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(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.



a family of Italian Renaissance architects and sculptors.

Guliano da Sangallo (real surname, Giamberti). Born in 1445 in Florence; died there Oct. 20, 1516. Architect, engineer, and sculptor.

Guliano developed the traditions of F. Brunelleschi. His buildings are marked by compositional clarity, airy proportions, and graceful articulation. Examples include a villa in Poggio a Caiano (near Florence, begun in 1485) and numerous fortifications in Poggio Imperiale (1488). His church of Santa Maria delle Carceri in Prato (1484–95) is among the earliest examples of the Renaissance centrally domed church.

As a sculptor, Guliano was a follower of Donatello. His interest in rendering a sense of movement is evident in his tombs for the Sassetti family in the Sassetti Chapel of the Church of Santa Trinitain Florence (marble, 1486).

Antonio da Sangallo the Elder. Born in 1455 or 1463 in Florence; died there Dec. 17, 1534. Architect and sculptor.

Antonio collaborated extensively with his brother, Guliano da Sangallo. His most important independent work was the church of San Biagio at Montepulciano in Tuscany (1518–45). This centrally domed structure is marked by more severe and monumental classical forms than similarly planned structures by Guliano da Sangallo.

Antonio da Sangallo the Younger (real surname, Cordiani). Born in 1483 in Florence; died Aug. 3, 1546, in Terni, Umbria. Architect. Nephew and pupil of Guliano da Sangallo and Antonio da Sangallo the Elder.

Beginning in 1503, Antonio worked in Bramante’s workshop in Rome. His works include numerous fortifications, including some in Parma (from 1525). After Raphael’s death in 1520, Antonio became chief architect of St. Peter’s Basilica in Rome. His proposal to give the church the shape of a Latin cross was rejected by Michelangelo in favor of a central plan. Antonio’s mature works in Rome include the Palazzo Farnese (1513–34, completed by Michelangelo and G. della Porta), the Banco di Santo Spirito (1523–24), and the Palazzo Sacchetti (1543).

These structures are marked by the abandonment of a story-by-story articulation of facades and by a monumentality and unity of forms, which anticipates the early baroque.


Loukomski, G. K. Les Sangallo. Paris, 1934.
Marchini, G. Guliano da Sangallo. Florence, 1942.
Giovannoni, G. Antonio da Sangallo, il Giovane, vols. 1–2. Rome [1959].
References in periodicals archive ?
In addition, Michelangelo's Carteggio contains the letters he had written from Constantinople to his brother, Buonarroto, and to Sangallo, the architect to the pope in Rome.
The most vivid piece of evidence is a large 1540 oil painting by Bastiano da Sangallo, who saw the finished cartoon before it was whitewashed out.
A riqueza destas solucoes encontram-se na intervencao de Vasari nos Uffizi de Florenca ou nas atuacoes de Brunelleschi na Piazza della Annunziata que depois foi completada por Sangallo e Michelozzo.
Archival material from Francesco Borromini and Antonio da Sangallo the Younger joins an impressive and sometimes surprising array of contemporary examples, including intricate engineering drawings of the Large Hadron Collider.
His decorative scheme reflects an assimilation of Perino del Vaga's illusionistic steps in the frescoed doorways of the Sala Paolina and Michelangelo's staircase in the vestibule of the Biblioteca Laurenziana, 1524-34, Florence, (19) as well as Antonio Sangallo's and Sebastiano Serlio's studies of stage settings in the 1540s.
For example, the Villa Madama, designed in 1519, a partnership between Antonio da Sangallo and Raphael di Sanzio, the sources of its inspiration are known: descriptions of Pliny the Younger's Tuscan and Laurentine villas were the muse for Raphael's ideas on Villa Madama.
These groovy Mod looks are further enhanced by fower print outfts covered in three-dimensional sequined daisies and butterfies as well as Sangallo patchwork.
Lo que convierte en especiales hallazgo y escultura es el comentario que sobre ella realizo Giuliano da Sangallo, arquitecto papal, nada mas verla: ,Questo e il Laoconte di cui fa menzione Plinio>>.