▁him ▁into ▁a ▁sculpt ure ▁tradition ▁trac ing ▁back ▁to ▁Rome ▁and ▁the ▁V at ican , ▁because ▁Lorenzo ▁Rub ini ’ s ▁wife , ▁Marg her ita , ▁was ▁the ▁sister ▁of ▁Aless andro ▁Vitt oria , ▁the ▁prot ég é ▁and ▁successor ▁to ▁the ▁leading ▁Ven et ian ▁sculpt or ▁and ▁architect ▁Jac opo ▁Sans ov ino . ▁ ▁Sans ov ino , ▁in ▁turn , ▁was ▁trained ▁in ▁Rome , ▁where ▁he ▁established ▁an ▁important ▁reputation ▁before ▁being ▁forced ▁to ▁fle e ▁the ▁city ▁in ▁ 1 5 2 7 ▁when ▁it ▁was ▁s ack ed ▁by ▁forces ▁of ▁the ▁Holy ▁Roman ▁Emperor . ▁The ▁indirect ▁connection ▁to ▁the ▁Roman ▁art istic ▁scene ▁certainly ▁influenced ▁Mar iani ’ s ▁work ▁sty list ically , ▁and ▁one ▁may ▁spec ulate ▁that ▁it ▁also ▁played ▁a ▁part ▁in ▁his ▁decision ▁to ▁move ▁his ▁own ▁studio ▁to ▁Rome ▁in ▁ 1 5 9 7 . ▁ ▁Before ▁moving ▁to ▁Rome ▁and ▁the ▁Pap al ▁court , ▁however , ▁Mar iani ▁received ▁a ▁number ▁of ▁pr estig ious ▁comm issions ▁in ▁Ven ice ▁and ▁the ▁Ven eto , ▁benef iting ▁from ▁his ▁connections ▁with ▁the ▁Rub in is ▁and ▁Vitt oria , ▁as ▁well ▁as ▁with ▁the ▁Vic ent ine ▁architect ▁V inc en zo ▁Sc am oz zi . ▁ ▁After ▁working ▁with ▁Ag ost ino ▁Rub ini ▁and ▁other ▁established ▁sculpt ors ▁of ▁the ▁region ▁in ▁producing ▁stat ues ▁for ▁Andrea ▁P all ad io ’ s ▁Teatro ▁Olimp ico ▁in ▁Vic