SABATINI, Francesco - b. 1721 Palermo, d. 1797 Madrid - WGA

SABATINI, Francesco

(b. 1721 Palermo, d. 1797 Madrid)

Italian architect, active in Spain. He studied architecture in Rome. His first contacts with the Spanish monarchy was when he participated in the construction of the Palace of Caserta for the King of Naples and Duke of Parma and Tuscany, Charles VII, the future King Charles III of Spain. When he was raised to the Spanish throne, he called Sabatini to Madrid in 1760, where he was positioned above the most outstanding Spanish architects of the time. He was appointed as Great Master of Royal Works, with the rank of lieutenant colonel at the Engineers Corps, simultaneously designated also as an honorary academician of the Academia Real de Bellas Artes de San Fernando.

Sabatini’s works are all encompassed within the Neoclassical tradition, but he was not inspired fundamentally by ancient Greece and Rome, but by Italian Renaissance architecture.

His talent as an architect and the king’s support resulted in many commissions and professional recognition. He was promoted to lieutenant general of the Engineers Corps, was granted the degree of Knight of the Order of Santiago, and had direct access to the innermost royal circle after his designation as gentilhombre de camara (Gentleman of the Royal Chamber).

Puerta de Alcalá in Madrid was designed and built by Sabatini. Furthermore, he was responsible for building the Arms Factory of Toledo, the headquarters for the Wallon Guarda in Leganés (presently part of the Universidad Carlos III de Madrid), a convent in Valladolid (Santa Ana) and another one in Granada (Comendadoras of Santiago) and the well-known Chapel of the Immaculate in the Cathedral of Osma.

Exterior view
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Exterior view

In El Pardo, Francesco Sabatini created a building in 1772 which was perfectly in tune with its time. He doubled the ground plan of the 16th- and 17th-century palace, which was still crowned with defensive towers, laid out a central axis, and undertook cosmetic changes to the fa�ades.

Exterior view
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Exterior view

The influences of St. Peter’s in Rome are obvious in the design for San Francisco el Grande. The building was executed by Francesco Sabatini from a design by Francisco de la Cabeza. It featured a drumless dome 33 m in diameter. Under Joseph Bonaparte it was used as the assembly of the Cortes, and became the Pant�on Nacional in 1837. This building is the last resting place for some of Spain’s most famous figures.

Exterior view
Exterior view by

Exterior view

The influences of St. Peter’s in Rome are obvious in the design for San Francisco el Grande. The building was executed by Francesco Sabatini from a design by Francisco de la Cabeza. It featured a drumless dome 33 m in diameter. Under Joseph Bonaparte it was used as the assembly of the Cortes, and became the Pant�on Nacional in 1837. This building is the last resting place for some of Spain’s most famous figures.

Exterior view
Exterior view by

Exterior view

The Bourbons took a great interest in the former Hieronymite monastery of La Granja de San Ildefonso near Segovia, which Philip V and Isabella Farnese had built as a kind of Spanish Versailles. Here Charles III built a court complex with various ancillary buildings and workshops. In the course of these extensions the eastern fa�ade of the palace church was also redesigned to reflect its state function. The two towers of the choir with their colossal pilasters and strongly defined attic floor are attributed to Francesco Sabatini.

The photo shows the palace church.

Exterior view
Exterior view by

Exterior view

The Bourbons took a great interest in the former Hieronymite monastery of La Granja de San Ildefonso near Segovia, which Philip V and Isabella Farnese had built as a kind of Spanish Versailles. Here Charles III built a court complex with various ancillary buildings and workshops. In the course of these extensions the eastern fa�ade of the palace church was also redesigned to reflect its state function. The two towers of the choir with their colossal pilasters and strongly defined attic floor are attributed to Francesco Sabatini.

The photo shows the palace church.

General view
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General view

Far-reaching reform of town planning in Madrid had been initiated in the 1760s under Charles III. Among the most fundamental reforms was the integration of the previously isolated Palacio Real into the fabric of the city and especially the grand design and construction of the boulevards to open up the urban space. The Calle de Alcalà, for example, was given an imposing architectural element with the triumphal arch of the Puerta de Alcalà, a work by Sabatini that still exhibited the Baroque style.

General view
General view by

General view

Far-reaching reform of town planning in Madrid had been initiated in the 1760s under Charles III. Among the most fundamental reforms was the integration of the previously isolated Palacio Real into the fabric of the city and especially the grand design and construction of the boulevards to open up the urban space. The Calle de Alcalà, for example, was given an imposing architectural element with the triumphal arch of the Puerta de Alcalà, a work by Sabatini that still exhibited the Baroque style.

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