bis  predilection.  Disappointed  in  this  expectation,  and  haying
little  liking  for  the  goldsmith's  trade,  he  ran  away  from  his
master's  workshop  to  his  father's  stndio,  where  he  learned  how
to  work  in  marble  and  clay,  and  in  his  leisure  hours  drew  at
the  Carmine,  Santa  Maria  Novella  and  the  Annanziata.  By
the  time  that  he  was  sixteen  years  old  he  had  evidently  gained
no  little  proficiency,  for  he  was  selected  by  Giovanni  da  Fiesole
to  go  with  him  to  Carrara,  to  finish  a  monument  commenced  by
Bartolomeo  Ordonnez,  a  Spanish  sculptor  lately  deceased.  From
Carrara,  where  he  spent  a  year,  he  went  to  Lucca,  to  work
upon  the  tomb  of  Bishop  de'  Gigli,  begun  by  his  father  Barto-
lomeo, and  thence  to  Florence  where  he  fell  in  with  the  sculptor
Lorenzo  Lotti,  called  Lorenzetto,  with  whom  he  was  afterwards
associated  at  Rome.  We  first  hear  of  this  artist  (bom  1490,
died  1541),  who  was  the  son  of  Ludovico  Lotti,  a  bell-maker
and  caster  at  Florence,  in  1514,  as  working  on  a  statuette  of
Charity,  and  on  the  sepulchral  effigy  of  Cardinal  Forteguerra  for
his  tomb  in  the  Cathedral  of  Pistoja,*  and  then  as  employed
to  put  into  marble  the  statues  of  Jonah  and  Elias  which
Baphael  had  designed  as  a  part  of  the  decoration  of  the  Chigi
Chapel  at  S.  Maria  del  Popolo.f  The  death  of  the  great
painter  in  1520,  followed  almost  immediately  by  that  of  his

*  Commenced  by  Yerrocchio,  to  whom  the  figures  of  Hope  and  the  Grod
the  Father  with  angels  are  attributed.  The  ^^^'^  by  Lorenzetto  is  in
one  of  the  halls  of  the  Sapienza,  and  unfinished.  The  bust,  the  um
and  the  ornaments  are  by  Gaetano  MazzonL  Milanesi,  ed.  Yasari,
vol.  iiL  p.  370,  nota.
