Giuliano da Sangallo

Villa Medici at Poggio a Caiano

The victory at Calabria gave Lorenzo de' Medici confidence to keep working with Giuliano. Consequently, Lorenzo commissioned him to design a villa in Poggio a Caiano after holding a competition to determine the best design.[3] Construction on the villa began in 1485 and remained largely unfinished throughout Lorenzo's life. His son, Giovanni, oversaw its completion after being elected pope as Pope Leo X.[4] Giuliano's design featured classical design elements including Ionic columns and an ancient temple style façade.[1] The Medici Villa in Poggia a Caiano is one of the oldest examples of Renaissance-style country villas and served as an inspiration for many future architects of the era.[5]

The unfinished façade of Santa Maria delle Carceri

In 1484, a child from the town of Prato claimed to have seen a painting of the Virgin Mary and an infant Jesus come to life on the side of the public jail. Santa Maria delle Carceri was commissioned after the townspeople declared this a miracle and decided that a church should be built at the site of the vision to commemorate it. For this project, Lorenzo de' Medici once again hired his favorite architect, Giuliano. His designs relied heavily on his study of the work of Alberti and Brunelleschi.[1] Specifically, Sangallo used a Greek cross plan.[1] This is a classical layout design that features four arms of equal length extending off of a central nave and it had not been used extensively in the Renaissance before that point. Construction began on the church in 1486, but the façade remains unfinished to this day.[1]

In 1488, after the initial plans were set for the villa in Poggia a Caiano, Lorenzo de' Medici commissioned Giuliano to build a castle for Ferrante of Aragon, the King of Naples.[6] The building of the castle was part of a larger political plan that the leaders of the different city-states of Renaissance Italy engaged in. When city-states were not warring with each other, they would send gifts as well as painters, sculptors, and architects to each other as diplomatic displays of good faith. Additionally, by sending Giuliano to Naples, the Medici family was attempting to export Florentine culture and architecture across the Italian Peninsula. Giuliano sought to build the castle near the open land by Castel Nuovo. Unfortunately, the castle was never built, but his sketches of the plan still remain.[7] The palace design featured elements similar to that of Giuliano's first major commission, the Medici Villa. Similar elements between the Medici Villa and the castle in Naples include the raised platform on which the structures were built, two stairways leading to the main entrance, and a portico between the two stairways. Furthermore, both structures were built on a rectangular, symmetrical axis.[6] After Giuliano completed his service for the king, he was sent back to Florence with gifts including money, paintings, and sculptures.[7] Giuliano gave many of these gifts to Lorenzo de' Medici as a showing of appreciation for being his patron.

While Sangallo was designing the palace for the King of Naples, the King's son, the Duke of Calabria, wrote to Lorenzo de' Medici asking for a palace design as well. In response to this letter, Lorenzo sent another Giuliano, Giuliano da Maiano, to design his palace.[6] Giorgio Vasari, the Renaissance author who wrote biographies of many Renaissance artists in Lives of the Most Excellent Painters, Sculptors, and Architects, falsely attributes the Duke of Calabria's palace to Giuliano da Sangallo. Also according to Vasari, after working in Naples, the Bishop of Ostia, later known as Pope Julius II, hired Giuliano to re-fortify his castle in Ostia.[8] It is true that Sangallo worked on this project, but he did it along with another architect, Baccio Pontelli. Additionally, according to inscriptions in the castle, the renovation was completed in 1484, before Giuliano started working for the King of Naples.[9]

After Giuliano returned from Naples, Lorenzo commissioned him once again to build a church for a group of Augustinian monks. This commission was meant to be used as an example of Medici family public patronage in Florence.[10] Based on correspondences during that time, historians have inferred that construction began on the church in 1488.[10] Chiesa di San Gallo was dedicated to the seventh century saint, Saint Gall of Ireland. According to Giorgio Vasari, Lorenzo loved the design so much that he started referring to Giuliano as Giuliano da San Gallo.[8] Eventually, the name caught on and Giuliano jokingly told Lorenzo that his actual surname, Giamberti, would be forgotten. Lorenzo responded by telling him that he was worthy of starting a new family line with the name Sangallo.[8] In addition to this, the gate in the Florence city wall closest to the church became known as Porta San Gallo. During the 1529 Siege of Florence, the Florentine army retreated within the walls of the city.[10] Unfortunately, since the church was built outside of the city walls, it was destroyed.

Palazzo Gondi

Around the same time that Giuliano da Sangallo was commissioned to build the Church of San Gallo, he was also commissioned by a wealthy Florentine merchant, Giuliano Gondi, of the old, Florentine banking Gondi family.[11] After hearing of Sangallo's work for the Medici family and the King of Naples, Gondi requested that he build a new Palazzo Gondi in Florence. For this project, Giuliano relied on the design of the other large palaces in the city such as the Palazzo Medici Riccardi and Palazzo Strozzi.[11] Like both of those palaces, the Palazzo Gondi featured the use of finer levels of stone on each ascending level of the façade. Unfortunately, like many of his commissions, this palace was not finished within Giuliano's lifetime or within the lifetime of his patron, Giuliano Gondi. The palace continued to be renovated and expanded on for almost two more centuries. Because of these renovations, historians have been unable to definitively identify Sangallo's original plan.[11]

Palazzo Della Rovere in Savona

Shortly after Giuliano completed his work on Santa Maria delle Carceri, his patron and longtime friend Lorenzo died in 1492.[12] After the death of Lorenzo the Magnificent, a power vacuum was created that allowed an opportunity for France to invade Florence in 1494. The French invasion forced the Medici family and their followers, including Giuliano, out of Florence and into exile. Two years previously, the Bishop of Ostia, Giuliano della Rovere, had fled Italy after his rival in the church, Rodrigo Borgia, was elected Pope as Alexander VI in 1492. Using the shared exile and his past history as a patron of architecture, he convinced Sangallo to design a palace in Savona, France for him.[12]

The palace design was greatly influenced by the Bishop's other estates such as the one in Vincoli and the fortress in Ostia that Sangallo helped renovate.[12] Giuliano della Rovere was fueled by a rivalry with his cousin, Rafaelle della Rovere, to make his palace in Savona the biggest that the city had seen. Della Rovere achieved this by purchasing the properties surrounding the family estate. Like Alberti's design for the Palazzo Rucellai in Florence, Sangallo reconciled the fact that the palazzo was made up of multiple buildings by creating one large, towering façade.[12] Also like the Palazzo Rucellai, Sangallo used the concept of reducing the size of each ascending level of the façade in order to make it appear more imposing from street level.