Michelangelo

Architecture of San Lorenzo New

Sacristy
Younger generation
different personality
from Florence
grew up seeing Ghiberti, rival or Brunelleschi and him and watching their work
watching Ghiberti's doors and he called them doors of paradise as he admires them
learn from his bronze technique of casting
learn from genius of Brunelleschi of problem solving
Donatello, sculptor, influenced Michelangelo
Lorenzo- Michelangelo's protector; funded in his early career
Michelangelo is young boy from impoverished family
working with hands in aristocratic family was not seen as noble profession
hence his father saw it with bad eye
he was prevented and beaten when he wanted to create sculptors but he was stubborn
he did not give in and also needed salary as he was poor
he is placed with painter, Galindo
Galindo sees Michelangelo's talent but is also very annoyed, so he gets rid of him but Lorenzo (who has lot of antique sculptures)
decided to foster the creativity of Michelangelo
as he is sad Florence does not have bru and Donatello
search of future young sculptor
so Galindo send Michelangelo (also good as he would stop painting and not be a competition to Galindo)
problem: sculpture is messier than painting in term for hands work
it was more of a craft in eyes of renaissance people
sculpture was seen as more sensual
his dad was furious and opposed to it
Lorenzo welcomes michelangoes father home and convinced Michelangelo to live at his house and treat him as a son and even
pay salary; eat on the table with him.
He was very piest
he felt

Symmetry and volumetry parity with the old sacristy

Admires Brunelleschi (1377-1446)
From mathematical rational harmony to expressive drama
 San Lorenzo
Filippo Brunelleschi - Nave.
Chruch

- Old sacristy- Brunelleschi constructed his chapel

- New sacristy- michelangelo recreate chael
- Speaks to vocabulary of space of brunelleschi
Floor Plan Basilica of San Lorenzo, Florence
Timeline of the Basilica
Brunelleschi San Lorenzo
Old sacristy section and
Floorplan
Made by Brunelleschi
Use of circle and square
Small dome on top with openings and
a small lantern.
Diffused celestial light.
No projected light. No chiaroscuro.
With a small dome on top of chapel
Alter is covered by small dome
1:3 ratio
Pietra serena: the ornamental stone
derived from the excavation of the
best- graded beds of Macigno
sandstone.
 Donatello and Brunelleschi

The collaborated on the animation of the corners

Very bare wall: unoccupied
Classic architecture with use of Greek ornaments to surround the doors
Grey pietra serena that is forming archs of the chapel
Pilasters that flat on the wall with the vocaulbary of classical architecture

All in 1 soace feel colourful, geometry, serene and evokes afterlife

One can feel the church
Donatello, St Stephen and St Lawrence, 1428-35
St Cosmas and St Damian,1428-35
Polychrome terracotta, 215 x 180 cm
Old Sacristy, San Lorenzo, Florence

Patrion of Laurenco and medici family

 Donatello, Doors of the Martyr and Doors of the Apostle,1440-43
Bronze, 235 x 109 cm
Old Sacristy, San Lorenzo, Florence

Doors are holding differenty

the history of the martors of
medici
Plan, detail of sculptural
program, and transverse
section of the New sacristy at
San Lorenzo
Floorplan is identical as that of
Brunelleschi
Elevation is more oriented
Sculptures are evoking the human
body
Have more sensuality
Quoted from what we see in
laurentian library
View up in new sacristy
All the circles and squares
Radiating elements coming out of
circles
M is saying absolute respect to B

Saying B is the master

Lantern built to collect and diffuse

light, copper ball with 72 facets
Directing light to the inside so that it
shines off the white washed wall and
then falls on to the more melancholic
marble.
 Michelangelo coupola and windows.

Uses corenthian pilasters which are flat and thin

Generally they are enormous and fat
Here they are folded and flattened in the most elegant way
Lot of linear elements, as if it is drawn in space
- Modern
- Closed to - Old
donal gudd, - Closer to
- Gemetry middle ages
- Colder, firmer - Bodies are
- Geometry and all the way
Abstraction is up
at top - lower
- Higher
- 1/3 higher
- More massive
Michelangelo and Brunelleschi Sacristies
Evident parallel between the two but
Michelangelo was going for more mass
 Windows and orders for the New Sacristy
Drawing for a grotesque head.

M- More massive and more bodily and more fleshy

Drop down pressure- Higher up is lighter lowers is more earthy

B+D- more serene

Sofa bed for day and
night-
Sode: brackets- used to
support the blind
windows on top
It becomes the capital
of folded pilaster
 Michelangelo, New Sacristy San Lorenzo

Copying folded idea that b gave

Both use pietra serena

b m

Flushed pilaster-
Painted and washed plaster
Stone- colded and sharper surface
Matte and elegant
Brightened
Powerful
Size of door seems v tiny
Door seems more tiny
Michelangelo, Candelabrum Pedestal c. 1531 Marble Sagrestia Nuova, San
Lorenzo, Florence

Flushed and folded against the wall