Who Were the Protectors of the Arts of Florence
Medici Chapels The Medici Chapels form part of a monumental complex adult over almost ii centuries in close connectedness with the adjoining church of San Lorenzo, considered the "official" church of the Medici family who lived in the neighbouring palace on Via Larga (information technology is now known equally the Medici-Riccardi Palace; encounter the related department below). The determination to build their family mausoleum in this church dates to the 14th century (Giovanni di Bicci and his wife Piccarda were buried in the Old Sacristy, on a project designed by Brunelleschi). The project of building a proper family mausoleum was conceived in 1520, when Michelangelo began work on the New Sacristy upon the request of Key Giulio de Medici, the future Pope Clemens VII, who expressed a desire to cock the mausoleum for some members of his family: Lorenzo the Magnificent and his brother Giuliano; Lorenzo, Knuckles of Urbino; and Giuliano, Duke of Nemours. After completing the architectural works in 1524, Michelangelo worked until 1533 on the sculptures and the sarcophagi that were to be featured on the chapel walls. The simply ones actually completed were the statues of Lorenzo, the Duke of Urbino; Giuliano, the Knuckles of Nemours; the four statues of the allegories of Mean solar day and Night, and Dawn and Dusk; and the group representing the Madonna and Kid; they are flanked past statues of Saints Cosma and Damian (protectors of the Medici), executed respectively by Montorsoli and Baccio da Montelupo, both of whom were pupils of Michelangelo.
The joint of the architecture structure and the forcefulness of Michelangelo's sculptures reverberate a complex symbolism of Human Life, where "active life" and "contemplative life" interact to free the soul later death, a philosophical concept closely linked to Michelangelo's own spirituality
Numerous drawings past Michelangelo were found in a minor space below the alcove, and may be related to the statues and architecture of the Sacristy.
The Chapel of the Princes
This Chapel is nevertheless another grand and striking mausoleum erected between 1604 and 1640 by the architect Matteo Nigetti post-obit the designs of Giovanni de Medici, who practised architecture in a semi-professional manner. The Mausoleum, with its big dome and lavish interior ornamented with marble, was conceived to gloat the power of the Medici dynasty which had successfully ruled Florence for several centuries. The octagonal room designed to contain the bodies of the Grand Dukes is in fact nigh entirely covered with semi-precious stones and different-coloured marbles. The sarcophagi of the Grand Dukes are contained in niches and complemented by bronze statues . The inlay of the semi-precious stones, partially executed by highly skilled workers from the laboratories of the Opificio delle Pietre dure (see the related section, below) took several centuries to complete due to the difficulty of obtaining such rare materials that were bachelor only at very high toll.
The interior of the dome was planned originally to exist entirely covered with lapis lazuli, but was left incomplete at the terminate of the Medici period; the frescoes we see today were painted by Pietro Benvenuti in 1828 and characteristic scenes of the Old and New Testaments; these frescoes were commissioned by the then-reigning Lorraine family unit.
Church of San Lorenzo
Of all the religious buildings in Florence, none is documented earlier than San Lorenzo. It was consecrated in 393 by St. Ambrose, Bishop of Milan, and acted equally the city'southward cathedral, before either the Baptistery or Santa Reparata. It was rebuilt in the romanesque period, and re-consecrated in 1059. In 1418 the Medici decided to rebuild it entirely, and entrusted the project to Filippo Brunelleschi, who in 1421 designed the 'old' sacristy and the whole church, completed by Antonio Manetti in 1461. In the next century Michelangelo Buonarroti was commissioned to build the New Sacristy and the Laurentian Library, and to pattern the façade (which was never congenital). Inside, the church is planned as a Latin Cross, its aisles separated from the nave by Corinthian columns surmounted by high sculpted entablature blocks, supporting rounded arches. The nave is covered by a coffered ceiling with gilded rosettes on a white ground. The slender elegance of Brunelleschi's architectural forms, and the contrast of grey pietra serena and white plaster, make the interior of San Lorenzo ane of the supreme architectural masterpieces of the Florentine Renaissance. The history of the church's construction is closely linked to the patronage of the Medici family unit, who paid for nigh of the works of art inside. The 2 bronze pulpits are great works of Donatello's belatedly manner (c. 1460; finished past his assistants Bertoldo and Bellano), achieving intense dramatic expressivity in the New Testament scenes executed by Donatello himself in 'stiacciato' low relief, peculiarly the Deposition. Farthermost technical refinement is apparent in the beautiful marble Tabernacle of the Sacrament, now in the correct aisle, by Desiderio da Settignano (c. 1460). Similar the Medici, the Martelli also fabricated their marking on San Lorenzo, and their chapel off the left transept has a panel of the Annunciation by Filippo Lippi (c. 1450). Modest painting of the 15th century is represented by the altarpieces in the left transept such every bit Raffaellino del Garbo's Nascence with St. Julian and St. Francis, and St. Anthony Abbot enthroned between St. Laurence and St. Julian, from the workshop of Ghirlandaio. The altars in the side aisles mostly have 16th-century altarpieces, most notably Rosso Fiorentino'southward mannerist Betrothal of the Virgin, painted in 1523. His gimmicky Pontormo executed some lost frescoes in the choir. The enormous fresco of the Martyrdom of St. Laurence in the left alley (1565-69) is past Pontormo'due south pupil Bronzino. The basilica was completed by the Old Sacristy, commissioned by the Medici as their family mausoleum. Giovanni di Bicci de' Medici entrusted the project to Filippo Brunelleschi, who betwixt 1421 and 1426 built one of the most complex masterpieces of renaissance architecture. Dedicated to St. John the Evangelist, it is structured as a cube covered by a hemispherical umbrella dome divided by ribs. The chromatic coaction of grey rock and white plaster is heightened past the presence of painted stuccoes: the frieze with cherubim and seraphim, the roundels with the Evangelists on the walls and the ones in the spandrels of the dome with Scenes from the life of St. John the Evangelist, by Donatello, who was as well responsible for the bronze doors with Saints, Martyrs, Apostles and Doctors of the Church building. The frescoes in the modest dome in the apse show the Dominicus and constellations every bit they appeared over Florence on the dark of 4 July 1442. It is idea that this celestial map was executed by the eclectic painter and decorator Giuliano d'Arrigo, known as Pesello. The funerary monument to Piero and Giovanni de' Medici, sons of Cosimo il Vecchio, was commissioned from Verrocchio in 1472 past Lorenzo the Magnificent and his brother Giuliano: one of the most sophisticated products of Laurentian artistic civilisation.
Source: http://www.museumsinflorence.com/musei/Medici_chapels.html
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