Medici ChapelThe Medici Chapel
Chapels and Church of San Lorenzo
Medici Chapels are part of a huge ensemble that was built over almost two hundred years in intimate association with the adjacent San Lorenzo Cathedral, known as the "official" Medici clergy of the Medici people living in the nearby Palazzo on Via Larga (now known as the Medici Riccardi Palazzo; see the relevant section below).
Giovanni di Bicci and his widow Piccarda were entombed in the Old Sacristy according to a design by Brunelleschi). Michelangelo's plan to create his own memorial was born in 1520 when, at the wish of Cardinal Giulio de Medici, later to become Pope Clement VII, Michelangelo began work on the New Sacristy, who wished to establish the memorial for some members of his family:
The Magnificent one and his sibling Giuliano; the Duke of Urbino, and the Duke of Nemours, Giuliano. In 1524, after completion of the construction work, Michelangelo worked until 1533 on the carvings and sarcophages that were to be seen on the partitions. These are the only effigies of the Duke of Urbino, the only one of their kind; Giuliano, the Duke of Nemours; the four effigies of the allegory of day and night and dawn and the group of the Madonna and the Child; they are accompanied by the effigies of Saints Cosma and Damian (protectors of the Medici), each made by Montorsoli and Baccio da Montelupo, both students of Michelangelo.
Many of Michelangelo's paintings were found in a small room under the vestibule and can be associated with the sacristy's sculptures and architectural features. The chapel is another large and impressive tomb built between 1604 and 1640 by the Matteo Nigetti architectural design of Giovanni de Medici, who practiced the architectural style in a semi-professional way.
This mausoleum with its large cupola and luxuriant interiors decorated with stone was designed to commemorate the Medici dictatorship that had successfully dominated Florence for several hundred years. Grand-ducal coffins are located in recesses and are supplemented by bronzes. Some of the semi-precious stone inlays were made by qualified professionals from the Opificio do Pietre diure labs (see the relevant section below) and took several hundred years, as it was difficult to obtain such raw material, which was only available at very highcosts.
Initially the inside of the cupola was to be completely clad with chapislazuli but was still imperfect at the end of the Medici era; the frescos we see today were frescoed in 1828 by Pietro Benvenuti and show both Old and New Testament motifs; these frescos were ordered by the then ruling Lorraine milieu.
None of the monuments in Florence is recorded before San Lorenzo. The Medici in 1418 resolved to completely reconstruct it and confided the Filippo Brunelleschi building, who in 1421 planned the old vestry and the entire temple, which was finished by Antonio Manetti in 1461. During the following centuries Michelangelo Buonarroti was asked to construct the New Vestry and the Laurentian Library and to decorate the façade (which was never built).
Inside, the temple is designed as a Latin cross, the corridors of which are divided from the transept by corinthic pillars, overlooked by tall sculptured beams with round vault. Brunelleschi's slim and elegant architecture and the contrasts of gray pieztra sera and pure whiteness make the San Lorenzo interiors one of the most important architectonic works of the Florentine Renaissance.
Churches are built under the auspices of the Medici dynasty, who financed most of the works of interior work. Both of the bronzes are great works by Donatello's Spätmanier (around 1460; completed by his assistant Bertoldo and Bellano), which achieve an intensive dramatical expressiveness in the New Testament settings, which Donatello himself carried out in âstiacciatoâ low reliefs, especially in deposition.
The Martelli, like the Medici, have influenced San Lorenzo, and their chapel on the right nave has a plaque with the Annunciation by Filippo Lippi (c. 1450). The chorus was frescoed by his contemporaries painter and composer Poontormo. Completion of the church by the Old Sacristy on behalf of the Medici as their home dormer.
It was Giovanni di Bicci deâ Medici who commissioned Filippo Brunelleschi, who between 1421 and 1426 created one of the most elaborate works of masterpiece of Renaissance music. Gray stonework and gypsum are enhanced by the use of stucco: the friezes with cherubs and seraphs, the curves with the evangelists on the wall and those in the parapets of the cupola with scenes from the lives of St. John the Evangelist, Donatello, who was also in charge of the wooden door with saints, martyrs, apostles and Church physicians.
This sky chart is thought to have been made by the ecclectic artist and interior designer Guiliano dâArrigo, known as Pesello. In 1472 Lorenzo the Magnificent and his brothers Juliano ordered the tomb memorial to the son of Cosimo il Vecchio, Giovanni deâ Medici in Verrocchio: one of the most demanding works of art in Laurentic cultur.
It was the last offspring of the Medici family. She bequeathed the great Medici artistic collections, among them the Uffizi Gallery, the Pitti Palace and the Medici Mansions, which she acquired after the deaths of her sibling Gian Gastone in 1737, and the Palatine monuments to the Tuscan state, on conditions that no part of them could be taken away from Florence.