In architecture and sculpture, the Lombardi, a Venetian family probably from Lombardy, flourished for nearly a hundred years (1452-1537), and left their mark on Venice, in tombs and statues, in churches and palaces. Contemporary with the last generation of Lombardi came the more gifted Alessandro Leopardi, who completed the great statue of Colleoni designed by Verrocchio, and gave a new impulse to Venetian sculpture. While the Tuscan sculptors had been studying Roman remains, the Isles of Greece had been giving Greek models to their Venetian conquerors, and Leopardi in particular profited greatly by them. In the sister art the first famous architect after the Lombardi was the Florentine, Jacopo Sansovino, who spent most of a long life in Venice, where he built the Zecca, the Loggetta, the Libreria Vecchia (the Old Library), and also the Scala d'Oro (the Golden Stairway) of the ducal palace. Sanmicheli, a military engineer, as well as a builder of palaces, came from Verona to work in Venice. Palladio (1508-80), of whom we have spoken, came from Vicenza, and bequeathed his name to the neo-classic style, known as Palladian. In painting first came the famous Bellini family, Jacopo (1400-64?) and his two sons, Gentile and the more gifted Giovanni, painter of tenderest Madonnas; after them came Carpaccio, painter of St. Jerome and his lion, and of St. George and his dragon. Then followed in rapid succession the most gifted group of painters that ever lived together, all born within twenty years of one another, as if to prove how prodigally Nature could endow a petty province that had the luck to please her: Giorgione, from Castelfranco on the Venetian mainland, of highest fame and disputed pictures; Titian, of Cadore, noblest of portrait painters; Palma Vecchio, of Bergamo, creator of the most glorious of animals, the superb Venetian women; Sebastiano del Piombo, who painted the Fornarina of the Uffizi Gallery long attributed to Raphael, and deserved his fortune of being pupil to Giorgione and friend to Michelangelo; Lorenzo Lotto, of Bergamo, another painter of exquisite women, high-bred men, noble saints, and poetical angels; Giovanni Antonio da Pordenone, inferior only to Titian; Bonifazio from Verona, painter of patrician luxury; Paris Bordone, of Treviso, so uncertain in merit, yet at his best so rich in hue, so tender in sentiment, so admirable in his pictures of Venetian ceremonial; and at the close, the giant Tintoretto (1512-94) and Paolo Veronese (1528-88) the glorious: all, though in different degrees, splendid in colour, voluptuous ministers to the sensuous eye. This cluster of names serves to show that while elsewhere in Italy art was dwindling into mannerism and exaggeration, Venice put forth an extraordinary burst of pictorial magnificence; yet even in Venice at the end of the century none of the great men were left.