Editing Baccio d'Agnolo (section)

== Biography ==
"Baccio" is an abbreviation of Bartolomeo, and "d'Agnolo" refers to Angelo, his father's name. He was the son of a hosier turned woodworker.<ref name="auto">{{cite book |last= Campbell |first= Gordon |author-link= |date= 9 November 2006|title= The Grove Encyclopedia of Decorative Arts: Two-volume Set| url= https://books.google.com/books?id=i3Od9bcGus0C|access-date=13 February 2022|location= Oxford | publisher= Oxford University Press| page=60| isbn= 978-0-195-18948-3}}</ref> He started as a wood-carver, and between 1491 and 1502 did much of the decorative carving in the church of [[Santa Maria Novella]] and the [[Palazzo Vecchio]] in Florence. The wooden structure of [[Santissima Annunziata, Florence| Santissima Annunziata]], an elaborate double-sided altarpiece, was "begun in 1500 on a design by Baccio D'Agnolo".<ref>{{cite book |last= Zeri |first= Federico |author-link= |date= 8 October 2012|title= Italian Paintings: A Catalogue of the Collection of the Metropolitan Museum of Art. Sienese and Central Italian schools| url= https://books.google.com/books?id=TloBvX8Zp1oC|access-date=13 February 2022|location= New York| publisher= Metropolitan Museum of Art | page= 60| isbn= 978-0-300-08622-5}}</ref> Having made his reputation as a sculptor he appears to have turned his attention to architecture, and to have studied at [[Rome]], though the precise date is uncertain; but at the beginning of the sixteenth century he was engaged with the architect [[Simone del Pollaiolo]] in restoring the Palazzo Vecchio, and in 1506 he was commissioned to complete the drum of the cupola of the church of [[Florence Cathedral|Santa Maria del Fiore]]. The latter work, however, was interrupted on account of adverse criticisms from [[Michelangelo]], and it remained unexecuted.<ref name="EB1911">{{EB1911|inline=1|wstitle=Baccio d'Agnolo|volume=3|page=124}}</ref> 

In 1496 he began a long association with the Palazzo della Signoria for the fabric and decoration works. He gradually assumed a dominant role. In 1499 he became the head of the office of the works, a position he occupied until the end of his life.<ref name="auto"/> During this time, he designed many projects including a private apartment for [[Piero Soderini]] when he was [[Gonfaloniere|Gonfalonier]].<ref>{{cite book |last= Vasari|first= Giorgio |author-link= |date= 4 December 2015|title= The Lives of the Most Excellent Painters, Sculptors, and Architects| url= https://books.google.com/books?id=-lAgCwAAQBAJ|access-date=13 February 2022|location= New York City| publisher= Modern Library| page= NA| isbn= 978-0-375-76036-5}}</ref>

Baccio d'Agnolo also designed, among others, the [[Palazzo Borgherini-Rosselli del Turco]] and the [[Palazzo Bartolini Salimbeni]]. The Bartolini palace was the first house to be given frontispieces of columns to the door and windows, previously confined to churches. This is "the oldest example of the explicit use of window frames in secular architecture".<ref>{{cite book |last= Riegl |first= Alois |author-link= |date= 30 November 2010|title= The Origins of Baroque Art in Rome| url= https://books.google.com/books?id=RvkatVCWEmgC|access-date=13 February 2022|location= Los Angeles, California | publisher= Getty Publications| page=143| isbn= 978-1-606-06041-4}}</ref> He was ridiculed by the Florentines for this innovation. Another much-admired work of his was the campanile of the church of [[Santo Spirito di Firenze|Santo Spirito]]. His studio was the resort of some of the most celebrated artists of the day: Michelangelo, [[Andrea Sansovino]], the brothers [[Antonio da Sangallo the Elder]] and [[Giuliano da Sangallo]], and the young [[Raffaello Santi|Raphael]]. He died at Florence in 1543, leaving three sons, all architects, the best-known being [[Giuliano d'Agnolo]].<ref name="EB1911"/>

[[Giorgio Vasari]] included Baccio in volume IV of his ''[[Vite]]''.{{Citation needed|date=May 2016}}