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Interior - Basilica of San Lorenzo
Florence, Italy

Architect:
Filippo Brunelleschi (fill eepo brew ne less key)
Plan:
Latin cross (cruciform shape)
Aisles separated from the nave by 
Corinthian columns supporting rounded arches.
Nave is covered by a coffered ceiling with gilded rosettes on a white ground.
Building material:
Pietra serena is a gray sandstone used extensively in Renaissance Florence; contrasts with the white coffered ceiling
Most works of art patrons: Medici family
Distinction:
The correct use of the Corinthian order for the capitals was  new and a testament to architect Filippo Brunelleschi’s studies of ancient Roman architecture;  integrated system of column, arches, and entablatures, based on Roman Classical models.

On this page, below:

Chancel

Nave

Glory of the Florentine Saints

Martyrdom of St. Lawrence

Martyrdom of St. Sebastian

February 2020 photos

Chancel


  Looking towards the high altar   ...    Style:  Renaissance   ...   Coffered ceiling   ...     Nave   ...   Chancel



Chancel
Main
altar  ...   Two balustrades - The balustrade is undoubtedly a Renaissance, especially 14th century Florence, invention   ...   Geometric marble floor



Chancel
Main
altar   ...   Marble balustrade - A Florentine Renaissance invention   ...   Polychromatic marble   ...   For more examples of polychromatic marble, see Opificio Della Pietre Dure     ...   Three details below:


Chancel
Main
altar candlesticks  with S scroll feet    ...   Guilloche    ...   Dentil molding



Chancel
Main
altar    ...   Center: Tabernacle    ...    Polychromatic marble


Chancel
Altar detail




Nave


Nave
Looking towards the high altar in the chancel   ...   The very long rectangular nave is divided from the side aisles by arched colonnades with Corinthian columns in Pietra serena gray sandstone used extensively in Renaissance Florence; contrasts with the white coffered ceiling



Nave
Pilaster Corinthian capital and fluted shaft   ...    The correct use of the Corinthian order for the capitals was also new and a testament to architect Filippo Brunelleschi’s studies of ancient Roman architecture.   ...   The columns across the aisle have Roman smooth shafts, while the pilasters use Greek fluted shafts


Nave
Coffered ceiling   ...    Note Medici emblem of 6 balls




Nave
Coffered ceiling   ...   Coffer border:  Egg-and-dart molding   ...   In between coffers:  Bead-and-reel molding, rosettes


Nave
Coffered ceiling   ...  View towards back of church and main entrance   ...   Balustrade is a Florentine Renaissance invention



Nave
Coffered ceiling   ...  Arcaded  Corinthian columns form the boundary of the side aisle



Back wall



Nave
Detail below:



Nave
6 balls are an emblem of the Medici bankers  whose family church was this basilica




Glory of the Florentine Saints
Dome fresco by Vincenzo Meucci
1742



Glory of the Florentine Saints
 
Vincenzo Meucci's masterpiece was a commission by Anna Maria Luisa de' Medici, the last Medici resident of the Pitti Palace, who contracted him to fresco the cupola of the Basilica di San Lorenzo di Firenze with the Glory of Florentine Saints (1742).   ...   Three details below:
 

Glory of the Florentine Saints


Glory of the Florentine Saints


Glory of the Florentine Saints





Martyrdom of Saint Lawrence
By Bronzino (Agnolo di Cosimo di Mariano)
Mannerism
Fresco
1565-69
North aisle


Martyrdom of Saint Lawrence
By Bronzino
1565-69
Fresco
North aisle
The original church was consecrated by St. Ambrose of Milan and dedicated to San Lorenzo Martire (St. Lawrence) in 393.



Martyrdom of Saint Lawrence



Martyrdom of Saint Lawrence



Martyrdom of Saint Lawrence
Bottom right figure: Seated River God :  " ... one of Bronzino’s most historically significant paintings, the very large fresco of the Martyrdom of St. Lawrence in the church of San Lorenzo, Florence.  ...  The elderly artist received the commission of the Martyrdom of St. Lawrence from Duke Cosimo de' Medici in 1565, and the finished monumental fresco was unveiled in 1569. The male nude figure is shown here in a complex, seated pose that is meant to show off the artist's great mastery of drawing technique, human anatomy, and perspective. The interior modeling is achieved with seamlessly blended strokes, while the outlines maintain an impressive vigor of stroke and tonal inflection. The head and foreshortened facial features, in particular, are very boldly drawn, almost incisively so with the stick of black chalk, in order to sharpen and clarify the design for a far viewing distance. The compressed pose of the figure is precisely pinned down to align vertically the head, left shoulder, and left knee, and this creates a stark foreshortening of the limbs. In this, Bronzino's work of the 1560s constitutes a response and a challenge to the mature style of Michelangelo (who died in 1564). In turn, Bronzino's technical virtuosity as a draftsman and his superb mastery of his materials made him the greatest role model for the following generation of Florentine Mannerist artists." - Carmen C. Bambach, The Met150 (online May 2020)



Martyrdom of Saint Lawrence



Martyrdom of Saint Lawrence
Bellows fan the coal fire






Martyrdom of St. Sebastian


Martyrdom of St. Sebastian
North aisle



Martyrdom of St. Sebastian   ...   Two details below:


Martyrdom of St. Sebastian



Martyrdom of St. Sebastian





Photos and their arrangement 2020 Chuck LaChiusa
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