At the time when Giuliano is supposed to have gone to Naples, a great work begun by him in his native city can scarcely have been ready for habitation. This was the convent of the Augustinian Friars in front of the Porta San Gallo, the immediate occasion of which was Lorenzo’s liking for the preacher Fra Mariano of Genazzano. The work was important enough to give the artist a new name, under which the whole family became famous. According to Vasari, it was Lorenzo who first used the appellation, and on Giuliano’s playful remark that he was taking a backward step in abandoning his old family name, Lorenzo replied that it was better to make a name by one’s own merits than to inherit one.[178] Only a part of the huge building was completed, and this was totally destroyed in 1529. To Lorenzo is attributed the idea of rebuilding the castle on the Poggio Imperiale near Pozzibonzi, the importance of which had been but too clearly shown in the wars of 1478-79, and he obtained the commission for Giuliano. The work began in 1488, was afterwards directed by Giuliano’s younger brother, but finally sank into as complete ruin as the works of Henry of Luxemburg on the same spot. Nothing is known of what Sangallo did in Milan, whither he is believed to have gone on Lorenzo’s recommendation, with the plan of a palace, for Lodovico il Moro, and where he met Leonardo da Vinci. His great patron was no longer living when he began, for Giuliano Gondi, on the Piazza San Firenze, the palace which, though unfinished, still produces a pleasing effect with its fine proportions, its artistic arrangement of rustic work on the first and second stories, and its elegant arcade.[179] The court of the convent of Sta. Maria Maddalena de’ Pazzi (Cestello), in the Via de’ Pinti, is one of Giuliano’s earlier works, not wanting in character or grace. Nothing is known of independent works by Antonio, Giuliano’s brother and frequent assistant, during Lorenzo’s lifetime. His time of activity in Tuscany and Rome, both as a military builder, and as an architect of churches and palaces, began under Alexander VI. and lasted till only a degenerate scion was left of the race of Lorenzo the Magnificent. The Aretine art-historian rightly says that these two brothers left architecture as an inheritance to their family. It was they who mainly contributed to keep up in Tuscany a tradition which was never quite false to the Quattrocento, even when the Renaissance had been overgrown with a certain grotesqueness.