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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 ?
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.
Contract notice:Granting of the mura management and scotto garden service, including the bastion sangallo.
La obra, al parecer, pertenecio a Giuliano da Sangallo y, como recuerdo-homenaje, tanto puede ser de fines del Quattrocento como de inicios del Cinquecento.
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.
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>>.
The Oratory of the Cross, in the form ofa Greek cross closed at the diagonais by hexagoonal chapels and with a concave-convex roof (as hypothesized in Bellini 155-7), was a fitth-century structure, documented in drawings by Lafrery, Francesco di Giorgio, Antonio da Sangallo, prior to the demolition in 1585 (Curcio and Manieri Elia 256-8, 270).
The building might have been inspired by those Italian Renaissance villas which exhibit the motif of the temple-facade, like the Villa Medici by Giuliano da Sangallo in Poggio a Caiano, or the Villa Foscari by Andrea Palladio in Malcontenta (Murray, 1980, 183, 186).
Estos postulados han sido asumidos para la representacion del proyecto arquitectonico, practicamente, desde la fecha de la carta, pues Antonio da Sangallo el Joven, sucesor del autor del escrito en la direccion de las obras de San Pedro, ya dibuja su proyecto en planta, alzado y seccion (9).
In addition, Jones' Queen's House at Greenwich (163238), recalls the cubic massing found in the Villa Medici at Poggio a Caiano, built in the 1480s by Giuliano da Sangallo, and in Scamozzi's Villa Molin outside Padua, where Jones likely stayed in Italy.
1490 (Baltimore), and attributes them to anonymous Florentine artists working from drawings by Giuliano da Sangallo, who was in turn using ideas of urbanism that Alberti had picked up from Brunelleschi and further developed.
Se hace referencia a la iglesia en aula --propuesta por Antonio de Sangallo el Joven-- cuyos elementos espaciales pueden resumirse asi: un vasto espacio unitario, dos filas de capillas situadas a los lados y conectadas con el aula, un area destinada a altar mayor formada generalmente por una capilla mas importante cubierta con boveda y que hace las veces de presbiterio (Sale, 2003, p.