Thought of Coluccio Salutati (Durham, N.C.: Duke Univer-
sity Press, 1983).
Salviati, Francesco (Il Cecchino) (1510–1563) Italian
painter
He was born in Florence and having studied with ANDREA
DEL SARTO, he moved to Rome, where he was patronized
in the early 1530s by Cardinal Giovanni Salviati, whose
surname he adopted. In 1539 he went to Venice via
Parma, where the paintings of PARMIGIANINOinfluenced
him. Other influences on his work were MICHELANGELO,
PONTORMO, and the Venetians. He became a notable por-
trait painter and one of the leading fresco painters of the
Florentine-Roman school. He decorated part of the
Palazzo Vecchio in Florence in the 1540s, and in 1554 he
was invited to the French court, but his restless nature
brought him back to Rome the following year. His most
important work in Rome was a set of frescoes in the
Palazzo Farnese.
Salviati, Leonardo (1540–1589) Italian scholar and
academician
Born into an eminent Florentine family, Salviati studied
under Piero VETTORIand rapidly established himself in
literary circles, first publishing a Dialogo dell’ amicizia
(c. 1560), indebted to Cicero’s De amicitia. His life’s work,
the promotion of the Tuscan vernacular, was announced
in his Orazione in lode della fiorentina favella (1564) deliv-
ered before the Accademia Fiorentina. In the funeral ora-
tion for Benedetto VARCHI (1565), Salviati revised the
definition of HUMANISMto include, in addition to classi-
cists, those teaching and writing the language of Florence.
A purist for whom BOCCACCIO was the ideal model,
Salviati criticized TASSO’s style on the publication of
Gerusalemme liberata (1581). He was one of the founders
of the ACCADEMIA DELLA CRUSCA, taking the academic
name l’Infarinato (“the one covered with flour”), and his
linguistic views were effectively embodied in the Cruscan
Vocabolario (1612). He produced an expurgated version of
the DECAMERON(1582), not from prudishness but in order
to end suppression of the text (it had been placed on the
INDEX LIBRORUM PROHIBITORUMin 1559) and restore its in-
fluence. Of continuing interest are his linguistic com-
ments in Avvertimenti della lingua sopra’l Decamerone
(Remarks on the Language of the Decameron; 1584–86). He
also wrote two comedies, Il granchio (The Crab; 1566) and
La spina (The Thorn; 1592).
See also: QUESTIONE DELLA LINGUA; VERNACULAR
Sánchez Coelho, Alonso See COELHO, ALONSO SÁNCHEZ
Sangallo family Italian architects. The family originated
in the vicinity of Florence. Giuliano (c. 1443–1516), who
was also a sculptor in wood and a military engineer, was a
follower of BRUNELLESCHI, whose influence is clear on
several of Giuliano’s buildings. Giuliano’s church of Sta.
Maria delle Carceri, Prato (1485–91) combines features of
Brunelleschi’s Pazzi chapel in Florence and of Alberti’s San
Sebastiano in Mantua. As Lorenzo de’ MEDICI’s favorite
architect, Giuliano also executed work for the Medici
family in Florence, notably the villa at Poggia a Caiano
(1485), and designed Florence’s defensive fortifications
(1478). Other works include designs for St. Peter’s in
Rome, as BRAMANTE’s successor, and for the facade of
Brunelleschi’s San Lorenzo in Florence (1516). Giuliano’s
son Francesco (1494–1576), known as Il Margotta, was
also active as a sculptor and medalist.
Antonio I (1455–1535), Giuliano’s younger brother
and pupil, also executed work as a military engineer but is
best known for his one great work, the church of the
Madonna di San Biagio at Montepulciano (c. 1518–29).
This dramatic classical building draws on Giuliano’s
church at Prato but is much more powerful in impact, de-
spite the fact that it was never finished. Antonio II
(1483–1546), the nephew of Giuliano and Antonio I, was
influenced chiefly by Bramante for whom he worked in
Rome (c. 1503). He undertook several projects for the
Farnese family, including the initial stages of the Palazzo
FARNESE. Other works include designs for St. Peter’s, of
which he was an architect from 1520, and the Palazzo del
Banco di San Spirito (1523–34) in Rome. Another mem-
ber of the Sangallo clan was Antonio I’s nephew Aristotele
(1481–1551), also called Bastiano, who was a painter and
theater decorator at the Medici court.
Further reading: Christoph L. Frommel and Nicholas
Adams (eds), The Architectural Drawings of Antonio da
Sangallo and His Circle, 3 vols (Cambridge, Mass.: MIT
Press, 1994– ).Sanmicheli, Michele (1484–1559) Italian architect
The son of a Veronese architect, Giovanni Sanmicheli, he
trained at a very early age in Rome, where he was influ-
enced by BRAMANTE, RAPHAEL, and the SANGALLO FAMILY.
From 1509 to 1528 he worked in Orvieto as capo-mastro
(master builder) of the cathedral. Among his works in
Orvieto is the Capella Petrucci in the church of San
Domenico. Returning to Verona, he began a career as a
military architect, working in an elaborate mannerist style
throughout the Venetian empire and in Cyprus and Crete.
His two fortified gates in Verona, the Porta Nuova and the
Porta Palio (1533–41), are among his best works. From
the 1530s Sanmicheli also built a number of palaces,
mainly in Verona, showing the influence of Bramante,
GIULIO ROMANO, and Roman antiquity. Notable examples
are the Bevilacqua, Canossa, and Pompei palaces.Sannazaro, Jacopo (1457–1530) Italian poet
Of aristocratic birth, Sannazaro spent almost all his life in
or near his native Naples. With the backing of Giovanni
PONTANOhe became a member of the Neapolitan Acad-SSaannnnaazzaarroo,, JJaaccooppoo 4 42255