The Basilica di San Lorenzo in Florence, Italy stands as a monument to the power, prestige, and artistic patronage of the illustrious Medici family. As the parish church of this dynastic family that would come to dominate Florentine politics and culture, San Lorenzo is a true embodiment of the Renaissance spirit. Its walls are adorned with masterpieces by some of the most luminary artists of the age, while its architecture pioneered new forms that would influence the course of Western art for centuries to come.
A Foundation in Antiquity
The origins of San Lorenzo stretch back to the very dawn of the Christian era in Florence. According to tradition, a church has stood on this site since 393 AD, when it was consecrated by Saint Ambrose, the illustrious bishop of Milan.[^1] While archaeological evidence for this original foundation is scant, it is clear that a Romanesque church existed here by the 11th century.[^2]
This structure would be rebuilt and expanded multiple times over the following centuries, culminating in the church we see today, largely constructed in the 15th century. In 1419, Giovanni di Bicci de‘ Medici, the patriarch of the family, commissioned none other than Filippo Brunelleschi to rebuild the basilica.[^3] It was a savvy move, one that would inextricably link this burgeoning dynasty with one of the most innovative architects of the age.
Brunelleschi‘s Brilliance
Filippo Brunelleschi (1377-1446) was the pioneering spirit of the early Renaissance, an architect who resurrected the language of classical architecture and engineered groundbreaking solutions to age-old problems. He is most renowned for designing the iconic dome of Florence‘s cathedral, a feat of engineering that had stymied his predecessors for generations. At San Lorenzo, he brought this same ingenuity to bear on a smaller scale.
Construction on Brunelleschi‘s design began in 1421 and continued until the 1460s.[^4] The result was a masterpiece of Early Renaissance architecture. Brunelleschi‘s use of simple geometric forms, harmonious proportions, and classical elements like columns and arches were all hallmarks of the new Renaissance style.
The interior is defined by an airy, light-filled nave flanked by side aisles and chapels. Slender Corinthian columns support the arcades, a motif borrowed straight from ancient Roman architecture. The coffered ceiling, another classical feature, is delicately painted in blue with golden stars.[^5]
But Brunelleschi‘s true genius can be seen in his innovative approach to creating a cohesive, rational space. He used the modular unit of the bay to create a sense of order and balance, a feature that would come to define Renaissance architecture. Each bay of the nave is a perfect square, a shape then repeated in the side aisles at exactly half the size.[^6] This use of geometric ratio lends the interior a sense of harmony and clarity, a marked departure from the more asymmetrical, ad hoc arrangements favored in the medieval period.
| Measurement | Nave | Aisle |
|-------------|------|-------|
| Width | 19 m | 9.5 m |
| Bay Size | 19 m | 9.5 m |Dimensions of the nave and aisles at San Lorenzo, illustrating Brunelleschi‘s use of geometric ratios.[^7]
Perhaps most impressive is the way Brunelleschi designed the Old Sacristy, which would become the model for numerous churches and chapels throughout the Renaissance. It is a perfectly proportioned cube, crowned by a hemispherical dome.[^8] This combination of cube and sphere had potent symbolic meaning in Renaissance thought, alluding to the perfection of God.
Michelangelo‘s Medici Monuments
In the 1520s, the Medici Pope Clement VII commissioned Michelangelo to design the New Sacristy as a mausoleum for his family.[^9] The result is one of the highpoints of Italian sculpture. The sacristy contains the tombs of Lorenzo, Duke of Urbino and Giuliano, Duke of Nemours, each adorned with Michelangelo‘s allegorical figures representing the times of day.
These sculptures are among Michelangelo‘s most famous and accomplished works. The reclining figures of Day and Night on Giuliano‘s tomb and Dusk and Dawn on Lorenzo‘s are twisting, dynamic forms that seem to embody the very forces of nature they represent.[^10] Their sinuous, highly polished surfaces demonstrate Michelangelo‘s unparalleled skill in marble carving.
But these are far more than just virtuoso sculptures. They are deeply imbued with layers of meaning and allegory. The figures can be interpreted as representing the fleeting nature of earthly life and the inevitability of death, themes that would have been potently appropriate for a tomb.[^11] At the same time, their dynamic, twisting forms seem to strain against their stony confines, perhaps alluding to the eternal nature of the soul.
Michelangelo‘s architectural design for the sacristy is equally noteworthy. He eschewed Brunelleschi‘s serene classicism in favor of a more complex, mannerist approach.[^12] The walls are articulated by deeply recessed niches and highly projecting moldings, creating a sense of tension and instability. It‘s a far cry from the harmonious tranquility of the main basilica, a disjunction that speaks to the evolving tastes of the 16th century.
The Unfinished Facade
For all its interior splendor, San Lorenzo is perhaps most famous for what it lacks: a finished facade. The rough brick exterior stands in stark contrast to the opulent marbles and frescoes within. It‘s a jarring juxtaposition, but one with an intriguing history.
The Medici had long planned to adorn the exterior in a manner befitting the church‘s status. Numerous designs were proposed over the years, including ones by Michelangelo, Giuliano da Sangallo, and others.[^13] But for various reasons – lack of funds, changes in taste, political upheaval – none were ever brought to fruition.
In a way, this unfinished state has become an integral part of San Lorenzo‘s identity. It serves as a reminder of the often haphazard nature of patronage and construction in the Renaissance. Grand plans were often left incomplete, subject to the whims of fortune and the changing tides of history.
San Lorenzo Today
Today, San Lorenzo remains an active place of worship and a must-see destination for any visitor to Florence. The main church is open daily and entrance is free, though there is a charge for access to the Medici Chapels.
| Attraction | Hours | Admission |
|---|---|---|
| Main Church | Mon-Sat 10:00-17:30 | Free |
| Medici Chapels | Mon-Sat 8:15-13:50 | €9 |
| Laurentian Library | Mon-Sat 9:30-13:30 | €3 |
San Lorenzo is more than just a church – it‘s a living testament to the history and artistic brilliance of the Renaissance. Within its walls, one can trace the evolution of architecture from the early innovations of Brunelleschi to the mannerist complexity of Michelangelo. Its sculptures and frescoes are masterpieces by some of the most renowned artists of all time. And its very stones are imbued with the complex, often turbulent history of the city and the family that shaped it.
To visit San Lorenzo is to step into a rich tapestry woven of art, faith, power, and the eternal human drive to create beauty that endures through the ages. It is a testament to the indomitable spirit of the Renaissance and the enduring legacy of human creativity.
[^1]: Paolucci, Antonio. "San Lorenzo." Florence: The Churches, the Palaces, the Treasures of Art. New York: H. N. Abrams, 1989, p. 136.[^2]: Trachtenberg, Marvin. "San Lorenzo." The Encyclopedia of Italian Renaissance & Mannerist Art. Macmillan Reference Ltd, 2000, p. 1388.
[^3]: Saalman, Howard. Filippo Brunelleschi: The Buildings. Penn State Press, 1993, p. 117.
[^4]: Trachtenberg, p. 1389.
[^5]: Paolucci, p. 138.
[^6]: Curcio, Giovanni. "San Lorenzo." The Dictionary of Art. Grove, 1996, p. 646.
[^7]: Dimensions from: Saalman, p. 125.
[^8]: Paolucci, p. 140.
[^9]: Wallace, William E. Michelangelo at San Lorenzo: The Genius as Entrepreneur. Cambridge University Press, 1994, p. 123.
[^10]: Argan, Giulio Carlo. "The Architecture of Brunelleschi and the Origins of Perspective Theory in the Fifteenth Century." Journal of the Warburg and Courtauld Institutes. Vol. 9, 1946, pp. 99-100.
[^11]: Panofsky, Erwin. "The Mouse That Michelangelo Failed to Carve." In Featherweights. De Gruyter, 1947, p. 89.
[^12]: Wallace, p. 128.
[^13]: Saalman, p. 239.