Attributed works:
1. Simonetta Vespucci as Cleopatra, by Piero di Cosimo.
c.1480–1500. Tempera on panel, 57 by 42 cm. (Musée Condé,
Chantilly).
Attributed works:
10. Ground plan of the house of the architect, from Filarete: Libro
architettonico. c.1460–64. (Biblioteca Nazionale Centrale, Florence).
Attributed works:
11. Note by Leonardo da Vinci (sixth line from bottom, inverted), from
a page in the Codex Arundel, probably referring to a sculpture in the
Casa Sangallo. c.1500–03. Pen and ink on paper, 20.5 by 29 cm. (British
Library, London).
Attributed works:
12. Statue of a Roman consul excavated in Florence in 1529. (From V.
Borghini: Discorsi, Florence 1584).
Attributed works:
13. Giuliano da Sangallo and Francesco Giamberti, by Piero di Cosimo.
c.1480–90. Oil on panel, each panel 47.5 by 33.5 cm. (Rijksmuseum,
Amsterdam).
Attributed works:
14. Leonardo Buonafede, by Francesco da Sangallo. c.1545–50. Red chalk
on paper, 32.2 by 26.1 cm. (British Museum, London).
Attributed works:
15. Building of a palace, by Piero di Cosimo. c.1480–90. Oil on panel, 77.4
by 197 cm. (John and Mable Ringling Museum, Sarasota; Scala Archives).
Attributed works:
17. Taddeo di Gaddo, Gaddo di Zanobi and Agnolo di Taddeo Gaddi,
attributed to the workshop of Fra Angelico. c.1425–30. Tempera on
panel, 47 by 89 cm. (Galleria degli Uffizi, Florence).
Attributed works:
19. Virgin and Child with St John and an angel, by workshop of Sandro
Botticelli. c.1490. Tempera on poplar, diameter of painting 84.5 cm.
(National Gallery, London).
Attributed works:
2. Detail of the Pianta della Catena, by Lucantonio degli Uberti, based
on an engraving by Francesco Rosselli, showing Borgo Pinti visible behind
SS. Annunziata and the Ospedale degli Innocenti. c.1490–1510. Woodcut,
57.8 by 131.6 cm. (Kupferstichkabinett der Staatlichen Museen zu Berlin–
Preußischer Kulturbesitz; photograph Jörg P. Anders).
Attributed works:
20. Roman consul. First century AD, with later restorations. Marble.
(Palazzo Gondi, Florence).
Attributed works:
21. Three female figures with four putti, attributed to Giuliano da
Sangallo. c.1490. Pen and ink, with brown wash, heightened with
lead white partly oxidised, on an orange-red ground on paper,
27.2 by 40.1 cm. (GDSU, Florence).
Attributed works:
22. Allegory of abundance or autumn, by Sandro Botticelli. c.1480–85.
Pen and brown ink, with brown wash, heightened with white, over black
and red chalk on an orange-red ground on paper, 31.7 by 25.2 cm.
(British Museum, London).
Attributed works:
23. The rape of Europa, by Giovanni Francesco Rustici. c.1495. Glazed
terracotta, 32.7 by 40.3 by 5 cm. (Victoria and Albert Museum, London).
Attributed works:
24. The rape of Europa, by the workshop of Filippino Lippi. c.1495.
Black chalk with white heightening on paper, 14.5 by 15.6 cm.
(GDSU, Florence).
Attributed works:
25. Acquaio, by Simone Mosca. 1527–34. Sandstone (pietra serena),
height 495.3 cm. (Metropolitan Museum of Art, New York).
Attributed works:
26. Europa, formerly attributed to Giuliano da Sangallo, now attributed
to Raffaellino del Garbo. c.1495. Pen, iron gall ink and white lead on paper,
14 by 19.3 cm. (Biblioteca Ambrosiana, Milan).
Attributed works:
27. Killing of a bull, by Giuliano da Sangallo. c.1490–1513, Pen and ink on
paper. (Biblioteca Comunale degli Intronati, Siena).
Attributed works:
27. Killing of a bull, by Giuliano da Sangallo. c.1490–1513, Pen and ink on
paper. (Biblioteca Comunale degli Intronati, Siena).
Attributed works:
29. Studies of Ionic capitals, by Antonio da Sangallo the
Younger. c.1530–45. Pen and brown ink on paper, 35.7 by 28.7 cm.
(GDSU, Florence).
Attributed works:
3. Plan of a proposed Medici villa on via Laura, Florence, by Giuliano da
Sangallo and Antonio da Sangallo the Elder, with Borgo Pinti running
vertically on the right-hand side, inscribed ‘via dapintti’ and the Casa
Sangallo to the right of ‘via’, c.1512–15. Black chalk, pen and ink, brush
and ink washes on paper, 69.4 by 63.9 cm. (Gabinetto dei Disegni e delle
Stampe delle Gallerie degli Uffizi, Florence, hereafter GDSU; inv. no.282 A).
Attributed works:
3. Plan of a proposed Medici villa on via Laura, Florence, by Giuliano da
Sangallo and Antonio da Sangallo the Elder, with Borgo Pinti running
vertically on the right-hand side, inscribed ‘via dapintti’ and the Casa
Sangallo to the right of ‘via’, c.1512–15. Black chalk, pen and ink, brush
and ink washes on paper, 69.4 by 63.9 cm. (Gabinetto dei Disegni e delle
Stampe delle Gallerie degli Uffizi, Florence, hereafter GDSU; inv. no.282 A).
Attributed works:
30. Study of an ancient vault in Rome, by Giuliano da Sangallo.
c.1490–1513. Pen and ink on paper. (Biblioteca Comunale degli
Intronati, Siena).
Attributed works:
31. Crucifix, by Francesco da Sangallo. c.1535–40. Wood, 184 by 178 cm.
(S. Maria Nuova, Florence; photograph courtesy Gianluca Amato).
Attributed works:
32. Cosimo de’ Medici with Florentine artists, by Giorgio Vasari. 1550s.
Fresco. (Palazzo della Signoria, Florence).
Attributed works:
33. Preparatory design for the cenotaph of John Hawkwood, by Paolo
Uccello. c.1433–36. Silverpoint heightened in white on a prepared light
green ground, squared with a stylus for transfer, on paper, 46.1 by 33.3 cm.
(GDSU, Florence).
Attributed works:
34. Virgin with the Christ Child, by Francesco da Sangallo. c.1540–45.
Terracotta, 84 by 98.5 by 20 cm. (Skulpturensammlung und Museum
für Byzantinische Kunst, Staatliche Museen zu Berlin; photograph
Jörg P. Anders).
Attributed works:
35. Self-portrait, by Francesco da Sangallo. c.1570. Bronze, diameter
9.65 cm. (National Gallery of Art, Washington).
Attributed works:
36. St John baptising, by Francesco da Sangallo. c.1535–38. Bronze,
height 53 cm. (Frick Collection, New York).
Attributed works:
37. Design for the high altar of Florence Cathedral, by Francesco
da Sangallo. c.1546. Pen and brown ink on paper, 22.5 by 27.4 cm.
(GDSU, Florence).
Attributed works:
38. Virgin and Child with St Anne, by Francesco da Sangallo. c.1522–26.
Marble. (Orsanmichele, Florence; Scala Archives).
Attributed works:
39. Giovanni dalle Bande Nere, by Francesco da Sangallo. c.1550–60.
Marble, height 76 cm. (Museo Nazionale del Bargello, Florence).
Attributed works:
4. Detail of a ground plan of a house, possibly a design for the
Casa Sangallo, attributed to Francesco da Sangallo. c.1510–40.
Black chalk on paper. (GDSU, Florence).
Attributed works:
40. Giovanni dalle Bande Nere, by Francesco da Sangallo. c.1570.
Bronze, diameter 9.29 cm. (National Gallery of Art, Washington).
Attributed works:
41. Design for an equestrian monument to Giovanni dalle Bande
Nere, by Francesco da Sangallo. c.1540–60. Pen and ink on paper,
24.8 by 24.4 cm. (GDSU, Florence).
Attributed works:
42. Astrology, by Giambologna. c.1575. Red wax, height 14.6 cm.
(Metropolitan Museum of Art, New York).
Attributed works:
5. Ground plan of the Casa Sangallo before 1576. (Alexander
Röstel and Marta Castellini, based on a plan by Gianluca Belli, 2017).
Attributed works:
6. Palazzo Ximenes-Panciatichi, formerly the Casa Sangallo,
Borgo Pinti, Florence.
Attributed works:
7. Detail of Nova pulcherrimae civitatis Florentiae topographia
accuratissime delineata, by Stefano Buonsignori, showing the
Sangallo property above the number 180. 1584. Etching. (Museo di
Palazzo Vecchio, Florence).
Attributed works:
8. Barrel vault in the Salone di Leone X, Villa Medici, Poggio a Caiano,
designed by Giuliano da Sangallo. c.1510. (Bridgeman Images).
Attributed works:
9. Barrel vault in the Palazzo Ximenes-Panciatichi, Florence, designed
by Giuliano da Sangallo. c.1490–1500. Stucco. (Photograph the author).
Attributed works:
the
listing is known.
The contents of the scrittoio can therefore only be reconstructed
tentatively. Drawings, such as those in the Codex Geymüller, initiated
by Antonio the Elder and expanded by Francesco well into the 1540s,
were probably stored there, and these might have included works by
other artists.202 The Codex Barberiniano (Biblioteca Apostolica Vaticana),
a folio volume of architectural drawings by Giuliano later annotated by
Francesco, is first documented in the collection of Benedetto di Bartolomeo
Gondi in 1609, just a few years after the sale of the Casa Sangallo.203 Like
the existence of copies of the drawings in the Codex Barberiniano, this
provenance suggests that architectural drawings by the Sangallos became
coveted items for collectors and practitioners alike. It is known, for
example, that Lorenzo Sirigatti, who published a book on perspective in
1596, owned a ‘framed perspectival drawing by Sangallo’.204
Francesco’s only securely attributed bronze sculpture is St John baptising,
made for the holy water font of S. Maria delle Carceri, the centrally-planned
church in Prato designed by his father (Fig.36).205 His second will indicates
that he owned many more, mingled with ancient examples, but none has
been securely identified.206 In addition to bronze sculptures, the scrittoio
collection to Francesco, see Tomasso
XXV: A Celebration of Notable Sales,
London 2018, pp.58–59.
207 On Francesco’s medallic selfportraits,
see Donetti, op. cit. (note 60),
pp.103–21; see also Middeldorf, op. cit.
(note 68), pp.124–28 and 138.
208 Donetti, op. cit. (note 60), p.106. For
an example of the medal dated 1551 with
Francesco on the obverse and his wife on
the reverse, see Museo Nazionale del
Bargello, Florence, inv. no.6233.
209 I. Lavin: ‘Divine grace and the
remedy of the imperfect: Michelangelo’s
signature on the St Peter’s Pietà’, Artibus
et historiae 34 (2013), pp.277–328.
210 For an overview, including a partial
translation of the Martelli letters, see P.
Attwood: Italian Medals c.1530–1600 in
British Public Collections, London 2003,
I, pp.330–34, II, pls.166–72; for a complete
transcription, see Waldman, op. cit. (note
182), pp.103–04. See also Donetti, op. cit.
(note 19), pp.89–90.
211 For references to books owned by
artists of the Florentine Renaissance,
see Carl, op. cit. (note 200); D. Covi:
‘Four new documents concerning
Andrea del Verrocchio’, Art Bulletin 48
(1966), pp.97–103; A. Decaria: ‘Un
copista di classici italiani e i libri di Luca
della Robbia’, Rinascimento 47 (2007),
pp.243–87; and Z. Sarnecka: ‘Luca della
Robbia and his books: the Renaissance
artist as devotee’, Artibus et historiae
37 (2016), pp.291–301. See also F. Ames-
Lewis: The Intellectual Life of the Early
Renaissance Artist, New Haven and
London 2000.
212 For the unlikely possibility that
Giuliano and Francesco da Sangallo
owned, annotated and illustrated a
copy of the editio princeps of
Cristoforo Landino’s commentary on
Dante’s Divine Comedy in the
Biblioteca Vallicelliana, Rome, see
Degenhart, op. cit. (note 38), pp.101–
287; and Gamberini, op. cit. (note 185),
pp.169–91, at p.174. For copies of
Pliny’s Natural History available in
fifteenth-century Florence, see R.
Brennan: ‘Between Pliny and the
trecento: Ghiberti on the history of
painting’, in F. Jonietz, W.-D. Löhr and
A. Nova, eds: Ghiberti Teorico: Natura,
arte e coscienza storica nel Quattrocento,
Milan 2019, pp.43–60, at p.43,
note 12.
36. St John baptising, by Francesco da Sangallo. c.1535–38. Bronze,
height 53 cm. (Frick Collection, New York).
Western art unattributed:
16. Five masters of the Florentine Renaissance. c.1490–1510. Oil on
wood, 65.5 by 213 cm. (Musée du Louvre, Paris).
