428:, a 17th-century source states Usimbardi had commissioned it "for another place" (probably the San Pietro chapel). There may be some truth to this, in that the work is the only decorative element in the chapel which does not relate to Saint Peter and his cult. However, it is safe to assume that Aspetti would have finished the rest of the chapel's sculptures had he lived long enough, since they were produced after his death by his pupil
361:, where they remain. Few of Venice's church facades have been completed and still fewer have facade sculptures, especially before 1600, with the Moses and St Paul among the first bronze statues on the facade of a Venetian church, their dark material contrasting with the white marble background. Once these projects were complete Aspetti made his first known trip beyond the Veneto. He was recorded as being in
147:, Grimani was also a major patron of contemporary artists and his palazzo hosted one of Italy's large and valuable collection of antiquities outside of Rome, a major draw for visitors to Venice. Aspetti's long service was unlike the repeated commission-hunting of other artists in Venice at the time, making him almost a court artist and . The Patriarch's family supported Italian
259:) and his figures ranged from low reliefs to almost fully in-the-round sculpture. In fact, he so far exceeded his commissioner's expectations that his pay was doubled. In the two scenes he produced spatial richness through a variety of emotions, poses and textures varying between brick and stone architectural backgrounds, bare flesh, leather and armour. The emotional range in
321:'s high altarpiece (completed in 1453) and the bronze statues and marble reliefs decorating the side walls of the Sant'Antonio chapel. The statues of three Franciscan saints were not typical of Aspetti, instead emulating Donatello. The Virtues were depicted half life-size, with small heads, elongated bodies and elegant drapery, more typical of Aspetti's style at this time.
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poetry, particularly in
Laurence's stubborn and immovable depiction in the centre of the work, looking diagonally up to heaven even as he is being placed on the gridiron, the instrument of his martyrdom. The figures and types are much more robust and muscular than in Aspetti's younger works, as is
209:. They were undertaken before 28 November 1592, the date at which the Patriarch used a codicil in his will to order the artist to complete them. He also ordered Aspetti to execute the figures of Moses and Saint Paul for the same church, as will be discussed later. Aspetti was painted by
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extends from the executioner nailing the saint's naked and pitiable body to the indifferent soldiers on the right and the consternation of the men on the left. The work even evokes sound, with a barking dog and a horse neighing and rearing near a man playing a hunting horn, as in
317:), the four cardinal virtues of Faith, Charity, Temperance and Fortitude or Hope and four candle-bearing angels (the Virtues were placed in the choir in 1597 on the balustrade of the high altar). This was the third and biggest monumental complex dedicated to St Anthony after
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particularly seen in the superbly-modelled figure curled up in front of the main sculptural group, showing the mastery he had gained in depicting the nude. The work was in 1605 well-integrated into a new decorative scheme for the
Usimbardi chapel by
20:
247:
Aspetti's approach was profoundly pictorial and showed his true vocation for bas-relief sculpture. He and his uncle were among the few
Venetian sculptors interested in Florentine techniques for producing bas-reliefs (starting with the
65:
had a monopoly on the main sculptural commissions. Although
Aspetti beat Campagna to the commission for the Sant'Antonio altar, he was not so successful in Venice, producing nothing quite as powerful as Campagna's high altar for
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in Pisa, with
Berzighelli paying for the funeral - a 1606 bust of Aspetti by Palma and an inscription both still survive on the site. Unmarried and without issue, he made a nephew his heir.
401:, eight bronze reliefs of mythological scenes, a silver piece showing Christ at the column with two whippers (left in Aspetti's will to the basilica of St Anthony back in Padua), a marble
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After the two works' notable success, on 6 November 1593 Aspetti received a very lucrative and prestigious commission for a new marble altarpiece for the Sant'Antonio chapel in the
171:. Spending his youth in the rich and elegant surroundings of the collection, including time restoring some of the antiquities, made its mark and can be seen in his mature works.
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Dizionario degli architetti, scultori, pittori, intagliatori in rame ed in pietra, coniatori di medaglie, musaicisti, niellatori, intarsiatori d'ogni etá e d'ogni nazione'
100:, though it is impossible to fully analyse him as an artist until more is discovered about the now-lost works he produced there, especially eight mythological works.
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showed a deeper feeling than the two reliefs made for the basilica in Padua, being less theatrical and more pictorial. It is well-attuned to contemporary
280:, fire marks and other techniques reproduces a pattern on the whole surface and attest to his love for pictorial and coloristic effects. They and the
268:. The elongated, slender and dynamic figures fit the canon of physical beauty and reflect the artist's knowledge of contemporary Mannerism as well as
643:, a collection catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Aspetti (see index)
244:, later replaced by another casting, the latter still being in Padua's Diocesan Museum of Religious Art and probably produced in the 19th century.
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424:(1547–1636). Although throughout its history it has formed the front of the altar in the Usimbardi chapel at the north-west corner of the nave of
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397:'s household in Pisa were highly productive, during which he produced two bronze crucifixes, a bronze relief showing Berzighelli's second wife
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133:, the other major sculptor active in Venice in the late 16th century. His family contacts definitely allowed Aspetti to join the household of
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Aspetti completed the altarpiece around 30 December 1595, at which date he was commissioned to produce a figure of Christ for the
205:'s forge. His first surviving bronzes are the life-size allegorical figures of Temperance and Justicec in the Grimani chapel in
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M. Perry: 'Cardinal
Domenico Grimani's Legacy of Ancient Art to Venice', J. Warb. & Court. Inst., xxxxi (1978), pp. 229–30
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611:, Boll. Mus. Civ. Padova, vi (1930), pp. 189–207; vii (1931), pp. 101–52; viii (1932), pp. 67–103; x–xi (1934–9), pp. 91–138
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by
Giovanni Antonio Minelli de' Bardi in the north-west nave aisle, completed on 8 May 1599. The bronze busts of
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458:, which began on 25 March in the modern calendar). At his own request he was buried in the cloisters of
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240:, probably for an altar to that saint in the crypt. What is probably the original casting is now in the
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by
Campagna were for a time misattributed to Aspetti, who actually produced the bas-relief itself of
190:, neither of them relating to the elegance of his later works. The Atlantes supporting a bas-relief (
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88:, which may have been Aspetti's reason for moving there in 1604, completing a bronze relief of the
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Aspetti left Venice permanently sometime after 3 July 1604 to accompany
Giovanni Grimani's nephew
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Olga Raggio, 'Tiziano
Aspetti's Reliefs with Scenes of the Martyrdom of St. Daniel of Padua',
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His mother's family had produced many other artists - nicknamed 'Lizzaro', her father
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around 1592, a work now held in the Royal Collection of the United Kingdom.
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Thanks to the Grimani's patronage, Aspetti's fame quickly spread to
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La decorazione cinquecentesca della cappella dell'arca di S Antonio
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of Saint Mark and Saint Theodore in 'pietra viva' for the 'new'
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Campbell, Gordon, ed. (2003). "Aspetti, Tiziano (1559–1606)".
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The only surviving sculpture from Aspetti's years in Pisa is
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Le donazioni alla Serenissima di Domenico e Giovanni Grimani
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in Venice in 1577, ultimately spending sixteen years in it.
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in October 1599, but he returned to Venice in or by 1602.
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and early in the 1590s he produced bronze bas-reliefs of
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to his will on 27 July 1606 (or 1607 according to the
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57:When Aspetti began his public career in the 1590s,
96:in Florence. He flourished in Tuscany and died in
290:; early 1580) are the first worthy successors to
593:Fonti e studi per la storia del Santo a Padova
50:and many other sculptural decorations for the
595:, ed. G. Lorenzoni (Vicenza, 1984), pp. 166–9
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70:(1590–1593) and the altar at San Salvatore (
30:(1559–1606) was an Italian sculptor of the
503:: CS1 maint: location missing publisher (
629:. Milan: Gaetano Schiepatti. p. 84.
533:, Archivio Ven., l–li (1952), pp. 34–77
481:The Oxford dictionary of the Renaissance
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61:had practically stopped sculpting and
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575:, Vol. 16, 1981 (1981), pp. 131–146
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591:, 'Le sculture del Santo', iv of
52:Basilica of Sant'Antonio of Padua
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176:bas-reliefs
115:Guido Minio
86:Giambologna
75: 1590
32:Renaissance
651:Categories
626:(Volume 1)
558:2007-06-30
544:"Bassano,
529:R. Gallo:
483:. Oxford.
466:References
253:stiacciato
151:and their
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436:Martyrdom
355:Palladian
319:Donatello
261:Martyrdom
552:Archived
278:intaglio
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391:Tuscany
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266:Dragged
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46:and of
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381:, to
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257:Padua
223:Padua
217:Padua
184:Giant
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145:doges
36:Padua
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