Bartolomeo Ammannati (June 18, 1511 – April 13, 1592) was an Italian architect and sculptor, born at Settignano, near Florence. He studied under Baccio Bandinelli and Jacopo Sansovino (assisting on the Library of St. Mark’s, the Biblioteca Marciana, Venice) and closely imitated the style of Michelangelo.
He was more distinguished in architecture than in sculpture. He designed many buildings in Rome, which included work at the Villa Giulia complex (in collaboration with Vignola and Vasari), also at Lucca and Florence. His work at the completion of Pitti Palace, commissioned by Eleonora of Toledo, wife of Cosimo I, is one of his most celebrated achievements (1558–1570), respecting the original style of Filippo Brunelleschi. He was also named Console of the prestigious Accademia delle Arti del Disegno of Florence, founded by the Duke Cosimo I, at January 13, 1563, under the influence of Vasari.
He was then employed in 1569 to build the beautiful bridge over the Arno, known as Ponte Santa Trinita and one of his most celebrated works. The three arches are elliptic, and though very light and elegant, have resisted the fury of the river, which has swept away several other bridges at different times. It was destroyed in 1944, during World War II, and rebuilt in 1957.
Another of his most important works was the marble and bronze Fountain of Neptune (Fontana del Nettuno) for the Piazza della Signoria. The assignment was originally given to the ageing Bartolommeo Bandinelli. On his death, Ammannati won the competition for the continuing of this assignment over other famous sculptors, such as Benvenuto Cellini and Vincenzo Danti. He worked between 1563 and 1565 on the original block of marble (chosen by Bandinelli), together with his assistants, among which Giambologna. He took Grand Duke Cosimo I as model for Neptune’s face. When the work on the ungainly sea god was finished, Michelangelo scoffed at Ammannati that he had ruined a beautiful piece of marble: “Ammannati, Ammanato, che bel marmo hai rovinato!” Ammannati continued working on this fountain for another ten years, adding, in a mannerist style, around the perimeter suave bronze reclining river gods, laughing satyrsand marble sea horses emerging from the water. The whole gives nevertheless a coherent impression. The fountain served as an example for future fountain-makers.