Born into the trade, he grew up in a family of sculptors and architects who worked in the area of Carrara and whose activity seems to date back to the early 1500’s. He mainly focused on sculpture; it is known that he also accepted commissions as an architect, albeit to a limited extent with respect to his artistic work. His style was classical and in his pieces we can observe the typical features of the sixteenth-century: an emphasized technical virtuosity but, at the same time, also more late-mannerist solutions close to the Florentine models.

He worked a good deal in Pietrasanta: between 1591 and 1593 he produced, together with Fabrizio Pelliccia, the two marble candelabras for the Duomo di San Martino, originally attributed to Stagio Stagi. In those same years, the same two sculptors together were appointed for the reconstruction of the Baptistery, in particular of the central body and the dome of the baptismal font. For the latter, they reused the basin with continuous frieze representing sea animals and imaginary figures by Donato Benti, in order to create a temple-like structure designed to house niches with bronze statuettes. The small temple, in an overtly Florentine style, was completed with the marble statue of Christ the Redeemer, while the bronze decorations, such as the Medici emblem, the small door and the statuette of Noah – which ended up on the black market and later reappeared in Toronto – were made by sculptor Felice Palma. Due to a considerable delay in the beginning of works, the project was concluded only in 1612.

Between 1608 and 1614 he worked at Certosa di Calci on the decoration of a double tank in the prior small cloister: this was composed of an architrave basin in white marble of the Apuan Alps; the frieze was adorned with four alternated triglyphs and four studs, and with a central shield. On top of the construction, a small pediment with a crucifixion scene topped by a cross made of wrought iron, with a marble sphere on each side completing the decoration. For the cloister he also planned an elevated corridor which served as a sort of private link between the apartment of the grand duke and the residence of the Prior. The project he was entrusted with also included a new façade of the church and new internal décor and was set in the context of general modernization inspired by an idea of luxury and wealth widespread in that period. The works started in 1606 with the new grand duke's guest house and led to a complete transformation of the buildings.

He worked as an architect also in his city of Pietrasanta, designing one of the reconstruction projects for Palazzo Pretorio. Outside the Tuscan area, we know that in 1604 he succeeded his father Francesco as collaborator of Simone Mosca for the construction of the tomb of Margaret of Austria in San Sisto, Piacenza, and together with two other artists, he erected three marble statues for the fountain of Giardino delle Stelle in Parma. He died in the mid seventeenth century.

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