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{{short description|Church in Tuscany, Italy}}
{{short description|Catholic church in Tuscany, Italy}}
{{Infobox church
{{Infobox church
| denomination = [[Roman Catholic]]
| denomination = [[Catholic Church]]
| sui iuris church = [[Latin Church]]
| name = Basilica di San Lorenzo
| name = Basilica di San Lorenzo
| other name = Basilica of Saint Lawrence
| other name = Basilica of Saint Lawrence
Line 21: Line 22:
| archdiocese = [[Roman Catholic Archdiocese of Florence|Archdiocese of Florence]]
| archdiocese = [[Roman Catholic Archdiocese of Florence|Archdiocese of Florence]]
}}
}}
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[[Image:Einblick LH2 San Lorenzo Florenz.jpg|thumb|right|upright|Interior looking toward the high altar]]
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The '''Basilica di San Lorenzo''' ([[Basilica]] of [[St. Lawrence]]) is one of the largest churches of [[Florence]], [[Italy]], situated at the centre of the main market district of the city, and it is the burial place of all the principal members of the Medici family from [[Cosimo il Vecchio]] to [[Cosimo III]]. It is one of several churches that claim to be the oldest in Florence, having been consecrated in 393 AD,<ref>{{cite book|last1=Haegen|first1=Anne Mueller von der|last2=Strasser|first2=Ruth F.|title=Art & Architecture: Tuscany|date=2013|publisher=H.F.Ullmann Publishing|location=Potsdam|isbn=978-3-8480-0321-1|page=240|chapter=San Lorenzo}}</ref> at which time it stood outside the city walls. For three hundred years it was the city's [[cathedral]], before the official seat of the bishop was transferred to [[Santa Reparata (Florence)|Santa Reparata]].


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San Lorenzo was the parish church of the [[Medici]] family. In 1419, [[Giovanni di Bicci de' Medici]] offered to finance a new church to replace an eleventh-century [[Romanesque architecture|Romanesque]] rebuilding. [[Filippo Brunelleschi]], the leading [[Renaissance]] architect of the first half of the fifteenth century, was commissioned to design it, but the building, with alterations, was not completed until after his death. The church is part of a larger monastic complex that contains other important architectural and artistic works: the [[Sagresta Vecchia|Old Sacristy]] ("Sagresta Vecchia") by Brunelleschi and having interior decoration and sculpture by [[Donatello]]; the [[Laurentian Library]] by [[Michelangelo]]; the [[Medici Chapels]], two structures that include the [[Sagrestia Nuova (New Sacristy)|New Sacristy]] ("Sagrestia Nuova") based on Michelangelo's designs; and the larger [[Cappella dei Principi (Florence)|Cappella dei Principi]] ("Chapel of the Princes") being a collaboration between the family and architects.
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[[Image:Einblick LH2 San Lorenzo Florenz.jpg|thumb|right|upright|Interior looking towards the high altar.]]
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The '''Basilica di San Lorenzo''' ([[Basilica]] of [[St Lawrence]]) is one of the largest churches of [[Florence]], [[Italy]], situated at the centre of the city’s main market district, and the burial place of all the principal members of the Medici family from [[Cosimo il Vecchio]] to [[Cosimo III]]. It is one of several churches that claim to be the oldest in Florence, having been consecrated in 393,<ref>{{cite book|last1=Haegen|first1=Anne Mueller von der|last2=Strasser|first2=Ruth F.|title=Art & Architecture: Tuscany|date=2013|publisher=H.F.Ullmann Publishing|location=Potsdam|isbn=978-3-8480-0321-1|page=240|chapter=San Lorenzo}}</ref> at which time it stood outside the city walls. For three hundred years it was the city's [[cathedral]] before the official seat of the bishop was transferred to [[Santa Reparata (Florence)|Santa Reparata]].


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== History ==
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San Lorenzo was the parish church of the [[Medici]] family. In 1419, [[Giovanni di Bicci de' Medici]] offered to finance a new church to replace the 11th-century [[Romanesque architecture|Romanesque]] rebuilding. [[Filippo Brunelleschi]], the leading [[Renaissance]] architect of the first half of the 15th century, was commissioned to design it, but the building, with alterations, was not completed until after his death. The church is part of a larger monastic complex that contains other important architectural and artistic works: the [[Sagresta Vecchia|Old Sacristy]] by Brunelleschi, with interior decoration and sculpture by [[Donatello]]; the [[Laurentian Library]] by [[Michelangelo]]; the New Sacristy based on Michelangelo's designs; and the [[Medici Chapels]] by [[Matteo Nigetti]].


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The Basilica of San Lorenzo is considered a milestone in the development of [[Renaissance architecture]]. The basilica has a complicated building history. The project was begun around 1419, under the direction of [[Filippo Brunelleschi]]. Lack of funds slowed the construction and forced changes to the original design. By the early 1440s, only its sacristy (now called the Old Sacristy) had been worked on because that was being paid for by the [[Medici]]. In 1442, the Medici stepped in to take over financial responsibility of the church as well. After Brunelleschi's death in 1446, the job was handed either to [[Antonio Manetti]] or [[Michelozzo]]; scholars are uncertain which. Although the building was largely completed by 1459 in time for a visit to Florence by [[Pius&nbsp;II]], the chapels along the right-hand aisles were still under construction during the 1480s and 1490s.
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==History==


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By the time the building was completed, aspects of its layout and detailing no longer corresponded to the original plan. The principal difference is that Brunelleschi had envisioned the chapels along the side aisles to be deeper than those built and he intended them to resemble the [[chapel]]s in the [[transept]], the only part of the building that is known to have been completed as Brunelleschi designed it.<ref>Eugenio Battisti. ''Filippo Brunelleschi: The Complete Work''. (New York: Rizzoli, 1981)
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The Basilica of San Lorenzo is considered a milestone in the development of [[Renaissance architecture]]. The basilica has a complicated building history. The project was begun around 1419, under the direction of [[Filippo Brunelleschi]]. Lack of funds slowed the construction and forced changes to the original design. By the early 1440s, only the sacristy (now called the Old Sacristy) had been worked on, as it was being paid for by the [[Medici]]. In 1442, the Medici stepped in to take over financial responsibility of the church as well. After Brunelleschi's death in 1446, the job was handed either to [[Antonio Manetti]] or [[Michelozzo]]; scholars are uncertain. Though the building was largely completed by 1459 in time for a visit to Florence by [[Pius&nbsp;II]], the chapels along the right-hand aisles were still being built in the 1480s and 1490s.

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By the time the building was done, aspects of its layout and detailing no longer corresponded to the original plan. The principal difference is that Brunelleschi had envisioned the chapels along the side aisles to be deeper, and to be much like the [[chapel]]s in the [[transept]], the only part of the building that is known to have been completed to Brunelleschi's design.<ref>Eugenio Battisti. ''Filippo Brunelleschi: The Complete Work''. (New York: Rizzoli, 1981)
*See also: Howard Saalman. ''Filippo Brunelleschi: The Buildings''. (London: Zwemmer, 1993).</ref>
*See also: Howard Saalman. ''Filippo Brunelleschi: The Buildings''. (London: Zwemmer, 1993).</ref>


==The building in Renaissance architecture==
== The building in Renaissance architecture ==

[[File:Basilica di San Lorenzo, looking toward the altar.jpg|thumb|The interior columns]]
The Basilica of San Lorenzo demonstrates many innovative features of the developing style of Renaissance architecture.
[[File:Basilica di San Lorenzo, looking toward the altar.jpg|thumb|The interior columns of the basilica]]
The Basilica of San Lorenzo demonstrates many innovative features of the developing style of Renaissance architecture,
*a simple mathematical proportional relationship using the square aisle bay as a module and the nave bays in a 2x1 ratio.
*a simple mathematical proportional relationship using the square aisle bay as a module and the nave bays in a 2x1 ratio
*the use of an integrated system of column, arches, and entablatures, based on Roman Classical models
*the use of an integrated system of column, arches, and entablatures, based on Roman Classical models
*the use of Classical proportions for the height of the columns
*the use of Classical proportions for the height of the columns
*a clear relationship between column and pilaster, the latter meant to be read as a type of embedded pier.
*a clear relationship between column and pilaster, the latter meant to be read as a type of embedded pier
*the use of spherical segments in the vaults of the side aisles.
*the use of spherical segments in the vaults of the side aisles
*the articulation of the structure in ''[[pietra serena]]'' (Italian: “serene stone”).
*the articulation of the structure in ''[[pietra serena]]'' (Italian: “serene stone”)


[[File:Balcony, Basilica di San Lorenzo, Florence.jpg|thumb|The balcony in the basilica]]
[[File:Balcony, Basilica di San Lorenzo, Florence.jpg|thumb|The balcony on the interior west wall designed by Michelangelo]]
According to one scholar, features such as the interior's [[Corinthian order|Corinthian]] [[Arcade (architecture)|arcades]] and ceiling's flat panels mark "a departure from the [[Gothic architecture|Gothic]] and a return to the [[Romanesque architecture|Romanesque]] Proto-Renaissance."<ref>{{Cite book|last=Weigert|first=Hans|title=Buildings of Europe: Renaissance Europe|publisher=[[The Macmillan Company]]|year=1961|editor-last=Busch|editor-first=Harald|location=New York|pages=7|editor-last2=Lohse|editor-first2=Bernd}}</ref>
According to one scholar, features such as the interior's [[Corinthian order|Corinthian]] [[Arcade (architecture)|arcades]] and ceiling's flat panels mark "a departure from the [[Gothic architecture|Gothic]] and a return to the [[Romanesque architecture|Romanesque]] Proto-Renaissance."<ref>{{Cite book|last=Weigert|first=Hans|title=Buildings of Europe: Renaissance Europe|publisher=[[The Macmillan Company]]|year=1961|editor-last=Busch|editor-first=Harald|location=New York|pages=7|editor-last2=Lohse|editor-first2=Bernd}}</ref>


The design of San Lorenzo has at times met with criticism, particularly when compared with [[Santo Spirito di Firenze|Santo Spirito]], also in Florence and which is considered to have been constructed more or less in conformity with Brunelleschi's ideas, even though he died before most of it was built. By the 16th century, [[Giorgio Vasari]] commented that the columns along the nave should have been elevated on plinths.<ref>Battisti. Ibid.</ref> The steps along the aisles, supporting the pilasters, have also been considered to deviate from Classical ideals.
At times, the design of San Lorenzo has met with criticism, particularly when compared with [[Santo Spirito di Firenze|Santo Spirito]], also in Florence and which is considered to have been constructed more or less in conformity with Brunelleschi's ideas, even though he died before most of it was built. By the sixteenth century, [[Giorgio Vasari]] commented that along the nave, the columns should have been elevated on plinths.<ref>Battisti. Ibid.</ref> The steps along the aisles, supporting the pilasters, also have been considered to deviate from Classical ideals.


==Outer and inner façades==
== Outer and inner façades ==


The Medici Pope [[Pope Leo X|Leo X]] gave Michelangelo the commission to design a façade in white [[Carrara]] marble in 1518. Michelangelo made a wooden model, which shows how he adjusted the classical proportions of the [[facade]], drawn to scale, after the ideal proportions of the human body, to the greater height of the nave. The work remained unbuilt. Michelangelo did, however, design and build the internal facade, seen from the [[nave]] looking back toward the entrances. It comprises three doors between two pilasters with garlands of oak and laurel and a balcony on two Corinthian columns.
The Medici Pope [[Pope Leo X|Leo X]] gave Michelangelo the commission to design an outer façade of the basilica in white [[Carrara]] marble in 1518. Michelangelo made a large wooden model that shows how he adjusted the classical proportions of the [[facade]], drawn to scale, after the ideal proportions of the human body, to the greater height of the nave. [[File:Michelangelo, modello per la facciata di san lorenzo, 1518 ca. 01.JPG|thumb|Michelangelo's model for the outer facade of the basilica]]
Although the outer facade of the basilica remained unbuilt, Michelangelo's large wooden model of it remains.
Michelangelo did design and build the internal facade of the basilica that is seen from the [[nave]] looking back toward the entrances. It comprises three doors between two pilasters with garlands of oak and laurel and a balcony on two Corinthian columns.

[[File:Michelangelo, modello per la facciata di san lorenzo, 1518 ca. 01.JPG|thumb|left|Michelangelo's model]]
In recent years, the association of "Friends of the Elettrice Palatina" and the Comune of Florence re-visited the question of completing the outer facade according to Michelangelo's designs. To assist with the public debate, a computerized reconstruction was projected onto the plain brick facade in February 2007. As yet, no decision has been made on the project.<ref>''[http://www.arttrav.com/churches/the-debate-to-finish-the-facade-of-san-lorenzo/ The debate to finish the facade of San Lorenzo | Arttrav.com]''</ref>
In recent years, the association of "Friends of the Elettrice Palatina" and the Comune of Florence re-visited the question of completing the outer facade of the basilica according to Michelangelo's designs. To assist with the public debate, a computerized reconstruction was projected onto the plain brick facade in February 2007.<ref>''[http://www.arttrav.com/churches/the-debate-to-finish-the-facade-of-san-lorenzo/ The debate to finish the facade of San Lorenzo | Arttrav.com]''</ref> As yet, no decision has been made regarding a project use Michelangelo's design to build the outer facade following his wooden model.


The [[campanile]] dates from 1740.
The [[campanile]] dates from 1740.


==Old Sacristy==
== Old Sacristy ==
{{main|Sagrestia Vecchia}}
{{main|Sagrestia Vecchia}}


Opening off the north transept is the square, domed space, the ''[[Sagrestia Vecchia]]'', or Old [[Sacristy]], that was designed by Brunelleschi and that is the oldest part of the present church and the only part completed in Brunelleschi's lifetime; it contains the tombs of several members of the Medici family. It was composed of a sphere on top of a cube; the cube acting as the human world and the sphere the heavens.
Opening off the south transept of the basilica is the square, domed space, the ''[[Sagrestia Vecchia]]'', or Old [[Sacristy]], that was designed by Brunelleschi (1377–1446) and that is the oldest part of the present church and the only part completed in Brunelleschi's lifetime. It contains the tombs of several members of the Medici family. It was composed of a sphere on top of a cube; the cube acting as the human world and the sphere as the heavens.


==New Sacristy==
== New Sacristy ==
{{Main|Sagrestia Nuova (New Sacristy) }}


Opposite the Old Sacristy in the south transept is the ''Sagrestia Nuova'' (New Sacristy), begun in 1520 by Michelangelo, who also designed the Medici tombs within. The new sacristy was composed of three registers, the topmost topped by a coffered pendentive dome. The articulation of the interior walls can be described as early examples of Renaissance Mannerism (see Michelangelo's Ricetto in the [[Laurentian Library]]). The combination of pietra serena pilasters on the lower register is carried through to the second; however, in Mannerist fashion, architectural elements 'seem impossible,' creating suspense and tension that is evident in this example. Michelangelo's sculptural elements, to be used on the tombs themselves, were left undone. A difficult person to work with, Michelangelo refused to direct the completion of the new sacristy.
Opposite the Old Sacristy in the north transept of the basilica is the ''[[Sagrestia Nuova (New Sacristy)|Sagrestia Nuova]]'' (New Sacristy), begun in 1520 by Michelangelo, who also designed the Medici tombs within it. That the architect of a building also designed the interior furnishings is a historical novelty in European architecture that is driven by his being a sculptor by training. The new sacristy was composed of three registers, the topmost topped by a coffered pendentive dome. The articulation of the interior walls may be described as early examples of Renaissance Mannerism (see Michelangelo's Ricetto in the [[Laurentian Library]]). The combination of pietra serena pilasters on the lower register is carried through to the second register; however, in Mannerist fashion, architectural elements 'seem impossible', creating suspense and tension that is evident in this example.


Michelangelo completed most of the statuary for the new sacristy as well, however, the statues of the two patron saints planned to accompany the [[Medici Madonna|Madonna and Child]] that were planned for placement on the main wall and the sculptural elements of the two sarcophagi were left undone when he was redirected to another project by the pope, the political situation in Florence changed, and changes later occurred in papal succession. Although the new sacristy was vaulted over by 1524, these circumstances, the temporary exile of the Medici (1527), the death of [[Pope Clement VII|Giulio, eventually Pope Clement VII]], and the permanent departure of Michelangelo for [[Rome, Italy|Rome]] in 1534, meant that Michelangelo never finished the project and he refused to direct completion.
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In a statement in the Michelangelo’s biography published in 1553 by his disciple, Ascanio Condivi, and largely based on Michelangelo own recollections, Condivi gives the following description:


The statues that Michelangelo had carved by the time of his departure had not been put in place and were left in disarray within the chapel. In 1545, they were installed by [[Niccolò Tribolo]].<ref>{{cite book|first=Charles|last= Avery|title= Florentine Renaissance Sculpture|publisher=John Murray Publishing|year= 1970|page= 190}}</ref> By order of Cosimo I, the remaining work was completed by 1555 by [[Giorgio Vasari]] and [[Bartolomeo Ammannati]].<ref>Antonio Paolucci. ''The Museum of the Medici Chapels and the Church of San Lorenzo''. Sillabe Publishing 1999.</ref>
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<blockquote>The statues are four in number, placed in a sacristy ... the sarcophagi are placed before the side walls, and on the lids of each there recline two big figures, larger than life, to wit, a man and a woman; they signify Day and Night and, in conjunction, Time which devours all things ... And in order to signify Time he planned to make a mouse, having left a bit of marble upon the work (which [plan] he subsequently did not carry out because he was prevented by circumstances), because this little animal ceaselessly gnaws and consumes just as time devours everything.<ref> {{cite journal |author = Panofsky, Erwin |url= http://www.florentine-society.ru/pdf/The_Mouse_Michelangelo_Failed_to_Carve.pdf |title= The Mouse That Michelangelo Failed to Carve |edition= Essays In Memory of Karl Lehmann |location= N.Y. |date= 1964 |publisher= Institute of Fine Arts, New York University |pages = 242—255 }}</ref><ref>{{cite journal |author = Barenboim&nbsp;P.&nbsp;D. / Peter Barenboim |url= http://www.florentine-society.ru/The_Mouse_that_Michelangelo_Did_Carve.htm |title= The Mouse that Michelangelo Did Carve in the Medici Chapel: An Oriental Comment to the Famous Article of Erwin Panofsky |date=2017}}</ref></blockquote>


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In a statement in a biography of Michelangelo that was published in 1553 by his disciple, Ascanio Condivi, and reportedly is based largely on Michelangelo's own recollections, Condivi gives the following description of the sculptures that were planned for the sarcophagi:
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A concealed corridor with drawings on the walls by Michelangelo was discovered under the New Sacristy in 1976.<ref>[http://www.florentine-society.ru/Medici_Chapel_Mysteries.htm Peter Barenboim, Sergey Shiyan, ''Michelangelo: Mysteries of Medici Chapel'', SLOVO, Moscow, 2006]. {{ISBN|5-85050-825-2}}</ref><ref>[http://www.florentine-society.ru/Michelangelo_Drawings.htm Peter Barenboim, ''Michelangelo Drawings: Key to the Medici Chapel Interpretation'', Moscow, Letny Sad, 2006], {{ISBN|5-98856-016-4}}</ref>


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<blockquote>The statues are four in number, placed in a sacristy... the sarcophagi are placed before the side walls, and on the lids of each there recline two big figures, larger than life, to wit, a man and a woman; they signify Day and Night and, in conjunction, Time which devours all things... And in order to signify Time he planned to make a mouse, having left a bit of marble upon the work (which [plan] he subsequently did not carry out because he was prevented by circumstances), because this little animal ceaselessly gnaws and consumes just as time devours everything.<ref> {{cite journal |author = Panofsky, Erwin |url= http://www.florentine-society.ru/pdf/The_Mouse_Michelangelo_Failed_to_Carve.pdf |title= The Mouse That Michelangelo Failed to Carve |edition= Essays In Memory of Karl Lehmann |location= N.Y. |date= 1964 |publisher= Institute of Fine Arts, New York University |pages = 242–255 }}</ref><ref>{{cite journal |author = Barenboim&nbsp;P.&nbsp;D. / Peter Barenboim |url= http://www.florentine-society.ru/The_Mouse_that_Michelangelo_Did_Carve.htm |title= The Mouse that Michelangelo Did Carve in the Medici Chapel: An Oriental Comment to the Famous Article of Erwin Panofsky |date=2017}}</ref></blockquote>
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=={{anchor|Matteo Nigetti}}Cappelle Medicee==
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{{main|Medici Chapel}}


=== Concealed corridor discovered ===
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[[Image:Medicibib.jpg|thumb|The cruciform basilica with the vast domed apsidal Medici Chapel; in the cloister is the [[Laurentian Library]].]]
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[[Image:Glory of Florentine Saints on the dome in San Lorenzo (Florence).jpg|thumb|''Glory of Florentine Saints'' on the interior of the dome]]
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The most celebrated and grandest part of San Lorenzo are the ''Cappelle Medicee'' (Medici Chapels) in the [[apse]]. The Medici were still paying for it when the last member of the family, [[Anna Maria Luisa de' Medici]], died in 1743. In 1742 she commissioned [[Vincenzo Meucci]] to paint the ''Glory of Florentine Saints'', a fresco, inside the cupola.<ref>[[Harold Acton|Acton, Harold]] (1980). ''The Last Medici''. Macmillan. pp. 309–310 {{ISBN|0-333-29315-0}}</ref> Almost fifty lesser members of the family are buried in the [[crypt]]. The final design (1603–1604) was by [[Bernardo Buontalenti]], based on models of [[Alessandro Pieroni]] and [[Matteo Nigetti]]. Above is the ''Cappella dei Principi'' (Chapel of the Princes), a great but awkwardly domed octagonal hall where the grand dukes themselves are buried. The style shows [[Mannerism|Mannerist]] eccentricities in its unusual shape, broken cornices, and asymmetrically sized windows. In the interior, the ambitious decoration with colored marbles overwhelms the attempts at novel design.<ref>Wittkower, R. p.&nbsp;126</ref> At its centre was supposed to be the [[Holy Sepulchre]] itself, although attempts to buy and then steal it from [[Jerusalem]] failed.


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In 1976, a concealed corridor with drawings by Michelangelo on its walls was discovered under the New Sacristy.<ref>[http://www.florentine-society.ru/Medici_Chapel_Mysteries.htm Peter Barenboim, Sergey Shiyan, ''Michelangelo: Mysteries of Medici Chapel'', SLOVO, Moscow, 2006]. {{ISBN|5-85050-825-2}}</ref><ref>[http://www.florentine-society.ru/Michelangelo_Drawings.htm Peter Barenboim, ''Michelangelo Drawings: Key to the Medici Chapel Interpretation'', Moscow, Letny Sad, 2006], {{ISBN|5-98856-016-4}}</ref>
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==Cappella Corbelli==
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The Corbelli chapel, in the southern transept, contains a monument by the sculptor [[Giovanni Dupre]] to the wife of Count Moltke-Hvitfeldt, formerly Danish ambassador to the Court of Naples.<ref>[https://books.google.com/books?id=3UIYAAAAYAAJ Walks in Florence and Its Environs], Volume 1, by Susan Horner, 1884, page 116.</ref>


In 1527 the citizens of Florence rebelled against the Medicis; Michelangelo supported them. After the Medicis recaptured the city in 1530, [[Pope Clement VII]], a Medici, sentenced Michelangelo to death. It is thought that Michelangelo hid for two months in a small chamber under the Medici chapels in the Basilica of San Lorenzo with light from just a tiny window, making many charcoal and chalk drawings which remained hidden until the room was rediscovered in 1975, and opened to small numbers of visitors in 2023. Michelangelo was eventually pardoned by the Medicis and the death sentence lifted, so that he could complete work on the Sistine Chapel and the Medici family tomb. He left Florence for Rome in 1534.<ref>{{cite news| last=Giuffrida | first=Angela | title=Michelangelo's secret sketches under church in Florence open to public |newspaper=The Guardian | date=31 October 2023 | url=https://www.theguardian.com/artanddesign/2023/oct/31/michelangelo-secret-sketches-under-church-in-florence-open-to-public}}</ref>
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==Works of art==


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== {{anchor|Matteo Nigetti}}Cappelle Medicee ==
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[[Image:Rosso fiorentino, sposalizio della vergine, s. lorenzo.jpg|thumbnail|Rosso Fiorentino, ''Marriage of the Virgin''.]]
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{{main|Medici Chapels}}

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[[Image:Medicibib.jpg|thumb|The cruciform basilica with the vast domed apsidal Medici Chapel; in the cloister is the [[Laurentian Library]]]]
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[[Image:Glory of Florentine Saints on the dome in San Lorenzo (Florence).jpg|thumb|''Glory of Florentine Saints'' on the interior of the dome over the crossing]]
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The most celebrated and grandest part of San Lorenzo is the ''Cappelle Medicee'' (Medici Chapels) in the [[apse]]. The Medici were still paying for it when, in 1743, the last living member of the family, [[Anna Maria Luisa de' Medici]], died. In 1742, she had commissioned [[Vincenzo Meucci]] to paint the ''Glory of Florentine Saints'', a fresco, inside the cupola.<ref>[[Harold Acton|Acton, Harold]] (1980). ''The Last Medici''. Macmillan. pp. 309–310 {{ISBN|0-333-29315-0}}</ref> Approximately fifty lesser members of the Medici family are buried in the [[crypt]]. The final design (1603–1604) was by [[Bernardo Buontalenti]], based on models of [[Alessandro Pieroni]] and [[Matteo Nigetti]]. Above is the ''Cappella dei Principi'' (Chapel of the Princes), a great but awkwardly domed octagonal hall where the grand dukes are buried. The style shows [[Mannerism|Mannerist]] eccentricities in its unusual shape, broken cornices, and asymmetrically sized windows. In the interior, the ambitious decoration with coloured marble overwhelms the attempts at novel design.<ref>Wittkower, R. p.&nbsp;126</ref> Its centre was supposed to feature the [[Holy Sepulchre]], moved from [[Jerusalem]], although attempts to buy and, failing that, to steal it failed.<sup>Ref.?</sup>

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== Cappella Corbelli ==

⚫
The Corbelli chapel, in the southern transept, contains a monument by the sculptor [[Giovanni Dupré]] to the wife of Count Moltke-Hvitfeldt, formerly Danish ambassador to the Court of Naples.<ref>[https://books.google.com/books?id=3UIYAAAAYAAJ Walks in Florence and Its Environs], Volume 1, by Susan Horner, 1884, page 116.</ref>

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== Works of art ==

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[[Image:Rosso fiorentino, sposalizio della vergine, s. lorenzo.jpg|thumbnail|Rosso Fiorentino, ''Marriage of the Virgin'']]


*[[Bronzino]] – ''The Martyrdom of St Lawrence'', [[fresco]], north aisle
*[[Bronzino]] – ''The Martyrdom of St Lawrence'', [[fresco]], north aisle
*[[Desiderio da Settignano]] – ''Pala del Sacramento'', [[church tabernacle|tabernacle]], south aisle
*[[Desiderio da Settignano]] – ''Pala del Sacramento'', [[church tabernacle|tabernacle]], south aisle
*[[Donatello]] – two pulpits, (his last works); [[bronze]] and marble, nave
*[[Donatello]] – two pulpits, (his last works); [[bronze]] and marble, nave
*Donatello – [[frieze]], [[relief]]s, [[Tondo (art)|tondi]] and bronze doors, ''Sagrestia Vecchia''
*Donatello – [[frieze]], [[relief]]s, [[Tondo (art)|tondi]], and bronze doors, (''Sagrestia Vecchia'')
*[[Antonio del Pollaiuolo]] – ''Crucifix'', wood, south transept chapel
*[[Rosso Fiorentino]] – ''[[Marriage of the Virgin]]'', oil on canvas, in one of the south aisle chapels
*[[Fra Filippo Lippi]] – ''[[Annunciation (Lippi, San Lorenzo)|Annunciation]]'', [[altarpiece]], north transept chapel
*[[Fra Filippo Lippi]] – ''[[Annunciation (Lippi, San Lorenzo)|Annunciation]]'', [[altarpiece]], north transept chapel
*[[Michelangelo]] – [[Medici Madonna|Madonna and Child]], main wall of new sacristy and statues among the two tombs on the side walls of the new sacristy (''Sagrestis Nuova'')
*[[Rosso Fiorentino]] – ''[[Marriage of the Virgin]]'', oil on canvas, in one of the south aisle chapels
*[[Antonio del Pollaiuolo]] – ''Crucifix'', wood, south transept chapel
*[[Verrocchio]] – Tomb of Giovanni and Piero de Medici, bronze, marble, ''Sagrestia Vecchia''
*[[Verrocchio]] – Tomb of Giovanni and Piero de Medici, bronze, marble, (''Sagrestia Vecchia'')


==Funerary monuments==
== Funerary monuments ==


*[[Bernardo Cennini]] (goldsmith and printer) (south transept)
*[[Bernardo Cennini]] (goldsmith and printer) (south transept)
Line 116: Line 131:
*[[Lorenzo II de' Medici]] (''Sagrestia Nuova'')
*[[Lorenzo II de' Medici]] (''Sagrestia Nuova'')
*[[Piero di Cosimo de' Medici]] (''Sagrestia Vecchia'')
*[[Piero di Cosimo de' Medici]] (''Sagrestia Vecchia'')
* [[Nicolas Steno]]
*[[Nicolas Steno]]


==See also==
== See also ==


*[[Medici Chapel]]
*[[Medici Chapels|Medici Chapel]]
*[[History of medieval Arabic and Western European domes]]
*[[History of Italian Renaissance domes]]
*[[History of early modern period domes]]


==References==
== References ==

===Notes===
=== Notes ===
{{reflist}}
{{reflist}}


===Further reading===
=== Further reading ===


{{refbegin}}
{{refbegin}}
⚫
*[[Edith Balas|Balas, Edith]] (1995). ''Michelangelo's Medici Chapel: a New Interpretation'', American Philosophical Society, Philadelphia
⚫
* [http://www.florentine-society.ru/pdf/Michelangelo_and_500_years_of_the_New_Sacristy.pdf Barenboim, Peter (with Heath, Arthur). ''500 years of the New Sacristy: Michelangelo in the Medici Chapel''], LOOM, Moscow, 2019. {{ISBN|978-5-906072-42-9}}
* [http://www.florentine-society.ru/Michelangelo_Drawings.htm Peter Barenboim, ''Michelangelo Drawings: Key to the Medici Chapel Interpretation'', Moscow, Letny Sad, 2006]. {{ISBN|5-98856-016-4}}
*[http://www.florentine-society.ru/Michelangelo_Drawings.htm Barenboim, Peter (2006). ''Michelangelo Drawings: Key to the Medici Chapel Interpretation'', Moscow, Letny Sad]. {{ISBN|5-98856-016-4}}
* [http://www.florentine-society.ru/Medici_Chapel_Mysteries.htm Peter Barenboim, Sergey Shiyan, ''Michelangelo: Mysteries of Medici Chapel'', SLOVO, Moscow, 2006]. {{ISBN|5-85050-825-2}}
*[http://www.florentine-society.ru/Medici_Chapel_Mysteries.htm Barenboim, Peter, Sergey Shiyan (2006). ''Michelangelo: Mysteries of Medici Chapel'', SLOVO, Moscow, 2006]. {{ISBN|5-85050-825-2}}
⚫
*[http://www.florentine-society.ru/pdf/Michelangelo_and_500_years_of_the_New_Sacristy.pdf Barenboim, Peter with Arthur Heath (2019). ''500 Years of the New Sacristy: Michelangelo in the Medici Chapel''], LOOM, Moscow. {{ISBN|978-5-906072-42-9}}
⚫
* Edith Balas, "Michelangelo's Medici Chapel: a new Interpretation", Philadelphia, 1995
* James Beck, Antonio Paolucci, Bruno Santi, "Michelangelo. The Medici Chapel", London, New York, 2000
*[[James Beck (art historian)|Beck, James]], [[Antonio Paolucci]], Bruno Santi (2000). ''Michelangelo: The Medici Chapel'', Thames & Hudson, London and New York
*{{cite book|last=Brock|first=Maurice|title=Bronzino|location=Paris|publisher=Flammarion|year=2002|pages=20–24}}
*{{cite book|last=Brock|first=Maurice|title=Bronzino|location=Paris|publisher=Flammarion|year=2002|pages=20–24}}
*{{cite book|last=Luchinat|first=Cristina A.|title= The Medici, Michelangelo & the Art of Late Renaissance Florence|location=New Haven and London|publisher=Yale University Publishing|year=2002|pages=13–14}}
*{{cite book|last=Luchinat|first=Cristina A.|title= The Medici, Michelangelo & the Art of Late Renaissance Florence|location=New Haven and London|publisher=Yale University Publishing|year=2002|pages=13–14}}
*{{cite journal|last=Pilliod|first=Elizabeth|title=Bronzino's Household|journal=The Burlington Magazine|issue=134 |year=1992|pages=92–100}}
*{{cite journal|last=Pilliod|first=Elizabeth|title=Bronzino's Household|journal=The Burlington Magazine|issue=134 |year=1992|pages=92–100}}
*{{cite journal|last=Saalman|first=Howard|title=The New Sacristy of San Lorenzo Before Michelangelo|journal=The Art Bulletin|year=1985|pages=199–228|location=Colorado Springs|doi=10.2307/3050908|volume=67|issue=2|publisher=The Art Bulletin, Vol. 67, No. 2|jstor=3050908}}
*{{cite journal|last=Saalman|first=Howard|title=The New Sacristy of San Lorenzo Before Michelangelo|journal=The Art Bulletin|year=1985|volume=67|issue=2|pages=199–228|location=Colorado Springs|doi=10.2307/3050908|jstor=3050908}}
*Vasari, Giorgio. Filippo Di Ser Brunelesco: Giorgio Vasari's Lives of the Artists [http://www.fordham.edu/halsall/basis/vasari/vasari5.htm]
*Vasari, Giorgio. "Filippo di ser Brunelesco", in: ''Lives of the Most Eminent Painters, Sculptors & Architects'', transl. by Gaston du C. de Vere, Macmillan and & The Medici Society, London, 1912–15, [https://sourcebooks.fordham.edu/basis/vasari/vasari5.asp archieved online] as part of ''Internet Medieval Sourcebook'' by [[Fordham University]], New York
⚫
*{{cite book| first= Rudolf|last= Wittkower| year=1958| title= Art and Architecture Italy, 1600–1750| series=Pelican History of Art| edition=1991? | pages= 126 | publisher= Penguin Books Ltd}}
*"Church of San Lorenzo." Insecula. 31 January 2007 [https://web.archive.org/web/20080217041911/http://www.insecula.com/us/salle/MS03586.html]
⚫
*{{cite book | first= Rudolf|last= Wittkower| year=1993| title= Art and Architecture Italy, 1600–1750| editor= Pelican History of Art| others=1980 | pages= 126 | publisher= Penguin Books Ltd}}
*Touring Club Italiano, ''Guida d'Italia: Firenze e dintorni''
{{refend}}
{{refend}}


==External links==
== External links ==

{{commons category|San Lorenzo (Florence)}}
{{commons category|San Lorenzo (Florence)}}

*

* [http://www.operamedicealaurenziana.org/en/ Opera Medicea Laurenziana]
* [http://www.operamedicealaurenziana.org/en/ Opera Medicea Laurenziana]
* For a 3D model, see [https://3d.wlu.edu/v21/pages/Lorenzo/lorenzo.html S. Lorenzo] at ''[https://florenceasitwas.wlu.edu/ Florence As It Was]''.
* [http://www.studiodim.it/San_Lorenzo_Firenze.htm visualization of the facade for San Lorenzo in Florence designed by Michelangelo]
* [http://www.studiodim.it/San_Lorenzo_Firenze.htm visualization of the facade for San Lorenzo in Florence designed by Michelangelo] {{Webarchive|url=https://web.archive.org/web/20180922211756/https://www.studiodim.it/San_Lorenzo_Firenze.htm |date=2018-09-22 }}


{{Florence landmarks}}
{{Florence landmarks}}
{{Filippo Brunelleschi}}
{{Michelangelo|architecture}}
{{Michelangelo|architecture}}

{{Authority control}}
{{Authority control}}


[[Category:Roman Catholic churches completed in 1459]]
[[Category:Roman Catholic churches completed in 1459]]
[[Category:Basilica churches in Florence|Lorenzo]]
[[Category:Basilica churches in Florence|Lorenzo]]
[[Category:Filippo Brunelleschi church buildings]]
[[Category:Renaissance architecture in Florence]]
[[Category:Renaissance architecture in Florence]]
[[Category:15th-century Roman Catholic church buildings in Italy]]
[[Category:15th-century Roman Catholic church buildings in Italy]]
[[Category:San Lorenzo, Florence| ]]
[[Category:San Lorenzo, Florence| ]]
[[Category:Burial sites of the House of Medici]]

Latest revision as of 01:58, 11 May 2024

Basilica di San Lorenzo
Basilica of Saint Lawrence
Basilica di San Lorenzo is located in Florence
Basilica di San Lorenzo
Basilica di San Lorenzo
Location in Florence
43°46′29.7″N 11°15′13.9″E / 43.774917°N 11.253861°E / 43.774917; 11.253861
LocationFlorence, Tuscany
CountryItaly
DenominationCatholic Church
Sui iuris churchLatin Church
History
StatusMinor basilica
DedicationSaint Lawrence
Consecrated393
Architecture
Architect(s)Filippo Brunelleschi, Michelangelo
Architectural typeChurch
StyleRenaissance
Groundbreaking15th century
Completed1470
Administration
ArchdioceseArchdiocese of Florence
Interior looking toward the high altar

The Basilica di San Lorenzo (Basilica of St. Lawrence) is one of the largest churches of Florence, Italy, situated at the centre of the main market district of the city, and it is the burial place of all the principal members of the Medici family from Cosimo il Vecchio to Cosimo III. It is one of several churches that claim to be the oldest in Florence, having been consecrated in 393 AD,[1] at which time it stood outside the city walls. For three hundred years it was the city's cathedral, before the official seat of the bishop was transferred to Santa Reparata.

San Lorenzo was the parish church of the Medici family. In 1419, Giovanni di Bicci de' Medici offered to finance a new church to replace an eleventh-century Romanesque rebuilding. Filippo Brunelleschi, the leading Renaissance architect of the first half of the fifteenth century, was commissioned to design it, but the building, with alterations, was not completed until after his death. The church is part of a larger monastic complex that contains other important architectural and artistic works: the Old Sacristy ("Sagresta Vecchia") by Brunelleschi and having interior decoration and sculpture by Donatello; the Laurentian Library by Michelangelo; the Medici Chapels, two structures that include the New Sacristy ("Sagrestia Nuova") based on Michelangelo's designs; and the larger Cappella dei Principi ("Chapel of the Princes") being a collaboration between the family and architects.

History

[edit]

The Basilica of San Lorenzo is considered a milestone in the development of Renaissance architecture. The basilica has a complicated building history. The project was begun around 1419, under the direction of Filippo Brunelleschi. Lack of funds slowed the construction and forced changes to the original design. By the early 1440s, only its sacristy (now called the Old Sacristy) had been worked on because that was being paid for by the Medici. In 1442, the Medici stepped in to take over financial responsibility of the church as well. After Brunelleschi's death in 1446, the job was handed either to Antonio Manetti or Michelozzo; scholars are uncertain which. Although the building was largely completed by 1459 in time for a visit to Florence by Pius II, the chapels along the right-hand aisles were still under construction during the 1480s and 1490s.

By the time the building was completed, aspects of its layout and detailing no longer corresponded to the original plan. The principal difference is that Brunelleschi had envisioned the chapels along the side aisles to be deeper than those built and he intended them to resemble the chapels in the transept, the only part of the building that is known to have been completed as Brunelleschi designed it.[2]

The building in Renaissance architecture

[edit]
The interior columns of the basilica

The Basilica of San Lorenzo demonstrates many innovative features of the developing style of Renaissance architecture,

  • a simple mathematical proportional relationship using the square aisle bay as a module and the nave bays in a 2x1 ratio
  • the use of an integrated system of column, arches, and entablatures, based on Roman Classical models
  • the use of Classical proportions for the height of the columns
  • a clear relationship between column and pilaster, the latter meant to be read as a type of embedded pier
  • the use of spherical segments in the vaults of the side aisles
  • the articulation of the structure in pietra serena (Italian: “serene stone”)
The balcony on the interior west wall designed by Michelangelo

According to one scholar, features such as the interior's Corinthian arcades and ceiling's flat panels mark "a departure from the Gothic and a return to the Romanesque Proto-Renaissance."[3]

At times, the design of San Lorenzo has met with criticism, particularly when compared with Santo Spirito, also in Florence and which is considered to have been constructed more or less in conformity with Brunelleschi's ideas, even though he died before most of it was built. By the sixteenth century, Giorgio Vasari commented that along the nave, the columns should have been elevated on plinths.[4] The steps along the aisles, supporting the pilasters, also have been considered to deviate from Classical ideals.

Outer and inner façades

[edit]

The Medici Pope Leo X gave Michelangelo the commission to design an outer façade of the basilica in white Carrara marble in 1518. Michelangelo made a large wooden model that shows how he adjusted the classical proportions of the facade, drawn to scale, after the ideal proportions of the human body, to the greater height of the nave.

Michelangelo's model for the outer facade of the basilica

Although the outer facade of the basilica remained unbuilt, Michelangelo's large wooden model of it remains.

Michelangelo did design and build the internal facade of the basilica that is seen from the nave looking back toward the entrances. It comprises three doors between two pilasters with garlands of oak and laurel and a balcony on two Corinthian columns.

In recent years, the association of "Friends of the Elettrice Palatina" and the Comune of Florence re-visited the question of completing the outer facade of the basilica according to Michelangelo's designs. To assist with the public debate, a computerized reconstruction was projected onto the plain brick facade in February 2007.[5] As yet, no decision has been made regarding a project use Michelangelo's design to build the outer facade following his wooden model.

The campanile dates from 1740.

Old Sacristy

[edit]
Main article: Sagrestia Vecchia

Opening off the south transept of the basilica is the square, domed space, the Sagrestia Vecchia, or Old Sacristy, that was designed by Brunelleschi (1377–1446) and that is the oldest part of the present church and the only part completed in Brunelleschi's lifetime. It contains the tombs of several members of the Medici family. It was composed of a sphere on top of a cube; the cube acting as the human world and the sphere as the heavens.

New Sacristy

[edit]
Main article: Sagrestia Nuova (New Sacristy)

Opposite the Old Sacristy in the north transept of the basilica is the Sagrestia Nuova (New Sacristy), begun in 1520 by Michelangelo, who also designed the Medici tombs within it. That the architect of a building also designed the interior furnishings is a historical novelty in European architecture that is driven by his being a sculptor by training. The new sacristy was composed of three registers, the topmost topped by a coffered pendentive dome. The articulation of the interior walls may be described as early examples of Renaissance Mannerism (see Michelangelo's Ricetto in the Laurentian Library). The combination of pietra serena pilasters on the lower register is carried through to the second register; however, in Mannerist fashion, architectural elements 'seem impossible', creating suspense and tension that is evident in this example.

Michelangelo completed most of the statuary for the new sacristy as well, however, the statues of the two patron saints planned to accompany the Madonna and Child that were planned for placement on the main wall and the sculptural elements of the two sarcophagi were left undone when he was redirected to another project by the pope, the political situation in Florence changed, and changes later occurred in papal succession. Although the new sacristy was vaulted over by 1524, these circumstances, the temporary exile of the Medici (1527), the death of Giulio, eventually Pope Clement VII, and the permanent departure of Michelangelo for Rome in 1534, meant that Michelangelo never finished the project and he refused to direct completion.

The statues that Michelangelo had carved by the time of his departure had not been put in place and were left in disarray within the chapel. In 1545, they were installed by Niccolò Tribolo.[6] By order of Cosimo I, the remaining work was completed by 1555 by Giorgio Vasari and Bartolomeo Ammannati.[7]

In a statement in a biography of Michelangelo that was published in 1553 by his disciple, Ascanio Condivi, and reportedly is based largely on Michelangelo's own recollections, Condivi gives the following description of the sculptures that were planned for the sarcophagi:

The statues are four in number, placed in a sacristy... the sarcophagi are placed before the side walls, and on the lids of each there recline two big figures, larger than life, to wit, a man and a woman; they signify Day and Night and, in conjunction, Time which devours all things... And in order to signify Time he planned to make a mouse, having left a bit of marble upon the work (which [plan] he subsequently did not carry out because he was prevented by circumstances), because this little animal ceaselessly gnaws and consumes just as time devours everything.[8][9]

Concealed corridor discovered

[edit]

In 1976, a concealed corridor with drawings by Michelangelo on its walls was discovered under the New Sacristy.[10][11]

In 1527 the citizens of Florence rebelled against the Medicis; Michelangelo supported them. After the Medicis recaptured the city in 1530, Pope Clement VII, a Medici, sentenced Michelangelo to death. It is thought that Michelangelo hid for two months in a small chamber under the Medici chapels in the Basilica of San Lorenzo with light from just a tiny window, making many charcoal and chalk drawings which remained hidden until the room was rediscovered in 1975, and opened to small numbers of visitors in 2023. Michelangelo was eventually pardoned by the Medicis and the death sentence lifted, so that he could complete work on the Sistine Chapel and the Medici family tomb. He left Florence for Rome in 1534.[12]

Cappelle Medicee

[edit]
Main article: Medici Chapels
The cruciform basilica with the vast domed apsidal Medici Chapel; in the cloister is the Laurentian Library
Glory of Florentine Saints on the interior of the dome over the crossing

The most celebrated and grandest part of San Lorenzo is the Cappelle Medicee (Medici Chapels) in the apse. The Medici were still paying for it when, in 1743, the last living member of the family, Anna Maria Luisa de' Medici, died. In 1742, she had commissioned Vincenzo Meucci to paint the Glory of Florentine Saints, a fresco, inside the cupola.[13] Approximately fifty lesser members of the Medici family are buried in the crypt. The final design (1603–1604) was by Bernardo Buontalenti, based on models of Alessandro Pieroni and Matteo Nigetti. Above is the Cappella dei Principi (Chapel of the Princes), a great but awkwardly domed octagonal hall where the grand dukes are buried. The style shows Mannerist eccentricities in its unusual shape, broken cornices, and asymmetrically sized windows. In the interior, the ambitious decoration with coloured marble overwhelms the attempts at novel design.[14] Its centre was supposed to feature the Holy Sepulchre, moved from Jerusalem, although attempts to buy and, failing that, to steal it failed.Ref.?

Cappella Corbelli

[edit]

The Corbelli chapel, in the southern transept, contains a monument by the sculptor Giovanni Dupré to the wife of Count Moltke-Hvitfeldt, formerly Danish ambassador to the Court of Naples.[15]

Works of art

[edit]
Rosso Fiorentino, Marriage of the Virgin

Funerary monuments

[edit]

See also

[edit]

References

[edit]

Notes

[edit]
  1. ^ Haegen, Anne Mueller von der; Strasser, Ruth F. (2013). "San Lorenzo". Art & Architecture: Tuscany. Potsdam: H.F.Ullmann Publishing. p. 240. ISBN 978-3-8480-0321-1.
  2. ^ Eugenio Battisti. Filippo Brunelleschi: The Complete Work. (New York: Rizzoli, 1981)
    • See also: Howard Saalman. Filippo Brunelleschi: The Buildings. (London: Zwemmer, 1993).
  3. ^ Weigert, Hans (1961). Busch, Harald; Lohse, Bernd (eds.). Buildings of Europe: Renaissance Europe. New York: The Macmillan Company. p. 7.
  4. ^ Battisti. Ibid.
  5. ^ The debate to finish the facade of San Lorenzo | Arttrav.com
  6. ^ Avery, Charles (1970). Florentine Renaissance Sculpture. John Murray Publishing. p. 190.
  7. ^ Antonio Paolucci. The Museum of the Medici Chapels and the Church of San Lorenzo. Sillabe Publishing 1999.
  8. ^ Panofsky, Erwin (1964). "The Mouse That Michelangelo Failed to Carve" (PDF) (Essays In Memory of Karl Lehmann ed.). N.Y.: Institute of Fine Arts, New York University: 242–255. {{cite journal}}: Cite journal requires |journal= (help)
  9. ^ Barenboim P. D. / Peter Barenboim (2017). "The Mouse that Michelangelo Did Carve in the Medici Chapel: An Oriental Comment to the Famous Article of Erwin Panofsky". {{cite journal}}: Cite journal requires |journal= (help)
  10. ^ Peter Barenboim, Sergey Shiyan, Michelangelo: Mysteries of Medici Chapel, SLOVO, Moscow, 2006. ISBN 5-85050-825-2
  11. ^ Peter Barenboim, Michelangelo Drawings: Key to the Medici Chapel Interpretation, Moscow, Letny Sad, 2006, ISBN 5-98856-016-4
  12. ^ Giuffrida, Angela (31 October 2023). "Michelangelo's secret sketches under church in Florence open to public". The Guardian.
  13. ^ Acton, Harold (1980). The Last Medici. Macmillan. pp. 309–310 ISBN 0-333-29315-0
  14. ^ Wittkower, R. p. 126
  15. ^ Walks in Florence and Its Environs, Volume 1, by Susan Horner, 1884, page 116.

Further reading

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[edit]
Wikimedia Commons has media related to San Lorenzo (Florence).
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