Sangallo

Sangallo , three Italian Renaissance architects, two brothers and their nephew. Giuliano da Sangallo, 1445-1516, designed the Church of Santa Maria delle Carceri at Prato and palaces in Florence. After Bramante's death Giuliano worked on St. Peter's in Rome with Raphael and Fra Giocondo. He was a late follower of Brunelleschi, interested in clarity and elegance of form. His brother, Antonio da Sangallo, the elder, 1455-1534, moved from reminiscences of Giuliano's manner to a High Renaissance massiveness, seen in the domed Church of the Madonna di San Biagio at Montepulciano. Antonio da Sangallo, the younger, 1485-1546, their nephew, whose real name was Antonio Cordiani, was the most noted of the three. He collaborated with Bramante in the latter's final years. For Cardinal Alessandro Farnese (later Pope Paul III) he designed the Farnese Palace, the architectural epitome of Roman Renaissance palaces. After Raphael's death Antonio was appointed (1520) to succeed him in the construction of St. Peter's, although his complex plan for its completion was not accepted. At the Vatican he designed the Sala Regia and the Pauline Chapel. He developed a severe, logical, and weighty style.

Sangallo, Antonio da, the Elder (c.1430–1534). Florentine Renaissance architect, military engineer, and sculptor, also known as Antonio di Francesco di Bartolo Giamberti. The son of the wood-carver and decorator Francesco Giamberti (1404–80), he carried out many works of military architecture, including the Papal fortress of Cività Castellana (1494–7). He built the Loggia dei Servi, Florence (1517–29), giving unity to the Piazza della Santissima Annunziata opposite Brunelleschi's Ospedale degli Innocenti. His finest architectural work was the Church of the Madonna di San Biagio, Montepulciano (1518–34), a domed building on a Greek-cross plan resembling Bramante's designs for St Peter's in Rome, originally intended to have a tower in each of the four re-entrants formed by the arms of the cross, but only one tower was built. Each arm of the cross is barrel-vaulted, and the dome over the crossing is carried on a drum supported by pendentives. It may also have been influenced by Giuliano da Sangallo's Santa Maria delle Carceri at Prato (begun 1485). For its date it has remarkable clarity, grandeur, integrity, and rigour.

Bibliography

Cozzi (1992);
Heydenreich (1996);
Lotz (1977);
Placzek (ed.) (1982);
Satzinger (1991);
Jane Turner (1996)