Edinburgh Research Explorer Reputation, patronage and opportunism Citation for published version: Richardson, C 2018, 'Reputation, patronage and opportunism: Andrea Sansovino arrives in Rome', Sculpture Journal, vol. 27, no. 2, pp. 177-192. https://doi.org/10.3828/sj.2018.27.2.3 Digital Object Identifier (DOI): 10.3828/sj.2018.27.2.3 Link: Link to publication record in Edinburgh Research Explorer Document Version: Peer reviewed version Published In: Sculpture Journal General rights Copyright for the publications made accessible via the Edinburgh Research Explorer is retained by the author(s) and / or other copyright owners and it is a condition of accessing these publications that users recognise and abide by the legal requirements associated with these rights. Take down policy The University of Edinburgh has made every reasonable effort to ensure that Edinburgh Research Explorer content complies with UK legislation. If you believe that the public display of this file breaches copyright please contact
[email protected] providing details, and we will remove access to the work immediately and investigate your claim. Download date: 27. Sep. 2021 Reputation, Patronage and Opportunism: Andrea Sansovino Arrives in Rome In the first decade of the sixteenth century, artists and architects travelled to work in Rome to help fulfil the ambitions of Julius II (reg. 1503–13), who envisioned the city as the triumphant embodiment of papal power.1 Michelangelo in 1499 and Raphael in 1508, for example, moved to the papal city relatively early in their careers, lured by the promise of wealthy patrons.2 Others, including Donato Bramante who arrived in Rome from Milan for the 1500 jubilee, had established their workshops and could rely on extensive cultural and political networks.3 Andrea Sansovino (1467–1529) was documented in Rome from 1505, responding to Julius II’s commission for the tomb monument of Cardinal Ascanio Sforza in Santa Maria del Popolo (fig.