Italian family of artists. Francesco Giamberti (1404-80) was a woodworker active in the artistic circle around the Medici family in Florence in the 15th century. He was also put in charge of the education of Giulio de' Medici, the future Pope Clement VII (reg 1523-34). From Francesco descended two generations of important artists, who took the name 'da Sangallo' from his property near the San Gallo gate in Florence. (1) Giuliano da Sangallo ran a woodworking shop with his brother (2) Antonio da Sangallo (i). Their sister Maddalena Giamberti was the mother of (3) Bastiano da Sangallo and of (5) Giovan Francesco da Sangallo. Another sister, Smeralda Giamberti, married Bartolomeo di Antonio di Meo Cordiani, a cooper, and was the mother of (4) Antonio da Sangallo (ii) and (7) Battista da Sangallo, who worked closely together on some projects. (6) Francesco da Sangallo was the son of Giuliano. Bastiano, Antonio (ii), Giovan Francesco, Francesco and Battista were all members of the group of artists labelled by Vasari the Setta Sangallesca, along with Antonio Labacco, Pietro di Giacomo Rosselli and others.

The following members have entries:

• Antonio da Sangallo (i) [Antonio di Francesco di Bartolo Giamberti]
• Bastiano [Aristotile] da Sangallo
• Francesco da Sangallo

See the Abbreviations for further details.

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(1445–1516)

Florentine architect, military engineer, and sculptor, born Giuliano Giamberti, son of Francesco Giamberti (1404–80), and brother of Antonio da Sangallo the Elder. Influenced by the work of Brunelleschi, he continued to work in that master's early Renaissance style well into the period dominated by Bramante and Raphael. He was in Rome in 1465 working on fortifications where he made a series of studies of Antique remains (now in the Vatican Library and in Siena). He returned to Florence in the 1470s, and built the Villa Medici, Poggio a Caiano (c.1480–c.1497), one of the very first Renaissance villas designed with conscious emulation of Antiquity in mind, notably in its arcaded terrace-platform, Ionic pedimented porch like a temple-front embedded in the façade, symmetrical arrangement, and barrel-vaulted hall. He designed the Church of Santa Maria delle Carceri, Prato (1484–91), the first realized Renaissance church constructed on a Greek-cross plan with barrel-vaulted arms and domed drum on pendentives over the crossing, although the interior owed much to Brunelleschi: it influenced Antonio da Sangallo's designs for the Church of the Madonna di San Biagio, Montepulciano (1518–34). Also influenced by Brunelleschi was the atrium of Santa Maria Maddelena dei Pazzi (c.1491–5), and the octagonal sacristy with adjoining vestibule of Santo Spirito (1489–95—with Cronaca), both in Florence. He designed the Palazzo Gondi (1490–1501), the façade of which is an elaboration on the Palazzo Medici-Riccardi, and constructed a model of the Palazzo Strozzi (1489–90), later realized by da Maiano and Cronaca: that palace was very likely partly da Sangallo's design. Also by him was the Palazzo Rovere (or Ateneo), Savona (c.1494), but his hopes of preferment when his patron, Cardinal Rovere, became Pope Julius II (1503–13), came to nothing, the plum job of St Peter's going to Bramante. Under Pope Leo X (1513–21), however, he shared the responsibility for organizing the building-works at St Peter's with Raphael and Fra Giocondo, and seems to have had an influence on Michelangelo's architectural development. He made several unrealized designs that demonstrate a sound knowledge of Antique Classical composition, including plans for a Papal palace for Leo X in the Piazza Navona, Rome (1513).

Bibliography

• Bardazzi & Castellani (1981)
• Belluzzi (1993)
• S. Borsi (1985)
• Heydenreich (1996)
• Huelsen (ed.) (1910)
• Lotz (1977)
• Marchini (1943)
• Morselli & Corti (1982)
• P.Murray (1969, 1986)
• Placzek (ed.) (1982)
• Turner (1996)
• Tönnesmann (1983)

The full bibliography for this book is available to download as a pdf file.
Download the bibliography for A Dictionary of Architecture and Landscape Architecture (PDF: 1.2MB)

(säng-gäl'lō) , 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.

Italian architect and engineer noted especially for the works he executed under Medici patronage, including the church of Santa Maria delle Carceri in Prato (1485) and the Palazzo Gondi in Florence (1490).

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