271 



SANDRAET, JOACHIM VON. 



SANGALLO. 



272 



SANDRAET, JOACHIM VON, well known as a painter and 

 engraver, but more celebrated for his writings on the arts, was born at 

 Frankfurt on the Main, in 1606. Having received a good general 

 education, he devoted himself to the study of the arts, and was first 

 instructed in engraving by Theodore de Bry and Matthew Merian. 

 When he was only fifteen years of age, he went to Prague, where he 

 was for some time instructed in engraving by Giles Sadeler, who how- 

 ever advised him to apply to painting, which he judged to be better 

 suited to his genius. He accordingly went to Utrecht, where he 

 became a pupil of Gerhard Honthorst. Under this able teacher he 

 made great progress, so as to be shortly able to assist his master in 

 many of his most important works. 



D^scamps affirms that when Honthorst was invited to England by 

 Charles I., he engaged Sandrart to accompany him, that the king 

 bespoke many pictures of him, that he copied several portraits by 

 Holbein for the Earl of Arundel, and that he remained in England till 

 1627 (in which case he would have been only twenty-one years of age), 

 when he went to Venice. Pilkington's Dictionary, edited by Fuseli 

 (1818), gives a similar account. But Bryan (1816) says "there appears 

 to be very little authority for this account. No picture of Sandrart's 

 is mentioned in king Charles's collection, and what renders the story of 

 his having been in England more improbable, is that he takes no 

 notice of it himself in his ' Life of Honthorst,' though he mentions 

 that artist's jourjiey to England, and gives an account of his works 

 here." It is certain that he spent several years in Italy. At Venice 

 he copied the finest pictures of Titian and Paul Veronese, and at Rome 

 was much employed by Cardinal Barberini and Prince Giustiniani. 

 After a long residence in Italy he returned to Frankfurt, and executed 

 many considerable works for the emperor Ferdinand, and for Maxi- 

 milian, duke of Bavaria. He passed the latter years of his life at 

 Nurnberg, where he died in 1683, aged 77 years. At Nurnberg he 

 published several works, particularly his Lives of the Painters, under 

 the title of ' Academia Artis Pictorise.' 



SANDYS, GEORGE, an English poet, was born in 1577, at the 

 palace of Bishopsthorpe, his father, Dr. Edwin Sandys, being then 

 Archbishop of York. In 1589, the year after his father's death, he 

 was sent to Oxford, and became a member, first of St. Mary Hall, and 

 was afterwards, as Wood thinks, of Corpus Christi College. (' Athen. 

 Oxon.') We have no account how he passed his time between this 

 period and the year 1610, when he commenced his travels in the 

 East, returning, as Wood supposes, " in 1612, or after, much improved 

 in several respects, being master of several languages, of a fluent and 

 ready discourse, and of excellent comportment ; having naturally a 

 poetical fancy, and a zealous inclination to all human learning, which 

 made his company desired and most acceptable to most virtuous men 

 and scholars of his time." His account of his travels was published 

 in 1615, being dedicated to Charles, then Prince of WaKs, and entitled 

 'A Relation of a Journey begun iu 1610, in Four Books, containing a 

 Description of the Turkish Empire, of Egypt, of the Holy Land, and 

 of the remote parts of Italy and islands adjoining.' 



After this Sandys went to America, and appears to have succeeded 

 his brother as treasurer for the English colony of Virginia. During 

 his residence he completed his translation of the ' Metamorphosis ' of 

 Ovid, on which he had been for some time engaged. On bis return to 

 England he was appointed one of the gentlemen of the privy chamber 

 to the king. In 1636 he published a 'Paraphrase upon the Psalms,' 

 and two years afterwards ' Paraphrases on the Book of Job, Eccle- 

 biastes, the Lamentations of Jeremiah, and Songs selected out of the 

 Old and New Testament ; ' in 1639 a translation of ' Christ's Passion,' 

 a tragedy by Grotius. His last work was the the poetical version of 

 the ' Song of Solomon,' in 1642. He died at Bexley Abbey, in Kent, 

 March 1643-44. 



The writings of Sandys are simple, earnest, and devout ; his travels 

 are learned without pedantry, and circumstantial without being 

 tedious ; and are valuable for the picture they give of the East in his 

 time, particularly of Jerusalem. His poetical writings contributed, 

 like those of Carew and Herrick, to the formation of a well-tuned and 

 harmonious versification, the natural accompaniment of the refined 

 purity of thought and expression for which they are distinguished. 

 His merits in this respect have been acknowledged by Waller, Dryden, 

 and Warton. Specimens of his most beautiful compositions, both in 

 poetry and prose, are given in the Memoir of his Life, by the Rev. 

 H. J. Todd, prefixed to ' Selections from Sandy's Metrical Paraphrases,' 

 &c., London, 1839, from which biography this sketch is taken. 



SANGALLO, or SAN GALLO, a family of distinguished Italian 

 artists and architects, whose original name was Giamberti. 



1. GIULIANO GIAMBEKTI, born in 1443, was the son of Francisco 

 Giamberti, who was himself an architect of some repute in the service 

 of Cosmo de' Medici. At first both he and his brother Antonio chiefly 

 practised carving in wood, in which they acquired some celebrity. 

 Giuliano was next employed in the capacity of military engineer by 

 Lorenzo de' Medici, who rated his services very highly. So patronised, 

 Giuliano determined on pursuing architecture as his profession ; and 

 he had soon an opportunity of displaying his talent in the fore-court 

 or cloister of the church of Santa Maddalena de' Pazzi at Florence, 

 wherein he introduced an Ionic order, whose capitals are remarkable 

 for having an ornamental necking, at that time an innovation, and said 

 to have been imitated from an antique fragment found at Fiesole. He 



was afterwards commissioned by Lorenzo himself to erect a large 

 convent (destroyed during the siege in 1530) near the gate of San 

 Gallo, whence he obtained the name of ' Da San Gallo,' at first jestingly 

 bestowed on him by his patron, and afterwards adopted by himself 

 and the rest of bis family. In 1490 he commenced the Palazzo Gondi 

 for a wealthy merchant of that name, but, owing to the death of the 

 latter, the building was not completed ; nevertheless, what was exe- 

 cuted is, with some imperfections, a fine specimen of the Florentine 

 style. Among his numerous other works was a palace erected by him 

 at Savona, for his patron the Cardinal della Rovere (now converted 

 into the convent of Santa Chiara), besides other buildings for the same 

 prelate. When Rovere was elevated to the pontificate by the title of 

 Julius II., Sangallo expected to be employed as architect of the new 

 St. Peter's church, but being supplanted by Bramante, he retired in 

 disgust to Florence. On the election of Leo X. he returned to Rome, 

 and on the death of Bramante was offered the appointment of architect 

 of St. Peter's, but he declined it on account of his age and infirmities, 

 and returning to Florence, died there two years afterwards (1517), at 

 the age of seventy-four. 



Giuliano had a son named Francesco, who is spoken of by Vasari as 

 a skilful sculptor then living, and who executed the mausoleum erected 

 at Monte Cassino by Clement VII. in honour of Piero de' Medici. 



2. ANTONIO SANGALLO, brother of the preceding, was induced by 

 him to quit the profession of sculpture for that of architect, and was 

 left by him to complete the palace be had begun at Savona. He after- 

 wards visited Rome, where he ingratiated himself with Alexander VI., 

 to whom he proposed to convert Hadrian's mausoleum into a fortress, 

 and he altered that building into its present form, since which time it 

 has been called the Castle of St. Angelo. This work gave so much 

 satisfaction, both to the pope and to his son the Duke Valentino, that 

 the latter employed him to erect the fortress of Civita Castellana, 

 and afterwards that of Montefiascone. He likewise erected several 

 churches, among which that of the Madonna at Montepulciano is 

 esteemed hjs best production of that class. Some time before his 

 death, in 1534, he gave up both architecture and sculpture, and 

 amused himself with agricultural pursuits. 



3. ANTONIO SANGALLO, the most noted of the family, was nephew 

 to the two preceding on the mother's side, from whom he received 

 their surname, that of his father, who was a cooper at Mugello, being 

 Bartolomeo Picconi. He was at first put to the business of a common 

 carpenter, but the fame of his uncles determined him to set out for 

 Rome, and become their pupil ; and when they quitted that city, he 

 found another instructor and protector in Bramante, to whom, then 

 advanced in years, he soon rendered himself a most useful assistant. 

 Nor was it long before his talents obtained for him the notice of 

 persons of rank, among the rest of Cardinal Alexander Farnese (after- 

 wards Paul III.), who employed him to rebuild his mansion in the 

 Campo de' Fiori, the first beginniug of that splendid pile, which would 

 of itself alone have established the reputation of Sangallo. One of 

 his earliest works was the church of la Madonna di Loretto, near 

 Trajan's pillar ; but as that edifice was begun iu 1507, it is doubtful 

 whether he did more than afterwards complete it. His other works 

 of the same period were several private mansions or palazzi, especially 

 one for Marchionne Baldassini ; but as neither the buildings themselves 

 are described nor their sites distinctly indicated by Vasari and his 

 other biographers, and as many of them have repeatedly changed their 

 names, it is now difficult to specify or ascertain them. It is equally 

 difficult to determine their respective dates ; and we may therefore 

 break through chronological order, and mention here the house that 

 he afterwards built for himself in the Strada Giulia, now known as 

 the Palazzo Sacchetti. 



Passing by the various works on military architecture, upou which 

 he was employed at different times at Civita Vecchia, Parma, Piacenza, 

 Ancona, and other places, we shall proceed to consider Sangallo's 

 project for completing St. Peter's. After the works had been nearly 

 suspended for several years, Paul III. determined that they should be 

 resumed vigorously, and on the death of Peruzzi, in 1536, Sangallo 

 became the sole architect. With the view of preventing those changes 

 which had been made by all the preceding architects, the pope ordered 

 him to prepare a model, upon such a scale and in such an expensive 

 manner, that there should be no danger of its being either forgotten 

 or destroyed. This model, which is said to have taken several years 

 to execute, and to have cost upwards of 5000 crowns, is still preserved 

 in one of the rooms of the Vatican. It is formed of wood, and is in 

 length 35 Roman palms, or nearly 20 English feet. Little more how- 

 ever was done to the fabric by Sangallo than to strengthen the parts 

 already erected; and after his death his design was abandoned 

 altogether, not a trace of it being visible in the present structure. An 

 elevation of Sangallo's model is given in the first volume of Wood's 

 ' Letters of an Architect,' from which it may be seen that if it had 

 been followed, the building would have been totally different from 

 what it now is. The cupola would have had two orders, one around 

 the tambour, another carried up above the spring of the dome, which 

 would also have been of much lower proportions than the present one, 

 while other very conspicuous features would have been two exceed- 

 ingly lofty and tapering campanili, contrasting and at the same time 

 harmonising with the cupola itself. It is true the design is broken 

 into a multiplicity of parts, yet they arc both agreeably proportioned 



