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Heated words passed on both sides, and the Pope had to reduce the men to silence. Before long he brought a plan for the fortification of the whole Borgo, which opened the eyes of those in power to the scheme which was finally adopted. Owing to changes he suggested, the great gate of Santo Spirito, designed by Sangallo and nearly finished, was left incomplete."
The sect began to plot and form conspiracies, feeling the violent old man's bit and bridle on their mouths, and seeing the firm seat he took upon the saddle. Probably these officials, accustomed to Sangallo and the previous course of things, disliked to be stirred up and sent about their business by the masterful new-comer.
He discovered that four of the principal piers, erected by Bramante and left standing by Antonio da Sangallo, which had to bear the weight of the tribune, were feeble. These he fortified in part, constructing a winding staircase at the side with gently sloping steps, up which beasts of burden ascend with building material, and one can ride on horseback to the level above the arches.
He began the two great apses of the transept; and whereas Bramante, Raffaello, and Peruzzi had designed eight tabernacles toward the Campo Santo, which arrangement Sangallo adhered to, he reduced them to three, with three chapels inside."
"It was some little while before the beginning of 1551, when Vasari, on his return from Florence to Rome, found the sect of Sangallo plotting against Michael Angelo.
He then determined to push the building forward, and to complete it on a scale of magnificence befitting the supreme Pontiff. Sangallo had carried the walls up to the second story. The third remained to be accomplished, and the cornice had to be constructed. Paul was not satisfied with Sangallo's design, and referred it to Michelangelo for criticism possibly in 1544.
So that we have to pick out, in men like Donatello, Uccello, Pollaiolo and Verrocchio, nay, even in Lippi and Botticelli, the fragments which correspond to what we get quite unmixed and perfect in the Romanesque churches of Pisa, Florence, and Pistoia, in the sacristies and chapels of Brunelleschi, Alberti, and Sangallo, and in a hundred exquisite cloisters and loggias of unnoticed town houses and remote farms.
Like its neighbours the Farnese and Sacchetti palaces, it had been built by Antonio da Sangallo in the early part of the sixteenth century, and, as with the former of those residences, the tradition ran that in raising the pile the architect had made use of stones pilfered from the Colosseum and the Theatre of Marcellus.
We all of us look forward to being comforted by you, if not with actual work, at least with words. The last named of these masters is here, eagerly desirous to have the opportunity of doing you honour. So are Francesco Sangallo, Giovanni Bologna, Benvenuto Cellini, Ammanato, Rossi and Vincenzio Danti of Perugia, not to mention other sculptors of note.
Like its neighbours the Farnese and Sacchetti palaces, it had been built by Antonio da Sangallo in the early part of the sixteenth century, and, as with the former of those residences, the tradition ran that in raising the pile the architect had made use of stones pilfered from the Colosseum and the Theatre of Marcellus.
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