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(lōmbär`dō), Italian family of sculptors and architects. Emigrants from Lombardy c.1470, they were leaders in the architectural Renaissance in Venice. Pietro Lombardo, c.1435–1515, architect of numerous churches and palaces, worked on the court facades of the doge's palace from 1498. As sculptor, he is noted for the mausoleum of Doge Pietro Mocenigo in Santi Giovanni e Paolo and for other tombs, including that of Dante at Ravenna. In most of his undertakings he had as associates his sons, Antonio Lombardo, c.1458–1516?, and Tullio Lombardo, c.1455–1532. One of their greatest joint productions was the Church of Santa Maria dei Miracoli.



(also Lombardi). A family of Italian architects and sculptors.

Pietro Lombardo (born c. 1435 in the village of Carona, in Ticino, Switzerland; died June 1515 in Venice) was the leading architect and sculptor of the Early Venetian Renaissance. His structures are marked by a festive lightness, which is emphasized by the picturesque elegance of the classical facades and by the use of colorful marbles and rich sculptural decoration (Church of Santa Maria dei Miracoli, 1481-89; Vendramin-Calergi Palace, 1504-09; participation in the construction of the Scuola Grande di San Marco, 1488-90; interior decoration of the Doges’ Palace). Pietro’s tombs of the doges (Mocenigo, 1476-81; Vendramin, 1493—both in the Church of Santi Giovanni e Paolo) are imbued with serene harmony. Most of Pietro’s sculptures were done in collaboration with his sons Tullio (born c. 1455 in Venice; died there Nov. 17, 1532) and Antonio (born c. 1458 in Venice; died c. 1516 in Ferrara [?]).

The independent works of Tullio Lombardo include reliefs depicting the life of Saint Anthony (1500-02, Church of Sant’ Antonio, Padua) and the tomb of Guidarello Guidarelli (1525, Pinacoteca of the Academy of Fine Arts, Ravenna). Antonio Lombardo did the sculptural decorations on the Bellosguardo Castle near Ferrara (c. 1508; some of the marble reliefs from the castle are in the Hermitage, Leningrad).


Planiscig, L. “Pietro, Tullio, und Antonio Lombardo.” Jahrbuch der kunst-historischen Sammlungen in Wien, new series, 1937, vol. 11, pp. 87-115.
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