Santi Buglioni, by the name of Santi di Michele (25 December 1494 – 27 November 1576) was an important Renaissance Italian sculptor, the nephew and collaborator of Benedetto Buglioni.

He was born on December 25, 1494, and his mother Francesca Mori was a near relative of Lisabetta Mori, the wife of Benedetto Buglioni. Hence it was natural that Santi should have become in 1513 a ward and pupil of his distinguished relative.

After Luca della Robbia had moved to France to escape the plague, the Buglioni family inherited from him the secrets of the new pottery glaze techniques. According to Giorgio Vasari, the Buglioni learnt della Robbia's secret through a woman who frequented his house.

In his early works he was the assistant and pupil of Benedetto Buglioni. The monuments at Badia Tedalda reveal him cooperating with Benedetto in the Madonna della Cintola (1521) and as an independent artist in the altarpiece of the Annunciation and Saints (1522). After the death of Benedetto Buglioni the young Santi began a career of more ambitious works.

Undoubtedly his most remarkable and famous work, which far exceeds in importance all his remaining activity, is the frieze with the Works of Mercy, in glazed and coloured terracotta, on the façade of the Spedale del Ceppo in Pistoia. For centuries, the undertaking was attributed to Giovanni della Robbia; however, it is clear from the payment documents that Santi Buglioni was the main executor. Benedetto had worked for the hospital (1510, 1515), and in 1525 Giovanni della Robbia received an order for medallions and figures, but in 1526–28 the payments refer to Buglioni. Only in 1585 was the frieze completed, probably by Filippo di Lorenzo Paladini, with the scene Dar da bere agli thirstati, in painted stucco.

The Works of Mercy are true costume scenes, executed with graceful simplicity. Undoubtedly there are imperfections, particularly in the arrangement of the figures, and a certain clumsiness of movement, perhaps due to the necessity of firing the terracottas in detached pieces to join them later, arranging them in place. However, what is most striking about the whole is the immediate sincerity of the narrative and its unfolding according to a pleasantly populist taste, even though Buglioni conducts the modelling of the figures, the faces themselves (e.g. the profile of the pilgrim being washed by a guest) with great care and careful finesse. And the author looks at details, be they a fur coat or a long beard, with a delicate attention that is indeed rarely found in Giovanni della Robbia's work. Some figures almost suggest in Santi Buglioni an inspiration to Piero di Cosimo, in others he touches on even Filippino Lippi forms, without however that baroque brio and whimsy that give so much languid poetry to Filippino's works.

Works by to Santi Buglioni include the Deposition in the Saint Francis Museum of Greve in Chianti, the cyborium in the church of San Silvestro at Convertoie. Around 1520–1530 he executed the Noli me tangere at the Bargello and the façade decoration of the Ospedale del Ceppo at Pistoia. From 1539 is the monument to the condottiero Giovanni dalle Bande Nere, together with Niccolò Tribolo, followed by a glazed pottery for the Abbey of Vallombrosa.

The patronage of the Medici family enhanced the prestige of glazed terracotta, and the medium was also prized by guilds and religious institutions for its beauty, legibility, and durability.