Bartolomeo Ammannati, Italian architect and sculptor (b. 1511)

Bartolomeo Ammannati, an influential Italian architect and sculptor whose career spanned much of the 16th century, was born on June 18, 1511, in Settignano, a charming village near Florence renowned for its skilled stone carvers and quarries. His artistic journey began with rigorous training under some of the era's most esteemed masters, shaping his distinctive style that bridged the High Renaissance and the emerging Mannerist period. He passed away in his beloved Florence on April 13, 1592.

Early Life and Formative Training

Ammannati’s education laid a strong foundation for his future accomplishments. He first apprenticed with Baccio Bandinelli, a prominent Florentine sculptor known for his dramatic, if sometimes controversial, works. Later, he moved to Venice to study under Jacopo Sansovino, a pivotal figure in Venetian Renaissance architecture and sculpture. This period was particularly impactful, with Ammannati assisting Sansovino on the design of the magnificent Library of St. Mark's, more famously known as the Biblioteca Marciana. This early exposure to grand architectural projects and Sansovino's classical yet innovative approach profoundly influenced Ammannati's own architectural sensibilities. While absorbing these diverse influences, Ammannati also demonstrated a keen admiration for the monumental style of Michelangelo, often closely imitating the grand master's dramatic flair in his own compositions.

A Dual Talent: Architect and Sculptor

While proficient in both disciplines, Ammannati ultimately distinguished himself more prominently in architecture than in sculpture, a judgment borne out by the scale and lasting impact of his building projects. His early career saw him working collaboratively in Rome, a vibrant center of artistic innovation. Here, he partnered with esteemed architects such as Giacomo Barozzi da Vignola and Giorgio Vasari, contributing to significant projects like the designs for the elegant Villa Giulia for Pope Julius III. His skills were also sought after in other Italian cities, including Lucca.

Florentine Grandeur: The Pitti Palace and Accademia

Ammannati’s return to Florence marked a period of intense and highly significant architectural work, particularly for the powerful Medici family. Between 1558 and 1570, he undertook the ambitious refurbishment and enlargement of the Pitti Palace, transforming what was originally a grand private residence into the imposing principal seat of the Medici Grand Dukes. His most notable contribution was the creation of the palace’s iconic courtyard, featuring three distinct wings adorned with richly rusticated facades—a technique using rough-hewn, projecting blocks of stone that convey a sense of strength and antiquity. This design not only echoed the robust appearance of the main external façade of the Pitti but also incorporated a lower portico that elegantly led to the amphitheater in the sprawling Boboli Gardens, seamlessly integrating the palace with its landscape. Such was his standing that in 1563, he was named Consul of the Accademia delle Arti del Disegno of Florence, an esteemed institution founded by Duke Cosimo I de' Medici himself, dedicated to fostering artistic education and professional excellence.

Engineering Elegance: The Ponte Santa Trinita

In 1569, Ammannati received another monumental commission: the construction of the Ponte Santa Trinita, a bridge spanning the Arno River in Florence. This project is celebrated as a masterpiece of Renaissance engineering and aesthetic grace. Its three arches, uniquely elliptic in form, gave the bridge an extraordinary lightness and elegance that defied the powerful currents of the Arno. Testament to Ammannati's innovative design and robust construction, the Ponte Santa Trinita remarkably withstood numerous floods that had, at various times, damaged or destroyed other bridges across the river. Tragically, this historic structure was destroyed in 1944 during World War II but was meticulously rebuilt in 1957, with great care taken to replicate Ammannati's original design, including salvaging as much of the original stone as possible from the riverbed.

The Controversial Masterpiece: Fountain of Neptune

Perhaps Ammannati’s most discussed sculptural work, and certainly a focal point in Florence, is the Fountain of Neptune (Fontana del Nettuno), prominently situated in the Piazza della Signoria, the city’s civic heart. This monumental ensemble is often considered a prototypical example of Mannerist sculpture. The commission for this fountain was initially given to the aging Bartolommeo Bandinelli. However, upon Bandinelli's death, a competition was held, and Ammannati's design ultimately prevailed, besting submissions from other formidable artists of the time, including Benvenuto Cellini and Vincenzo Danti. From 1563 to 1565, Ammannati, along with his talented assistants, among whom was the rising star Giambologna, meticulously sculpted the colossal block of marble that Bandinelli had originally chosen. For the face of Neptune, Ammannati famously used Grand Duke Cosimo I de' Medici as his model, overtly symbolizing Cosimo's ambitious goal of establishing a formidable Florentine naval force. However, not everyone was impressed. The imposing, sometimes described as "ungainly," sea god was placed at a corner of the Palazzo Vecchio, directly in sight of Michelangelo's iconic statue of David. It is famously recounted that the then 87-year-old Michelangelo, known for his acerbic wit, scoffed at Ammannati's creation, lamenting that he had "ruined a beautiful piece of marble" with the memorable ditty: "Ammannati, Ammanato, che bel marmo hai rovinato!" (Ammannati, Ammannato, what a beautiful piece of marble you have ruined!). Despite the criticism, Ammannati continued to elaborate on the fountain for another decade, adding a rich array of demigod figures around its perimeter, including bronze reclining river gods, playful laughing satyrs, and elegant marble sea horses emerging from the water, creating a vibrant and complex allegorical tableau.

Personal Life and Later Conversion

In 1550, Bartolomeo Ammannati married Laura Battiferri, an accomplished woman and an elegant poet of her time, known for her intellectual prowess and literary contributions. Later in his life, Ammannati experienced a profound religious crisis, deeply influenced by the fervent piety of the Counter-Reformation. This period led him to condemn some of his earlier works that depicted nudity, reflecting the changing moral and artistic sensitivities of the era. In a testament to his renewed devotion, he ultimately left all his possessions to the Society of Jesus, the Jesuits, a prominent order of the Counter-Reformation. He passed away in Florence in 1592, leaving behind a rich legacy of architectural innovation and sculptural artistry.

FAQs

What were Bartolomeo Ammannati's primary professions?
Bartolomeo Ammannati was primarily an Italian architect and sculptor.
Who were Ammannati's most influential teachers?
He studied under Baccio Bandinelli and Jacopo Sansovino, both prominent artists of the Renaissance.
What famous library did Ammannati help design in Venice?
He assisted Jacopo Sansovino on the design of the Library of St. Mark's, also known as the Biblioteca Marciana, in Venice.
What significant architectural project did Ammannati undertake for the Medici family in Florence?
He was responsible for the refurbishment and enlargement of the Pitti Palace in Florence, including its famous rusticated courtyard.
Why is the Ponte Santa Trinita notable?
The Ponte Santa Trinita is renowned for its innovative design featuring elegant elliptic arches, which allowed it to withstand floods that damaged other bridges. It was destroyed in WWII and faithfully rebuilt.
What is the most famous sculptural work by Ammannati?
His most famous sculptural work is the Fountain of Neptune (Fontana del Nettuno) in the Piazza della Signoria in Florence.
What famous artist criticized Ammannati's Fountain of Neptune?
Michelangelo famously criticized the Fountain of Neptune with the ditty: "Ammannati, Ammanato, che bel marmo hai rovinato!" (Ammannati, Ammannato, what a beautiful piece of marble you have ruined!).
Who was Ammannati married to?
He was married to Laura Battiferri, an elegant poet and accomplished woman.
What influenced Ammannati's later life and his views on his own art?
A religious crisis, influenced by Counter-Reformation piety, led him to condemn his works depicting nudity and to leave his possessions to the Jesuits.