Biography

(b Nola, c. 1488; d Naples, 1558). Italian wood-carver and sculptor. He trained in Naples as a wood-carver under Pietro Belverte (d 1513), executing polychromed wooden reliefs (1507; Naples, S Lorenzo; destr.) and crib figures (1507; Naples, S Domenico Maggiore). In 1508 he and Belverte assisted Tommaso Malvito (fl 1484–1508) on a frame for an image of St Anne and on doors at the Ospizio dell’Annunziata, Naples. Marigliano continued to work almost exclusively in Naples. ... (view more)

Grove Art excerpts - Electronic ©2003, Oxford Art Online

(b Nola, c. 1488; d Naples, 1558). Italian wood-carver and sculptor. He trained in Naples as a wood-carver under Pietro Belverte (d 1513), executing polychromed wooden reliefs (1507; Naples, S Lorenzo; destr.) and crib figures (1507; Naples, S Domenico Maggiore). In 1508 he and Belverte assisted Tommaso Malvito (fl 1484–1508) on a frame for an image of St Anne and on doors at the Ospizio dell’Annunziata, Naples. Marigliano continued to work almost exclusively in Naples. His first independent commissions were the frame for the Virgin and Child (1511; Naples, S Pietro ad Aram) by Antonio da Rimpacta (fl 1509–11) and the altar frame for Bartolommeo de Lino’s Virgin and Saints (1513; Castelluccio, S Francesco). Around 1524 he carved crib figures for S Maria del Parto, Naples, and collaborated on the marble tomb of the Viceroy of Sicily Don Ramón de Cardona (d 1522; Catalonia, Bellpuig, S Nicolás), a monument that reflects Andrea Sansovino’s tomb designs and the decorative style imported by the Spanish sculptor Bartolomé Ordoñez. The lyrical tomb of Antonia Guadino (c. 1530; Naples, S Chiara) depicts the figure as a sleeping antique Cleopatra. In 1532 he completed the altar of the Madonna del soccorso , commissioned by the Liguoro family (Naples, S Anna dei Lombardi), a pendant to another altar by Girolamo da Santacroce (c. 1502– c. 1537) for the del Pezzo family in the same church. Both follow earlier Tuscan models, and the juxtaposition highlights Marigliano’s awkward figure designs and his dependence on other sculptors’ formulae. His altar of the Madonna della neve (1536; Naples, S Domenico Maggiore) represents a more classical solution, as did his monument to Guido Fieramosca (c. 1535–6; church of Montecassino Abbey; destr.). These precede the bizarre designs for the three tombs of the brothers Sigismondo, Ascanio and Jacopo Sanseverino (1539–46; Naples, SS Severino e Sossio), who were poisoned (1516) by their uncle. Here Marigliano’s training in wood-carving is revealed in the armour-clad figures, like wooden lay-figures perched on their severely architectonic ledges. The grandiose tomb of the Viceroy of Naples (reg 1532–53) and his consort, Don Pedro of Toledo and Maria Ossorio Pimental (c. 1540–46; Naples, S Giacomo degli Spagnoli), combines Lombard influences with Giovanni Angelo Montorsoli’s classical style, derived from Michelangelo, detectable also in such later marble figures as the St Peter in the Cappella Caracciolo (1547; Naples, S Giovanni Carbonara). Marigliano’s last surviving sculpture, the Deposition (c. 1549; Naples, S Maria delle Grazie a Caponápoli), is a highly emotive scene.  (hide)

Grove Art excerpts - Electronic ©2003, Oxford Art Online

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