\paperw19995 \margr0\margl0 \plain \fs20 \f1 Italian sculptor.\par
Lombardo was taught by his father Pietro, with whom he collaborated from the time of the construction
of the monument to Doge Mocenigo onward. At the beginning of his career he worked closely with his brother Antonio. He soon started to receive independent commissions, commencing with the \i Coronation of Mary\i0 for the church of San Giovanni Crisos
tomo in Venice (1502). In this work he proves that he has fully assimilated the legacy of his fatherÆs workshop. Yet his style grew increasingly distinct, owing to its pronounced classical accents and in the treatment of the highly polished surfaces an
d the meticulous rendering of details. Examples of this can be seen in his reliefs representing \i Miracles of Saint Anthony\i0 , carved for the basilica of Il Santo in Padua (1520-25) and the monument to Matteo Bellati in Feltre Cathedral (1528). He w
as active in Venice (where it is still possible to see his \i Annunciation\i0 , in the oratory of the Seminary, and his \i Assumption\i0 , in San Giovanni Crisostomo), at Belluno and Treviso in the Veneto, and at Mantua and Ferrara in the Po Valley. A n
umber of freestanding sculptures, such as the \i Bacchus and Ariadne\i0 , now in the Kunsthistorisches Museum in Vienna, are remarkable for their perfection of form and severe realism, inspired by Roman statuary. His greatest work, in which classicism a
nd a taste for pathos are fused in an extraordinarily harmonious fashion, is the tombstone of Guidarello Guidarelli, now in the Museo Civico of Ravenna (1525).
