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Basilica di San Lorenzo di Firenze
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The Basilica di San Lorenzo 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; when it was consecrated in 1393 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 also the parish church of the Medici family. In 1419, Giovanni di Bicci de' Medici offered to finance a new church to replace the 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 works: the Old Sacristy by Brunelleschi; the Laurentian Library by Michelangelo; the New Sacristy based on Michelangelo's designs; and the Medici Chapels by Matteo Nigetti.
Building historyThough considered a milestone in the development of Renaissance architecture, S. Lorenzo has a complicated building history. Even though it was built – at least partially - under the direction of Filippo Brunelleschi, it is not purely of his design. The project was begun around 1419, but lack of funding slowed down 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 that and not the church was being paid for by the Medici. In 1442, the Medici stepped in to take over financial responsibility of the church as well. Brunelleschi died, however, in 1446 and the job was handed over either to Antonio Manetti or to Michelozzo, scholars are not certain. Though the building was “completed” in 1459 in time for a visit to Florence by Pius II, the chapels along the right-hand aisles were still being built in the 1470s and 80s.
By the time the building was done, many aspects of its layout, not to mention 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 chapels in the transept, the only part of the building that is known to have been designed by Brunelleschi.
The building in Renaissance architectureDespite its history, the building is seen as one of the great examples of the new style. Its features are:
- the attempt to create a proportional relationship between nave and aisle (aisle bays are square whereas nave bays that are 2X1.
- the articulation of the structure in pietra serena (Italian: “dark stone”).
- the use an integrated system of column, arches, entablatures.
- a clear relationship between column and pilaster, the latter meant to be read as a type of embedded pier.
- the use of proper proportions for the height of the columns
- the use of spherical segments in the vaults of the side aisles.
There are significant problems in the design, most, however, occur at the level of detail. Already Giorgio Vasari thought that the columns along the nave should have been elevated on plinths. That the pilasters along the wall of the side aisles rest on a floor that is three steps higher than the nave, is also considered an error.
S. Lorenzo is often compared with Santo Spirito,also in Florence. Santo Spirito, which Brunelleschi began somewhat later, is considered to have been constructed more or less in conformance with his ideas, even though Brunelleschi died before most of it was built.
The outer and inner facadesThe Medici pope 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 campanile dates from 1740.
The Old SacristyOpening 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.
The New Sacristy
Opposite it 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 top most topped by a coffered pendantive 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 pillasters on the lower register is carried through to the second facade; however, in Mannerist fashion, architectural elements 'seem impossible' creating a suspense and quality of tension that is evident in this example. Michelangelo's sculptural elements, to be used on the tombs themselves, was left undone. A difficult person to work with, Michelangelo refused to direct the completion of the new sacristy.
Cappelle MediciThe 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. Almost fifty lesser members of the family are buried in the crypt. The final design (1603-1604) was by Bernardo Buontalenti, base 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 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 (Wittkower, R. p.126). At its centre was supposed to be the Holy Sepulchre itself, although attempts to buy and then steal it from Jerusalem failed.
Works of art- Bronzino
- Desiderio da Settignano (Pala del Sacramento, tabernacle in the south aisle)
- Donatello (two bronze pulpits, his last works; frieze, reliefs, tondi and bronze doors in the Sagrestia Vecchia)
- Antonio del Pollaiuolo (wooden crucifix in the south transept chapel)
- Fra Filippo Lippi (altarpiece of the Annunciation in the north transept chapel)
- Rosso Fiorentino (Marriage of the Virgin in one of the south aisle chapels)
- Verrocchio (tomb of Giovanni and Piero de Medici in the Sagrestia Vecchia)
Funerary monuments
Further reading- Vasari, Giorgio. Filippo Di Ser Brunelesco: Giorgio Vasari's Lives of the Artists
- "Church of San Lorenzo." Insecula. 31 Jan. 2007
External links- Touring Club Italiano, Guida d'Italia: Firenze e dintorni
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