enza , ▁he ▁moved ▁on ▁to ▁create ▁three ▁of ▁the ▁stat ues — A e ol us , ▁Pro ser pine ▁and ▁H ymen — sur mount ing ▁the ▁roof line ▁of ▁Sans ov ino ’ s ▁Bibli oteca ▁Mar ci ana ▁in ▁the ▁Pia zza ▁di ▁San ▁Marco ▁in ▁Ven ice . ▁ ▁( Al as , ▁H ymen ▁was ▁destroyed ▁when ▁the ▁nearby ▁bell ▁tower ▁of ▁the ▁Bas il ica ▁of ▁San ▁Marco ▁col lapsed ▁in ▁ 1 9 0 2 .). ▁ ▁The ▁master works ▁of ▁Mar iani ’ s ▁Ven eto ▁period ▁resulted ▁from ▁his ▁commission ▁to ▁produce ▁six ▁more - than - l if es ize ▁sculpt ures ▁of ▁historic ▁ancest ors ▁of ▁the ▁Corn aro ▁family ▁for ▁the ▁family ’ s ▁P all ad io - des igned ▁Villa ▁Corn aro ▁in ▁Pi omb ino ▁D ese . ▁The ▁stat ues , ▁one ▁scholar ▁has ▁noted , ▁" are ▁character ized ▁by ▁a ▁larg eness ▁of ▁form , ▁an ▁emot ive ▁intensity ▁and ▁express ive ▁movement ." ▁ ▁The ▁figures , ▁another ▁suggests , ▁" project ▁themselves ▁into ▁space , ▁stretch ing ▁to ▁escape ▁their ▁nich es ▁with ▁their ▁gest ures ▁and ▁establish ▁a ▁rapport ▁with ▁the ▁vie wer . ▁ ▁After ▁moving ▁his ▁studio ▁to ▁Rome ▁in ▁ 1 5 9 7 , ▁Mar iani ▁immediately ▁found ▁his ▁place ▁in ▁the ▁Roman ▁and ▁V at ican ▁art ▁scene . ▁ ▁By ▁ 1 6 0 0 ▁he ▁was ▁admitted ▁to ▁membership ▁in ▁the ▁V irt u