MONTORSOLI, Giovanni Angelo

In 1532 Michelangelo recommended Montorsoli to Clement VII to restore antique statues in the Vatican; his restorations of the Laoco�n group and the Apollo Belvedere (both Museo Pio-Clementino, Vatican) ensured their enduring fame.

The Apollo is now thought to be an original Roman re-creation of Hadrianic date (ca. 120–140) not simply a copy of an original Greek statue (330-320) BC by Leochares It was rediscovered in central Italy in the late 15th century and was placed on semi-public display in the Vatican Palace in 1511, where it remains. It is now in the Cortile del Belvedere of the Pio Clementine Museum of the Vatican Museums complex.

The lower part of the right arm and the left hand were missing when discovered and were restored by Giovanni Angelo Montorsoli.

After the expulsion of the Medici in 1527, and Montorsoli decided to enter a religious order; he was inducted into the Servite Order at Santissima Annunziata in 1530, taking his vows in 1531. He ceased wearing the habit in 1533. For the monastery church he produced several works.

Blessed Ubaldo Adimari (1245-1315) was a Servite friar, beatified in 1821 by Pope Pius VII.

Two marble portrait busts of Charles V (Museo Nazionale di San Martino, Naples and Museo del Prado, Madrid)) date from the Emperor’s visit to Genoa in 1541.

Two marble portrait busts of Charles V (Museo Nazionale di San Martino, Naples and Museo del Prado, Madrid) date from the Emperor’s visit to Genoa in 1541.

Montorsoli was one of the assistants of Michelangelo who worked with the master in the Medici Chapel of the San Lorenzo, Florence.

The sixteenth-century public fountains in Italy were not constructed in Florence but in other towns, above all at Messina, and the Messina fountains served as a stimulus for the fountain in Florence, not surprisingly because their sculptor was a Florentine, Montorsoli.

Montorsoli’s second outstanding work in Messina, after the Fountain of Orion (1550-50) is the marble Fountain of Neptune (1553-57) at the harbour. This consists of a colossal statue of Neptune on a high socle above a basin from which rise the fettered Scylla and Charybdis, the sea monsters of the Straits of Messina. Once again his work introduced a new fountain type, that with a single central figure.

At first, the fountain was placed near the harbour; in 1934 - after a series of damages resulted in the replacement of the original statues with replicas - the fountain was moved to the present place.

The sixteenth-century public fountains in Italy were not constructed in Florence but in other towns, above all at Messina, and the Messina fountains served as a stimulus for the fountain in Florence, not surprisingly because their sculptor was a Florentine, Montorsoli.

Montorsoli’s second outstanding work in Messina, after the Fountain of Orion (1550-50) is the marble Fountain of Neptune (1553-57) at the harbour. This consists of a colossal statue of Neptune on a high socle above a basin from which rise the fettered Scylla and Charybdis, the sea monsters of the Straits of Messina.

The detail shows Scylla and Charybdis, the sea monsters of the Straits of Messina.

The sixteenth-century public fountains in Italy were not constructed in Florence but in other towns, above all at Messina, and the Messina fountains served as a stimulus for the fountain in Florence, not surprisingly because their sculptor was a Florentine, Montorsoli.

In September 1547 Montorsoli travelled to Messina to produce the Fountain of Orion in front of the cathedral. The elaborately carved marble basin supports four reclining river-gods, the first use of such a formula in Renaissance art and also the first example of an urban fountain with symbolism directly related to water; a statue of the city’s founder, Orion, surmounts two further basins. Before the fountain could be erected in 1553, the church of San Lorenzo had to be demolished to make way for it. It was rebuilt elsewhere to plans by Montorsoli (destroyed 1783).

The sixteenth-century public fountains in Italy were not constructed in Florence but in other towns, above all at Messina, and the Messina fountains served as a stimulus for the fountain in Florence, not surprisingly because their sculptor was a Florentine, Montorsoli.

In September 1547 Montorsoli travelled to Messina to produce the Fountain of Orion in front of the cathedral. The elaborately carved marble basin supports four reclining river-gods, the first use of such a formula in Renaissance art and also the first example of an urban fountain with symbolism directly related to water; a statue of the city’s founder, Orion, surmounts two further basins. Before the fountain could be erected in 1553, the church of San Lorenzo had to be demolished to make way for it. It was rebuilt elsewhere to plans by Montorsoli (destroyed 1783).

Montorsoli’s last important work was the free-standing marble high altar of Santa Maria dei Servi in Bologna. Its many sculptures are set into a polychrome marble architectural setting with three niches separated by columns; Vasari particularly singled out for praise the central statue of the Risen Christ.

The detail shows the seated figure lower right.

The detail shows the seated figure lower left.

At the end of his life Montorsoli’s main interest was in the foundation of the Accademia del Disegno in Florence and the conversion of the former chapter house of his monastery church into a memorial chapel for artists, the Cappella di San Luca (Chapel of St Luke). The chapel has belonged to the artists confraternity or the Accademia delle Arti del Disegno since 1565. Many artists are buried in its vault, including Benvenuto Cellini, Pontormo, Franciabigio, Giovanni Angelo Montorsoli and Lorenzo Bartolini.

A document from the archive of Santissima Annunziata contains detailed information about the subjects of the decorations and the artists who were elected to produce them. The sculptures had to represent Abraham, David, Solomon, Melchizedek, Joshua, St Peter and the four evangelists. Together with Montorsoli’s earlier Moses and St Paul, this would bring the total to twelve statues. The six figures from the Old Testament were meant for the niches to the right of the altar (for a viewer looking toward it from the entrance, in the north wall), and those from the New Testament to its left. The altarpiece had to be a painting representing the Most Holy Trinity. The two remaining large frescoes on the sidewalls had to depict unspecified scenes from the Old and the New Testament.

Presently there are ten stucco figures in the niches (two were lost in the 19th century) as follows:

Abraham (by Stoldo Lorenzi)

Moses (by Montorsoli)

St Paul (by Motorsoli)

St Peter (by Domenico Poggini)

Joshua (by Vincenzo Danti)

Melchizedek (by Francesco Camilliani)

St Luke (by Vincenzo Danti)

St John Evangelist (by Giovanni Vincenzo Casali and Valerio Cioli)

Solomon (by Giambologna and Giovanni Vincenzo Casali)

King David (attributed to Giovan Battista Foggini)

There are three large frescoes:

Most Holy Trinity (by Alessandro Allori)

St Luke Painting the Virgin (by Giorgio Vasari)

Building of the Temple of Solomon (by Santi di Tito).

The frescoes contain the portraits of various artists, who had died in the preceding period. For instance, the two figures in the right foreground of Vasari’s Saint Luke Painting the Virgin have been identified as Montorsoli and his pupil Martino, who was the second artist to be buried in the chapel after Pontormo. Pontormo himself was represented together with Agnolo Bronzino in the lower corners of Allori’s fresco.

The photo shows a view of the chapel seen from the current entrance in the west wall.

At the end of his life Montorsoli’s main interest was in the foundation of the Accademia del Disegno in Florence and the conversion of the former chapter house of his monastery church into a memorial chapel for artists, the Cappella di San Luca (Chapel of St Luke). The chapel has belonged to the artists confraternity or the Accademia delle Arti del Disegno since 1565. Many artists are buried in its vault, including Benvenuto Cellini, Pontormo, Franciabigio, Giovanni Angelo Montorsoli and Lorenzo Bartolini.

A document from the archive of Santissima Annunziata contains detailed information about the subjects of the decorations and the artists who were elected to produce them. The sculptures had to represent Abraham, David, Solomon, Melchizedek, Joshua, St Peter and the four evangelists. Together with Montorsoli’s earlier Moses and St Paul, this would bring the total to twelve statues. The six figures from the Old Testament were meant for the niches to the right of the altar (for a viewer looking toward it from the entrance, in the north wall), and those from the New Testament to its left. The altarpiece had to be a painting representing the Most Holy Trinity. The two remaining large frescoes on the sidewalls had to depict unspecified scenes from the Old and the New Testament.

Presently there are ten stucco figures in the niches (two were lost in the 19th century) as follows:

Abraham (by Stoldo Lorenzi)

Moses (by Montorsoli)

St Paul (by Motorsoli)

St Peter (by Domenico Poggini)

Joshua (by Vincenzo Danti)

Melchizedek (by Francesco Camilliani)

St Luke (by Vincenzo Danti)

St John Evangelist (by Giovanni Vincenzo Casali and Valerio Cioli)

Solomon (by Giambologna and Giovanni Vincenzo Casali)

King David (attributed to Giovan Battista Foggini)

There are three large frescoes:

Most Holy Trinity (by Alessandro Allori)

St Luke Painting the Virgin (by Giorgio Vasari)

Building of the Temple of Solomon (by Santi di Tito).

The frescoes contain the portraits of various artists, who had died in the preceding period. For instance, the two figures in the right foreground of Vasari’s Saint Luke Painting the Virgin have been identified as Montorsoli and his pupil Martino, who was the second artist to be buried in the chapel after Pontormo. Pontormo himself was represented together with Agnolo Bronzino in the lower corners of Allori’s fresco.

At the end of his life Montorsoli’s main interest was in the foundation of the Accademia del Disegno in Florence and the conversion of the former chapter house of his monastery church into a memorial chapel for artists, the Cappella di San Luca (Chapel of St Luke). The chapel has belonged to the artists confraternity or the Accademia delle Arti del Disegno since 1565. Many artists are buried in its vault, including Benvenuto Cellini, Pontormo, Franciabigio, Giovanni Angelo Montorsoli and Lorenzo Bartolini.

A document from the archive of Santissima Annunziata contains detailed information about the subjects of the decorations and the artists who were elected to produce them. The sculptures had to represent Abraham, David, Solomon, Melchizedek, Joshua, St Peter and the four evangelists. Together with Montorsoli’s earlier Moses and St Paul, this would bring the total to twelve statues. The six figures from the Old Testament were meant for the niches to the right of the altar (for a viewer looking toward it from the entrance, in the north wall), and those from the New Testament to its left. The altarpiece had to be a painting representing the Most Holy Trinity. The two remaining large frescoes on the sidewalls had to depict unspecified scenes from the Old and the New Testament.

Presently there are ten stucco figures in the niches (two were lost in the 19th century) as follows:

Abraham (by Stoldo Lorenzi)

Moses (by Montorsoli)

St Paul (by Motorsoli)

St Peter (by Domenico Poggini)

Joshua (by Vincenzo Danti)

Melchizedek (by Francesco Camilliani)

St Luke (by Vincenzo Danti)

St John Evangelist (by Giovanni Vincenzo Casali and Valerio Cioli)

Solomon (by Giambologna and Giovanni Vincenzo Casali)

King David (attributed to Giovan Battista Foggini)

There are three large frescoes:

Most Holy Trinity (by Alessandro Allori)

St Luke Painting the Virgin (by Giorgio Vasari)

Building of the Temple of Solomon (by Santi di Tito).

The frescoes contain the portraits of various artists, who had died in the preceding period. For instance, the two figures in the right foreground of Vasari’s Saint Luke Painting the Virgin have been identified as Montorsoli and his pupil Martino, who was the second artist to be buried in the chapel after Pontormo. Pontormo himself was represented together with Agnolo Bronzino in the lower corners of Allori’s fresco.

At the end of his life Montorsoli’s main interest was in the foundation of the Accademia del Disegno in Florence and the conversion of the former chapter house of his monastery church into a memorial chapel for artists, the Cappella di San Luca (Chapel of St Luke). The chapel has belonged to the artists confraternity or the Accademia delle Arti del Disegno since 1565. Many artists are buried in its vault, including Benvenuto Cellini, Pontormo, Franciabigio, Giovanni Angelo Montorsoli and Lorenzo Bartolini.

A document from the archive of Santissima Annunziata contains detailed information about the subjects of the decorations and the artists who were elected to produce them. The sculptures had to represent Abraham, David, Solomon, Melchizedek, Joshua, St Peter and the four evangelists. Together with Montorsoli’s earlier Moses and St Paul, this would bring the total to twelve statues. The six figures from the Old Testament were meant for the niches to the right of the altar (for a viewer looking toward it from the entrance, in the north wall), and those from the New Testament to its left. The altarpiece had to be a painting representing the Most Holy Trinity. The two remaining large frescoes on the sidewalls had to depict unspecified scenes from the Old and the New Testament.

Presently there are ten stucco figures in the niches (two were lost in the 19th century) as follows:

Abraham (by Stoldo Lorenzi)

Moses (by Montorsoli)

St Paul (by Motorsoli)

St Peter (by Domenico Poggini)

Joshua (by Vincenzo Danti)

Melchizedek (by Francesco Camilliani)

St Luke (by Vincenzo Danti)

St John Evangelist (by Giovanni Vincenzo Casali and Valerio Cioli)

Solomon (by Giambologna and Giovanni Vincenzo Casali)

King David (attributed to Giovan Battista Foggini)

There are three large frescoes:

Most Holy Trinity (by Alessandro Allori)

St Luke Painting the Virgin (by Giorgio Vasari)

Building of the Temple of Solomon (by Santi di Tito).

The frescoes contain the portraits of various artists, who had died in the preceding period. For instance, the two figures in the right foreground of Vasari’s Saint Luke Painting the Virgin have been identified as Montorsoli and his pupil Martino, who was the second artist to be buried in the chapel after Pontormo. Pontormo himself was represented together with Agnolo Bronzino in the lower corners of Allori’s fresco.

In 1532 Michelangelo recommended Montorsoli to Clement VII to restore antique statues in the Vatican; his restorations of the Laoco�n group and the Apollo Belvedere (both Museo Pio-Clementino, Vatican) ensured their enduring fame.

At the end of his life Montorsoli’s main interest was in the foundation of the Accademia del Disegno in Florence and the conversion of the former chapter house of his monastery church into a memorial chapel for artists, the chapel of San Luca. The chapel has belonged to the artists confraternity or the Accademia delle Arti del Disegno since 1565. Many artists are buried in its vault, including Benvenuto Cellini, Pontormo, Franciabigio, Giovanni Angelo Montorsoli and Lorenzo Bartolini.

Moses is one of the ten stucco figures decorating the Cappella di San Luca.

The picture shows the Pietà group in the centre niche of the apse.

After the expulsion of the Medici in 1527, and Montorsoli decided to enter a religious order; he was inducted into the Servite Order at Santissima Annunziata in 1530, taking his vows in 1531. He ceased wearing the habit in 1533.

For the monastery church he produced several works.

In 1532 Michelangelo recommended Montorsoli to Clement VII to restore antique statues in the Vatican; his restorations of the Laoco�n group and the Apollo Belvedere (both Museo Pio Clementino, Vatican) ensured their enduring fame.

The ancient Roman statue of a river was restored by Giovanni Angelo Montorsoli, who gave it the attributes of River Tigris. It is exhibited in the “Cortile Ottagono” (Octagonal Courtyard) in the Museo Pio Clementino, Vatican.

The Medici Chapel (Cappella Medicea) is the chapel housing monuments to members of the Medici family, in the New Sacristy of the Church of San Lorenzo in Florence.

Lorenzo the Magnificent and his brother Giuliano the Elder were buried at the entrance wall, and over them was set up a marble group consisting of a Madonna and Child and the Medici patron saints Cosmas and Damian. The Madonna is completely by Michelangelo’s own hand; the saints are the work of pupils (Montorsoli and Montelupo) after models by the master.

At the end of his life Montorsoli’s main interest was in the foundation of the Accademia del Disegno in Florence and the conversion of the former chapter house of his monastery church into a memorial chapel for artists, the chapel of San Luca. The chapel has belonged to the artists confraternity or the Accademia delle Arti del Disegno since 1565. Many artists are buried in its vault, including Benvenuto Cellini, Pontormo, Franciabigio, Giovanni Angelo Montorsoli and Lorenzo Bartolini.

St Paul is one of the ten stucco figures decorating the Cappella di San Luca.

Montorsoli’s works in Genoa include the decoration of the Doria family church, San Matteo. There he furnished the apse with five niche figures and the presbytery walls with polychrome marble incrustation and reliefs of the Evangelists beside the tombs of saints; the ceiling and cupola were decorated with figural stuccowork. He also executed the marble tomb of Andrea Doria for the crypt.

The picture shows Montorsoli’s marble statues in the niches of the apse (from left to right): David, St John the Baptist, the Pietà, St Andrew, Jeremiah.

In 1550 Montorsoli designed the interior of Messina Cathedral. The walls of the side aisles are enriched by the Chapels of the Apostols, a series of twelve niches (six per aisle) containing the statues of the Apostles. The complex was designed and partially executed by Giovanni Angelo Montorsoli.

Santa Maria del Parto was founded by Jacopo Sannazaro, on land (Mergellina) donated to him by King Frederick I of Aragon in 1497. Jacopo Sannazaro (1458-1530) was an Italian poet, humanist and epigrammist from Naples. His tomb, made by Montorsoli assisted by Ammanati, is in the church.

At the sides, under the sarcophagus, are seated figures of Apollo and Minerva, in the centre is a mythological relief with Pan, Marsyas, Euterpe, Neptune and Amphitrite, and at the top is the laureated bust of Sannazaro, between two putti balanced on the lid of the sarcophagus.

An epitaph by the Venetian cardinal Pietro Bembo, secretary to Pope Leo X, on the tomb base reads: “From flower to sacred ashes, here lies the famous and sincere Sannazaro, near to Virgil in poetry as in sepulchre.” Virgil’s tomb is found nearby in Naples.

Both Montorsoli and Ammanati worked under the spell of Michelangelo, whose statue of Giuliano de’Medici was adopted by Ammanati as the basis of the Apollo on the tomb. Montorsoli’s two putti on the sarcophagus, each with its outer arm thrown expansively across the body, also stem from Michelangelo. The bust was worked up by Montorsoli from a cast of the poet’s face and skull.

Mario Maffei (1463-1537) was a philosopher active in Rome.

When the Cappella di San Luca was officially conceded to the Accademia del Disegno in 1565, it was already partly furnished and decorated by Montorsoli. In the first place, there were two statues of painted terracotta representing Moses and St Paul, which the Servite sculptor had produced in the 1530s. Furthermore, in the early 1560s Montorsoli had designed the altar and the marble tombstone, which closed off the burial chamber beneath the chapel.

In 1555 Montorsoli designed his second architectural work (after rebuilding the church of San Lorenzo), the lighthouse in Messina harbour, the Torre Lanterna di Messina on Punta San Raineri.

The photo shows a view taken from the Sanctuary of Montalto, rising on the hill of Caperrina.