Talk:Basilica of San Lorenzo, Florence

Name
Ambrose was alive in 393, and no saint. No church could have been dedicated to him. What was the original dedication? is it even known?--Wetman 15:40, 15 January 2007 (UTC)


 * sharp eyes - checked it out. It was dedicated 'by' not 'to' St. AmbroseBrosi 14:07, 16 January 2007 (UTC)

Italian Title
Encouraged by the talk at il Duomo di Firenze I wanted to see what people think of changing the title of this page to English, such as Basilica of San Lorenzo, Florence (which, at this moment at least, does not even have a redirect). In fact, I'd be satisfied with simply San Lorenzo, Florence. I really don't understand the use of "di" in English titles when we have perfectly good prepositions in English that achieve many of the same results. Is anyone opposed to such a move? --Stomme 16:45, 18 September 2007 (UTC)
 * No, surely you mean Basilica of Saint Lawrence, don't you? These errors are not made if one simply follows the standard conventions, which one begins to be aware of with some reading. --Wetman 18:56, 18 September 2007 (UTC)

Done. I strongly believe that the commonly-known names of the Florentine churches are "San Lorenzo", "Santa Croce" (not Holy Cross), "Santo Spiritio" (not Holy Spirit). I don't have a single book on my shelves written after ca. 1896 that translates the names of these churches into English. However, I dont see any reason for a couple of "di, di" and "Firenze". Feel free to make your own adjustments as you see fit. Now, I side on the other side when it comes to the Cathedral, as I will happily translate "Duomo" (but not "St. Mary of the Flowers")--Stomme 16:43, 3 October 2007 (UTC)

Can any of this material be merged in?
Much like Italy in the time of the Renaissance, the Basilica di San Lorenzo underwent countless reconstructions, reformations, and additions in the fifteenth and early sixteenth centuries. With every alteration or appendage, another artist or architect was introduced to San Lorenzo, each adding his own style to the structure that would eventually be referred to as “one of the masterpieces of the early Renaissance.” Despite the many different contributors to the multiple faces of San Lorenzo, there was one constant: the Medici family. This was a family that conducted the most prestigious patronage of its time, was responsible for the rebirth of the identity and significance of the church within the Florentine community, managed to embed its spirit within the foundation of the church both literally and metaphorically, and “so thoroughly made themselves one with Florence that her history and theirs are bound up together.”

Basilica di San Lorenzo
Originally consecrated in 393 AD by Saint Ambrose as the first Christian church of Florence, the crumbling Basilica di San Lorenzo caught the attention of Giovanni di Bicci de’ Medici as his family rose to power in the early 1400s. Understanding that it was becoming the “natural behavior of a nobleman to patronize architecture, and in fact a duty of his superior position,” Giovanni wanted to commission an artist of a metaphorically equal stature to his, someone with fresh ideas who would correspondingly contribute to the revival of Florence. In 1421, he found that person in Filippo Brunelleschi. With the designs of the sacristies and tombs within the church, Brunelleschi established a name for himself among the Medicis and more importantly, among the Florentinians.

Giovanni died in 1429, leaving the legacy of patronage to his son, Cosimo de' Medici. Cosimo shared Giovanni’s ambition to embellish the basilica and, along with other family members, “continued to pour Medici money into [it]”. Though there are still some chapels along the transept in San Lorenzo that are owned by other families, the Medici's endowment was unrivaled. Cosimo assumed property rights in 1442, and his dedicated sponsorship enabled the family to make what was previously a fully public institution into a more familial edifice. Furthermore, he demanded that, "no family crest other than that of the Medici appear in the church." First in a long line of Medicis, Giovanni’s and his wife, Piccarda’s tombs’ placement in the newly finished sacristy (later coined, The Old Sacristy) served as the stepping-stone for the creation of the family tradition that “required that they should all be laid at last in San Lorenzo.”

Brunelleschi was only able to oversee the construction of the transept and The Old Sacristy, and could not actually finish the work, dying in 1446. However, it is clear that his intentions and designs were successfully incorporated throughout his successors’ work on the church. The English traveler, Richard Symonds, commented on Brunelleschi’s design for San Lorenzo years after its completion: <blockquote|Not a form or detail in the whole church is at variance with classic precedent, and yet the general effect resembles nothing that we possess of antique work. It is a masterpiece of intelligent Renaissance adaptation.”

The Old Sacristy
When Giovanni di Bicci de Medici commissioned Filippo Brunelleschi in 1421 to construct a church at the site of the old San Lorenzo chapel, the architect saw the project as a test of his “personal vision of a Florentine architecture renewed.” To the Medici, who supported Brunelleschi even when his temper violated others, the architect’s genius was a testament to the family’s civic and religious power and hope for continuing legacy within the city. The architecture of the sacristy is noted for the simplicity of its lower walls and the grandeur of the upper walls and ceiling, punctuated by rich entablature and pendentive detail. It is covered by a melon dome, a feature with no precedence in sacristies of the area- an element that further represents the distinction and authority of the Medici family. The building itself did not begin to function as a sacristy until its dedication in 1461, but served as Giovanni’s resting place before then, marking the beginning of its literal connection with the Medici family.

Donatello was commissioned to construct the bronze doors of the Old Sacristy, and was thought to have worked on them between 1434 and 1443, though the exact dates are not known. The doors consist of ten panels each, and each door has a different theme: one of martyrs, and one of saints. As the patron saint of Giovanni di Bicci, St. John the Evangelist is placed prominently in the door of saints, and speculation exists as to whether he is represented on the door of martyrs as well. The doors portray death and resurrection, scenes appropriate for a funerary chapel.

The New Sacristy


The New Sacristy of the Basilica di San Lorenzo was commissioned originally in 1519 by Pope Leo X (Giovanni di Lorenzo de' Medici), son of Lorenzo the Magnificent. The Sacristy was built after the assassination of Lorenzo and his brother Giuliano because Giovanni wanted a proper resting place for the Medici. Building officially began on November 4, 1519 under Michelangelo’s leadership. Demolition of the church wall opposite the Old Sacristy and dismantling of the Nelli family’s surrounding houses was necessary to begin construction. The structure was completed in 1523. The New Sacristy was finished with the two colors of white plasterwork and grey sandstone, and roofed with a dome. The New Sacristy is a circular structure with a circular dome referencing both classical architecture of the Pantheon and Brunelleschi’s previous domed works. Michelangelo designed the tombs of both Lorenzo the Magnificent and Giuliano, Duke of Nemours, with symbolic figures representing both thought and action. Under the tombs are statues representing day, night, dawn and dusk, the four states of human life. Between statues of Saints Cosma and Damiano is the unfinished Madonna and Child sculpted by Giovanni Angelo Montorsoli and Raffaello da Montelupo, two of Michelangelo’s students. Construction stopped in 1527 when the Medicis were temporarily expelled from Florence, but began again in 1530. Only two tombs and seven statues were completed when the project ran out of funds in 1534 and Michelangelo went to Rome. The New Sacristy, although unfinished, is the most lavish and extravagant resting places on earth, housing some masterworks of Michelangelo and the most powerful members of the most powerful family ever to control Florence.

The Martyrdom of St. Lawrence
Without the sponsorship from the Medicis, The Martyrdom of St. Lawrence would not have been created, rendering the Basilica without a painting of its patron saint. This fresco is one of Agnolo Bronzino's earlier pieces in which he replicates many styles of his master, Pontormo. In fact, The Martyrdom of St. Lawrence, illustrating the consecration of the church of San Lorenzo, was actually outlined by Pontormo. His markings include information regarding the shading and other features of the figures. Sponsored by Cosimo de Medici, The Martyrdom of St. Lawrence completes a cycle of frescoes and sculptures in the presbytery area. The front sculptures composing the left and right pulpit represent the Passion and Christ’s Descent into Hell. The walls are frescoed with the Resurrection and The Ascension (symbolically divided by two doorways). The cycle is completed with paintings of Maries at the Tomb and the Martyrdom of St. Lawrence.

In The Martyrdom of St. Lawrence lies the nude figure of the Saint atop a grill surrounded by other nude figures with various tasks. The depiction of the individuals in this painting in the nude places its roots in classical design, a theme of imitation that was rapidly becoming passé. Like Brunelleschi, Bronzino, also a young artist at the time, longed for newer styles of work. Yet, his undying reverence for his deceased teachers was ever-present, and he commemorated the painting as a sort of last will and testament for Pontormo and Allori by including these two figures on the left in an "artistic lineage".

Interior images forbidden
Please note to any editor that taking any photos inside San Lorenzo is strictly forbidden. Gryffindor 22:06, 5 May 2008 (UTC)

File:Glory of Florentine Saints on the dome in San Lorenzo (Florence).jpg scheduled for POTD
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A Commons file used on this page or its Wikidata item has been nominated for deletion
The following Wikimedia Commons file used on this page or its Wikidata item has been nominated for deletion: Participate in the deletion discussion at the nomination page. —Community Tech bot (talk) 01:53, 18 February 2023 (UTC)
 * Glory of Florentine Saints on the dome in San Lorenzo (Florence).jpg

Requested move 8 June 2023

 * The following is a closed discussion of a requested move. Please do not modify it. Subsequent comments should be made in a new section on the talk page. Editors desiring to contest the closing decision should consider a move review after discussing it on the closer's talk page. No further edits should be made to this discussion.

The result of the move request was: moved. (closed by non-admin page mover) C LYDE TALK TO ME/STUFF DONE (please mention me on reply) 20:29, 15 June 2023 (UTC)

Basilica di San Lorenzo (Florence) → Basilica of San Lorenzo, Florence – word "of" should be used instead of "di"&#32; This is a contested technical request (permalink). Greg Henderson (talk) 14:55, 8 June 2023 (UTC)
 * The request was made by me to move the name Basilica di San Lorenzo (Florence) → Basilica of San Lorenzo, Florence as the word "of" should be used instead of "di" Greg Henderson (talk) 14:55, 8 June 2023 (UTC)
 * You have half the message. There should be a comma after the titular name and the word Florence without brackets. Basilica of San Lorenzo, Florence.Amandajm (talk) 23:11, 8 June 2023 (UTC)
 * Yes, please move the page to: Basilica of San Lorenzo, Florence
 * Thanks, Greg Henderson (talk) 02:47, 9 June 2023 (UTC)

The discussion above is closed. Please do not modify it. Subsequent comments should be made on the appropriate discussion page. No further edits should be made to this discussion. Category:Basilica churches in Florence also shows that (except for the Duomo) we currently use the following style for the other Florentine basilicas: Santissima Annunziata, Florence; Santa Croce, Florence; San Marco, Florence; Santa Maria del Carmine, Florence; Santa Maria Novella; San Miniato al Monte; Santo Spirito, Florence and Santa Trinita. So why not San Lorenzo, Florence for this church? Note also the article titles in Category:Roman Catholic churches in Florence: they similarly follow the pattern Santi Apostoli, Florence and not, say Church of Santi Apostoli, Florence (which is a redirect). Ham II (talk) 18:01, 3 August 2023 (UTC)
 * Support per WP:UE, and because the comma-separated DAB is more WP:CONSISTENT with other articles about churches (see Category:Basilica churches in Florence for other examples). ModernDayTrilobite (talk • contribs) 16:03, 15 June 2023 (UTC)

Discussion at Talk:Sagrestia Nuova (New Sacristy) § Requested move 6 January 2024
You are invited to join the discussion at Talk:Sagrestia Nuova (New Sacristy) § Requested move 6 January 2024. &#x0020;Should Sagrestia Nuova (New Sacristy) be moved to Medici Chapel, Medici Chapel (Michelangelo), New Sacristy or Sagrestia Nuova? Ham II (talk) 19:16, 8 January 2024 (UTC)