o, who was
executing the ornaments of Castello, was no advantage to the Frate.
However that may have been, perceiving himself to be badly treated by
Riccio, and being a proud and choleric man, he went off to Genoa. There
he received from Cardinal Doria and from the Prince the commission for
the statue of that Prince, which was to be placed on the Piazza Doria;
to which having set his hand, yet without altogether neglecting the tomb
of Sannazzaro, while Tadda was executing the squared work and the
carvings at Carrara, he finished it to the great satisfaction of the
Prince and the people of Genoa. But, although that statue had been made
to be placed on the Piazza Doria, nevertheless the Genoese made so much
ado, that, to the despair of the Frate, it was placed on the Piazza
della Signoria, notwithstanding that he said that he had fashioned it to
stand by itself on a pedestal, and that therefore it could not look well
or have its proper effect against a wall. And, to tell the truth,
nothing worse can be done than to set up a work made for one place in
some other place, seeing that the craftsman accommodates himself in the
process of his labour, with regard to the lights and view-points, to the
position in which his work, whether sculpture or painting, is to be
placed. After this the Genoese, seeing the scenes and figures made for
the tomb of Sannazzaro, and much liking them, desired that the Frate
should execute a S. John the Evangelist for their Cathedral Church;
which, when finished, pleased them so much that it filled them with
stupefaction.

Finally Fra Giovanni Agnolo departed from Genoa and went to Naples,
where he set up in the place already mentioned the tomb of Sannazzaro,
which is composed in this fashion. At the lower corners are two
pedestals, on each of which are carved the arms of Sannazzaro, and
between them is a slab of one braccio and a half on which is carved the
epitaph that Jacopo wrote for himself, supported by two little boys.
Next, on each of the said pedestals is a seated statue of marble in the
round, four braccia in height, these being Minerva and Apollo; and
between them, set off by two ornamental consoles that are at the sides,
is a scene two braccia and a half square, in which are carved in
low-relief Fauns, Satyrs, Nymphs, and other figures that are playing and
singing, after the manner which that most excellent man has described in
the pastoral verses of his most learned Arcadia. Above this s