on Renaissance Monuments in the Roman Churches. 885 



end of the fifteenth century (1489), and it seems probable that this 

 Jacopo of Florence was, as his appellation suggests, a pupil of Andrea 

 Bregno. 



There is, however, an artist of considerable merit and achieve- 

 ment whom we are able to identify, thanks to the preservation of two 

 contracts, and with a brief notice of his work I will conclude. The 

 restoration of Luigi Gapponi to his place in the history of art was 

 first due to the critical investigations of Conti Gnoli. But I do not 

 think the full catalogue of his work in Rome has yet been compiled. 



The first of these documents is a contract of the year 1485, made 

 with Luigi Capponi of Milan and Giacomo di Domenico della Pietra, 

 for a marble tomb to be made for Brusati, Archbishop of Nicosia, 

 nephew of Cardinal Roverella, by the side of whose tomb it stands 

 in San Clemente. It was to be completed in four months at a cost 

 of 60 ducats. It resembles the monument of Christofero delle Rovere 

 on a smaller scale. I have only been able to obtain a slide made 

 from an old print in Tosi's collection. I will ask you to notice 

 certain characteristics of the ornamentation. The candelabra of the 

 pilasters, the tazzas and the little flaming lamps, the strings of beads 

 festooned or dependent. These are a sort of hall mark of Capponi. 

 The drapery is academic, the folds are deeply and straightly chiselled, 

 and there is a geometrical correspondence of angles in the sleeves. 

 The second document which has come to light is a contract between 

 a certain Michele Buttaroni and Master Luigi, this time alone, for a 

 marble crucifixion to be made for the church of Sta. Maria delle Crazie. 

 The rehef to be enclosed in a frame for an altar. The crucifixion 

 has now l)een moved to a ward in the hospital of the Consolazione 

 behind the church, and is therefore difficult of access ; the frame is 

 still in the sacristy. The reliefs on the pilasters are almost identical 

 with those of the Brusati tomb. Over the pediment are the arms of 

 Innocent YIII. In this contract no mention is made of Giacomo di 

 Domenico, who, we may assume, was only the marble mason. The 

 figure on the cross in the relief is rather inanimate ; on the other 

 hand, the figures of the Virgin and St. John on either side are full 

 of expression ; the sense of grief in the faces is powerfully rendered, 

 and all the workmanship is good down to the minutest details, the 

 hands especially being rendered with delicate care in execution. I 

 am sorry it has not been possible to procure a photograph of this 

 remarkable piece of work. But the St. John is tolerably well 

 represented, though much less fine in execution, in another relief of 

 which I have a slide. It represents Pope Leo I. kneeling in 

 adoration before the Evangelist, and may be seen in the baptistery 

 of St. John Lateran. ' The figure of the St. John is here turned to 

 the left instead of to the right, as in the crucifixion, but the whole 

 manner of treating the drapery, and the characteristic corded loug 

 hair flowing down over the neck, leave no doubt as to the identity 

 of authorship. You should also notice the flaming lamp suspended 



