below, they appear as if done in
oil-colours with the brush; besides that there may be seen in their
hands and about them little pictures full of figures executed with the
greatest diligence, insomuch that they have the appearance not of
paintings only, but of miniatures, and yet they are made of stones
joined together. There are also many portraits; the Emperor Charles V,
Ferdinand his brother, who succeeded him in the Empire, and
Maximilian, son of Ferdinand and now Emperor; likewise the head of the
most illustrious Cardinal Bembo, the glory of our age, and that of the
Magnificent ...; all executed with such diligence and unity, and so
well harmonized in the lights, flesh-colours, tints, shadows, and
every other thing, that there is nothing better to be seen, nor any
more beautiful work in a similar material. And it is in truth a great
pity that this most excellent art of working in mosaic, with its
beauty and everlasting life, is not more in use than it is, and that,
by the fault of the Princes who have the power, no attention is given
to it.

[Footnote 9: Zuccati.]

In addition to those named above, there has worked in mosaic at S.
Marco, in competition with the Zuccheri, one Bartolommeo Bozzato, who
also has acquitted himself in his works in such a manner as to deserve
undying praise. But that which has been of the greatest assistance to
all in this art, is the presence and advice of Tiziano; of whom,
besides the men already named and many more, another disciple, helping
him in many works, has been one Girolamo, whom I know by no other name
than Girolamo di Tiziano.

JACOPO SANSOVINO

DESCRIPTION OF THE WORKS OF JACOPO SANSOVINO[10]

SCULPTOR OF FLORENCE

[Footnote 10: After the death of Jacopo Sansovino in 1570,
Vasari published a separate Life of him, containing an
account of his death and other additional information. Such
passages as contain information that is new or expressed
differently from that of the Edition of 1568 will be found in
the notes at the end of this Life.]

The while that Andrea Contucci, the sculptor of Monte Sansovino,
having already acquired in Italy and Spain the name of the most
excellent sculptor and architect that there was in art after
Buonarroti, was living in Florence in order to execute the two figures
of marble that were to be placed over that door of the Temple of S.
Giovanni which faces towards