Giuliano da Maiano (1432–1490) was an Italian architect, intarsia -worker, and sculptor, the elder brother of Benedetto da Maiano , with whom he often collaborated.
11-419: da Maiano is the name of two Italian Renaissance brothers who worked as sculptors and architects: Giuliano da Maiano (c. 1432-1490) Benedetto da Maiano (1442-1497) Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Da Maiano . If an internal link led you here, you may wish to change
22-546: A ground floor that had been begun by Michelozzo ; he is also often credited with Palazzo Antinori (1465–1469). In Siena, he built Palazzo Spannocchieschi (c. 1475), in the Florentine manner of delicately rusticated facade and twinned arch-headed windows within a blind arch that had been established in Florence by Alberti's Palazzo Rucellai and Michelozzo's Palazzo Medici-Riccardi. Between the two cities, at San Gimignano , Giuliano
33-680: A tabernacle of the Madonna dell'Olivo for the Cathedral of Prato , executed in collaboration with his brothers Benedetto and Giovanni. As an architect he was virtually the house architect for the Pazzi , rebuilding Palazzo Pazzi (1462–1472), the main seat of the family, for Jacopo de' Pazzi . For the Strozzi , at the Palazzo dello Strozzino he added a piano nobile (c. 1456) in the manner of Palazzo Medici-Riccardi to
44-739: Is credited with enlarging the Romanesque church of Santa Maria and building the chapel of Santa Fina , in collaboration with Benedetto; at Arezzo , where Benedetto built the Portico of Santa Maria delle Grazie , Giuliano built the cloister of the Badia. The Badia of Fiesole influenced the design of the Brunellesque church of Santa Maria del Sasso , outside Bibbiena , built in 1486-87, where documents show craftsmen were presenting their bills to Giuliano for countersigning. The monks of San Marco were in charge, but
55-683: The Duomo, Florence , carried out in collaboration with Benedetto in 1463-1465, where Giuliano carved the wooden bas-reliefs of putti and garlands in the frieze, and for works in Palazzo Vecchio in collaboration with Benedetto, notably the ceiling in octagonal compartments and the white marble doorcase in Benedetto's Sala d'Audienza intarsia in the Sala dei Dugento (1472–1477) and in the Sala del Giglio. In 1480 he finished
66-552: The Sanctuary of Santa Maria del Sasso is a Renaissance church near Bibbiena in Tuscany , Italy . The first church on the site was constructed in 1347 following a reported appearance of the Virgin Mary on 23 June 1347. The current building was commissioned by Lorenzo de' Medici and constructed by Giuliano da Maiano starting in 1486. Following a visit by Savonarola in 1495 the work
77-606: The cathedral , 1474–1486), in Recanati , where Lorenzo sent him to build Palazzo Venier for Cardinal Anton Giacomo Venier, and in other locations in the Marche. Above all, from 1487 he worked in Naples, where Alfonso, then duca di Calabria , employed him at the Villa di Poggio Reale (1487–1488, demolished). Giuliano also erected the marble Porta Capuana closely flanked by the cylindrical towers of
88-747: The Castello; it takes the form of a triumphal arch with Corinthian columns and an elaborate sculptural program; in the Sala Grande of the Castello he carved bas-reliefs above the doors, within and without (Vasari). He died in Naples in 1490, and Alfonso himself supplied mourners for the funeral. He was also famous for the wooden room entirely of intarsia , the "Studiolo" in the Ducal Palace in Gubbio . Santa Maria del Sasso Santa Maria del Sasso , also known as
99-441: The link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Da_Maiano&oldid=932781747 " Category : Disambiguation pages Hidden categories: Short description is different from Wikidata All article disambiguation pages All disambiguation pages Giuliano da Maiano He was born in the village of Maiano , near Fiesole , where his father
110-608: The patron was a Medici , for stemme for the church were being painted even as construction progressed; doubtless it was Lorenzo de' Medici himself who paid the expenses. The rock for which the church is named, site of an apparition of the Virgin Mary , rises through the floor at the domed crossing, where Giuliano's delicate domed baldachin identifies and protects the sanctified spot. His established reputation elicited commissions in Rome, Loreto ( Basilica della Casa Santa ), Faenza (at
121-470: Was a stone-cutter who moved his family and business to Florence , where, according to Vasari , he operated a stonemason's yard, providing mouldings and carved stone detail for construction. Giuliano showed early promise, and his father hoped at first to make of him a notary, but his talent for sculpture and design won out. His first designs were for the intarsia inlay in the fittings for the New Sacristy of
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