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Updated: June 7, 2025
He did not even think of ascertaining if the regimen he practised, in imitation of Lord Byron, against embonpoint, would preserve his elegant form, of which he was so proud, and yet mirrors were numerous on the way from the Place d'Espagne to the Palais Castagna, which rears its sombre mass on the margin of the Tiber, at the extremity of the Via Giulia, like a pendant of the Palais Sacchetti, the masterwork of Sangallo.
Antonio da Sangallo died on October 3, 1546, at Terni, while engaged in engineering works intended to drain the Lake Velino. Michelangelo immediately succeeded to the offices and employments he had held at Rome. Of these, the most important was the post of architect-in-chief at S. Peter's. Paul III. conferred it upon him for life by a brief dated January 1, 1547.
Bramante, and Baldassare Peruzzi used the Greek cross; Raphael, the Basilica form, the addition of a long nave made the plan like a Latin cross; and Sangallo, by adding a huge portico to Peruzzi’s design, made his ground plan a Latin cross.
The adherents of Sangallo resented it very naturally, and the "Setta Sangallesca" became his bitter enemies. The Pope himself was dissatisfied with Sangallo, and the design for the cornice was thrown open to competition. Perino del Vaga, Sebastiano del Piombo, Giorgio Vasari, and Michael Angelo all competed.
Paul III determined to secure a position of such vital importance to the Vatican by bastions. Accordingly he convened a diet of notables, including his architect-in-chief, Antonio da Sangallo. He also wished to profit by Michelangelo's experience, remembering the stout resistance offered to the Prince of Orange by his outworks at S. Miniato.
Vasari tells an anecdote regarding this meeting which illustrates the mutual bad feeling of the two illustrious artists. "After much discussion, the opinion of Buonarroti was requested. He had conceived views widely differing on those of Sangallo and several others, and these he expressed frankly. Whereupon Sangallo told him that sculpture and painting were his trade, not fortification.
Outside it, as we learn from Angelico, Cosimo Rosselli, Lippi, Ghirlandaio, indeed, from almost every Florentine painter, stretches a pleasant portico, decorated in the Ionic or Corinthian style, as if by Brunellesco or Sangallo, with tesselated floor, or oriental carpet, and usually a carved or gilded desk and praying stool; while the privacy of the whole place is guarded by a high wall, surmounted by vases, overtopped by cypresses, and in whose shelter grows a row of well-kept roses and lilies.
Of the famous artists of the day, Lucretia must likewise have known Antonio di Sangallo, her father's architect, and also Antonio Pollajuolo, the most renowned sculptor of the Florentine school in Rome during the last decades of the fifteenth century. He died there in 1498. But the most famous of all the artists then in Rome was Michael Angelo.
Nothing remains of the shy graces, the melodious simplicities, the pure seeking after musical proportion, which marked the happier Italian effort of the early Renaissance, through Brunelleschi and Alberti, Bramante, Giuliano da Sangallo, and Peruzzi. Architecture, in the highest sense of that word, has disappeared.
Michael Angelo had also a serious disagreement with Sangallo before the military committee fortifying the Borgo for the Pope. When Antonio da Sangallo died at Terni on October 3, 1546, Michael Angelo succeeded to his post in Rome, architect-in-general to the Pope, the principal work was, of course, the great Church of St. Peter’s.
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