Michelozzo di Bartolomeo Michelozzi (1396–1472) was an Italian architect and sculptor. Considered one of the great pioneers of architecture during the Renaissance, Michelozzo was a favored Medici architect who was extensively employed by Cosimo de' Medici. He was a pupil of Lorenzo Ghiberti in his early years and later collaborated with Donatello.

Known primarily for designing Palazzo Medici Riccardi in Florence, he is often overshadowed by his contemporaries Donatello in sculpture and Brunelleschi in architecture. "He remained for his biographers a shadowy, active, competent, second-rate figure, circling around the glowing glory of the two dominant masters."[1]

Fra Angelico 074
Fra Angelico's "Deposition"
Michelozzo di Bartolomeo Michelozzi

c. 1396
DiedOctober 7, 1472
Resting placeMonastery of San Marco
MovementEarly Renaissance
Spouse(s)Francesca di Ambrogio Galigari (7 children)


Early life

Michelozzo was born in Florence in 1396. He was the son of Bartolomeo di Gherardo Borgognone and Antonia. Borgognone was of French origin and arrived in Florence from Burgundy at an unknown date.[1] Borgognone lived and worked in the Santo Croce quarter of Florence as a tailor, and was made a Florentine citizen on April 9, 1376.[2] Michelozzo had three brothers named Leonardo (b. 1389/90), Zanobi (b. 1391), and Giovanni (b. 1403). By 1391, Michelozzo's family had moved to the San Giovanni quarter, where they continued to live throughout his life.[1]

Little is known about Michelozzo's childhood, other than that he received a comprehensive education in reading, writing, and arithmetic, and that he began working as a die-engraver for the Florentine mint in 1410. As an engraver, Michelozzo learned how to cast, chase, and gild copper and bronze, two of the metals in which the Medieval and Renaissance goldsmith most commonly worked. He also gained immense precision of hand and a mastery of sculptural design in miniature.[3]

Beginning in the early 1420s, Michelozzo became a member of the Arte di Maestri di Pietra e Legname, one of the Guilds of Florence that represented the master stonemasons, wood-carvers, and sculptors. He later served as one of the consuls of the Guild in 1430.[1]

Throughout his life, Michelozzo retained the family residence on Via Larga, which was near the Medici Palace and next door to the humanist Bartolomeo Scala. In addition, Michelozzo possessed a house and garden in S. Domino a Brozzi.[1]

Michelozzo's father died sometime before 1427, and his mother passed sometime between 1433 and 1442.[1]


Beginning in 1420, Michelozzo studied under Lorenzo Ghiberti. Michelozzo's first projects with Ghiberti was the North Door of the Baptistry between the years 1417 and 1423/4, in which Michelozzo's responsibilities "could only have been in the chasing and gilding of the panels, possibly in casting the four late reliefs...and in the frame....Most of his work on the doors is submerged, like that of the other assistants, in the force of Ghiberti's design and personality."[1] From this, Michelozzo learned how to run a closely supervised shop, how to organize it efficiently, how to train and control assistants, and how to deal shrewdly in business and financial affairs. "He was exposed to Ghiberti's use of antique motifs, he absorbed Ghiberti's ability in juxtaposing antique and Gothic elements, and he was undoubtedly influenced by Ghiberti's style and artistic concepts."[1] While working under Ghiberti, Michelozzo created the statue of the young St. John over the door of the Duomo in Florence, opposite the Baptistery, along with the silver statuette of John the Baptist on the altar-frontal of San Giovanni.

Under Donatello, Michelozzo assisted in the building of the sacristy of Santa Trinita, where "Ghiberti [had] started to fuse together late-Gothic and antique forms." Both Donatello and Michelozzo began as sculptors with an uncompromising dedication to antiquity, and this was evident when Donatello enlisted Michelozzo's help in the decoration of the tabernacle of St. Louis of Toulouse. Michelozzo also became the partner responsible for the architectural frames of Donatello's sculptures such as the funerary monument of John XXIII. In 1428, together with Donatello, Michelozzo erected an open-air pulpit at an angle of the Cathedral of St. Stephen at Prato, designed for the regular public displays of their famous relic, the Girdle of Thomas (Sacra Cintola). Though Donatello is the more well-known of the two, "it would be a mistake to underrate Michelozzo's share in the work, for where Donatello appears as the sole designer of architectural ornament his style is quite different. He completely subordinates the architectural setting to his sculpture and makes architecture, so to speak, its handmaid. The beautiful ornamental sculpture in Brunelleschi's Sagrestia Vecchia shows how far Donatello would go with his sculpture in order to provide it with an effective frame in the extraordinarily vigorous modelling of the broad, slanting surrounds of his overdoors and medallions." [4]

Influences and Patronage

Cosimo dei Medici

Palazzo Medici Riccardi
The facade of Palazzo Medici in Florence.

Few historians have disputed Cosimo's close relationship to Michelozzo, who was the Medici architect for nearly forty years. "Michelozzo was more agreeable and accessible to the advice and desires of Cosimo than the turbulent Brunelleschi, and was willing to follow the strong personal tastes of his patron."[1] Their relationship was best described by Angelo Fabroni in 1789, who said: "Cosimo loved Michelozzo dearly and relied on him, not only because of his natural talents (he considered nobody, not even Brunelleschi, superior in all architectural judgments), but also because of his good qualities and worthy character."[5]

Michelozzo enjoyed a close relationship to Cosimo dei Medici throughout his life, and according to Giorgio Vasari in The Lives of the Most Excellent Painters, Sculptors, and Architects, from Cimabue to Our Times, was motivated by his great love and fidelity for Cosimo to accompany him into exile in Venice from 1433 to 1434. Historians have cited this as an unparalleled example of esteem between artist and patron. Vasari also claimed that Michelozzo built the library of San Giorgio Monastery in 1434 for Cosimo, though this claim contradicts the original description and documents of the library, which indicate that although the library's construction was started by Cosimo, it was largely built under the direction of Medici bank manager Giovanni d'Orino Lanfredini between 1467 and 1478, which was well after Michelozzo's departure from Venice.

The large Palazzo Medici in Florence, built by Cosimo, was designed by him; it is one of the noblest specimens of Italian fifteenth-century architecture, in which the great taste and skill of the architect has combined the delicate lightness of the earlier Italian Gothic with the massive stateliness of the classical style. With great engineering skill Michelozzo shored up, and partly rebuilt, the Palazzo Vecchio, then in a ruinous condition, and added to it many important rooms and staircases. When, in 1437, through Cosimo's liberality, the monastery of San Marco at Florence was handed over to the Dominicans of Fiesole, Michelozzo was employed to rebuild the domestic part and remodel the church. For Cosimo he designed numerous other buildings, most of them of noteworthy importance. Among these were a guest-house at Jerusalem for the use of Florentine pilgrims, Cosimo's summer villa at Careggi, and the fortified castello that he rebuilt from 1452 as the Villa Medicea di Cafaggiolo in Mugello. For Giovanni de' Medici, Cosimo's son, he also built a very large villa at Fiesole. Between 1445 and 1451, he also expanded Villa San Girolamo next to Villa Medici at the behest of Cosimo.[6]

Filippo Brunelleschi

According to "Architecture in Italy, 1400-1500, Volume 53", Michelozzo's architecture contrasts with Brunelleschi in its closer adherence to the "immediately preceding Gothic tradition, the Gothic classicism which appears in the Loggia dei Lanzi or the monastery of S. Matteo."[4] Ludwig Heydenreich and Paul Davies argue that all of Michelozzo's buildings are "works of considerable standing...the most independent architect after Brunelleschi."[4]

Personal life

Michelozzo married Francesca, daughter of Piero di Ambrogio Galligari, in late January or February 1441. At the time of their marriage, she was 20 years old, and he was 45.[1] Francesca's dowry of 425 florins was about average for an upper-middle-class family at that time. The size of her dowry indicates a considerable rise in Michelozzo's social position.[7]

In 1441, Michelozzo launched a legal complaint to remove himself from the responsibility of his two older brothers' debts. Andrea di Benozo, representative for Giovanni, Zanobi, and Michelozzo, elected arbitrators to weigh the complaints. After studying documents and proofs for six weeks, the arbitrators found that the two brothers were the cause behind most of Michelozzo's debts, and they were required to relinquish their inheritance in partial compensation for the amounts they owed.[1]


Four boys and three girls resulted from Michelozzo's marriage to Francesca, of whom five survived their father. Bartolomeo, who became a sculptor, was born in 1442; Piero in 1443; Antonia in 1445; Niccolo in 1447; Marietta in 1453; Bernardo in 1455; and Lisabetta in 1459.

Two of his sons, Niccolò and Bernardo, were partially educated by the Medici and may have lived in the Palazzo Medici during their youth. They later achieved success in the highest humanistic circles of Florence.

Bernardo became a member of the household of Lorenzo il Magnifico as the tutor of Piero de Medici. In 1500, he was made a Florentine canon and was employed by Giovanni de Medici, first as his Chamberlain and then as his Secretary and Referendary.

Like Bernardo, Niccolò studied with Ficino from a young age and took part in the Platonic Academy, where he formed friendships with other Florentine humanists who shared his love for antiquity. He excelled in literature and philosophy, and he later became secretary to Piero di Cosimo and continued in the post under Piero di Lorenzo. In 1469, Niccolò began his political career as a notary in the Florentine Cancelleria, and he was often sent on important missions as ambassador for the Florentine Republic between 1489 and 1494. Following the downfall of the Medici, he was imprisoned for a brief time before clearing his name in 1496 and becoming the precounsel of the Arte dei Giucidi e notai and later succeeded Niccolò Machiavalli as the Second Chancellor of the Republic in 1513.[1]


Palazzo Medici

Palazzo Medici courtyard Apr 2008 (10)
The courtyard of Palazzo Medici Riccardi.

When Cosimo began building the Palazzo Medici in 1444, he passed over Brunelleschi and gave his preference to Michelozzo. Like the exterior of the Palazzo Comunale in Montefiascone, that of the Palazzo Medici follows the tradition of the Tuscan late-medieval palazzo, but without the more eye-catching symbols of civic power, which would have been incompatible with Cosimo's role as primus inter pares and pater patriae. The palazzo's exterior is not articulated by Vitruvian orders, and its big arches of its ground floor are not aligned with the windows of the upper stories. Instead, Michelozzo focused on the contrast between surface textures, such as the contrast between "the natural rustication of the ground floor, the flat ashlared courses of the piano nobile and the smooth masonry of the upper storey." The exterior also differs from the palazzo in Montepulciano in its size, its more urbane character, and its massive classicizing cornice. "In its succession of dentils, egg-and-dart and consoles, Michelozzo directly followed the Temple of Serapis in Rome."[8]

Brunelleschi's influence on Michelozzo is evident in the palazzo's design, especially in the late-medieval bifora-windows, the symmetry and the dominance of the entrance axis, and the combination of traditional and progressive elements. The arcades and entablature of the palazzo's courtyard also follows the model of the loggia of the Spedale degli Innocenti, which is symptomatically Brunelleschi's earliest and most un-Vitruvian building.[8]

One of Michelozzo's most well-known architectural projects, the palace led to the development of a new architectural type: the Florentine Renaissance palace. Among the many Michelozzo innovations on the facade, the most notable include: "the use of bugnato digradante (large unevenly-cut stones which grow lighter as they ascend on the upper stories), the classical columns and fluted capitals in the bifore windows, the great classical cornice crowning the building and the small ones dividing the stories, the massive rectangular proportions of the block of square, and the regularity of the disposition of the windows, which, however, are asymmetrical in regard to the doors."[1]

San Marco

The fundamental basis of all monastic compounds built by architects during the Renaissance, this was one of Michelozzo's first and most influential architectural projects in Florence. Constructed at the expense of Cosimo dei Medici, the project began sometime between the years 1437 and 1438. Reconstruction included the church, sacristy, cloister, monastic living quarters, and the library. San Marco has been called the first Renaissance church, though it seems to be a compromise between the Trecento tradition and the Renaissance spirit. The plain white walls without frescos differ from the coloristic tradition of the Trecento and were essential to Michelozzo's architectural concepts and preference for large, unadorned surfaces, subtly articulated by necessary structural members in grey pietra serena.[1] Like many of his projects, San Marco was constructed with incredible rapidity. Unlike Brunelleschi, Michelozzo was able to finish what he started, largely due to Michelozzo's efficiency and due to the availability of adequate financing from Cosimo throughout the campaign.

The first part undertaken by Michelozzo was "the rebuilding of the old refectory, where a low vault, supported by consoles much like those in the sacristy at S. Trinita, was built to sustain the cells above. Work began on the church in 1438 and was probably completed three years later, though certainly by 1443 when it was consecrated by Pope Eugene. Using the perimeter of the former Trecento church, Michelozzo added a polygonal apse, similar in form to that at Bosco ai Frati; it was lighted by three long round arch pietra serena windows which can still be seen in the upper story of the convent. The pointed entrance arch rested on two pilasters with large, classical Corinthian capitals surmounted by a dado decorated with the Medici balls (also still visible). In front of the apse was the Capella Maggiore, covered with groin vaulting. The nave was a single open space without aisles, adorned with ediculas or altars (three on each side), and covered with a wooden beamed ceiling. Separating the nave and the Cappella Maggiore was a high wall (tramezzo) with two doors. In the later remodelling of the church, the wall was removed and the doors were transferred to the polygonal apse where they are now located. Their fluted pilasters are crowned with composite capitals identical to those in the Barbadori Chapel in S. Felicita by Brunelleschi, and above the architrave with classical mouldings, the frieze is decorated, like the capitals at Bosco ai Frati, with the Medici balls."[1]

Choir of the Santissima Annunziata

Commissioned by Lodovico Gonzaga, lord of Mantua and general of the Florentine troops, the choir was created in commemoration of Gonzaga's father and "for the celebration of masses for his soul."[8] Cosimo had already commissioned Michelozzo with the construction of the church's vestibulum and atrium in order to continue Brunelleschi's idea of a forum all'antica. In designing the Santissima Annunziata, Michelozzo followed the model of the Minerva Medica in Rome, making the inner plan round, creating a dome that was as hemispheric the Pantheon, and detailing it with a ten-sided exterior with deep, over-semicircular chapels. He also opted for a drum and a dome without ribs. Though the Santissima Annunziata was Michelozzo's attempt to surpass Brunelleschi on his ground, "a comparison of the two ground plans suffices to show how utterly superior Brunelleschi's is."[8]

Santa Croce

In the May 1966 issue of The Burlington Magazine, Howard Saalman wrote that "the language of the details of the Ex-Dormitory and the Ex-Library wing points to Michelozzo. If Vasari is right and Michelozzo did work at Santa Croce (and there is no reason to doubt it in spite of the lack of documentation) then Michelozzo and his circle probably handled the entire operation as at San Marco, SS. Annunziata and elsewhere."[9]

Michelozzo added various parts to the church and cloister of Santa Croce, including "the loggia in front of the Ex-Dormitory and Library (octagonal columns with foglie d'acqua capitals) which originally extended across the cloister to the elevated loggia on the south side of the church, running along the eastern flank of the San Giuliano (Mellini) Chapel...which divided the first cloister into two parts before its destruction in the nineteenth century."[9] Additionally, the Cerchi Chapel on "the ground floor of the Ex-Library wing at the end adjacent to the Ex-Refectory is evidently inserted into older peripheral walls which survived the 1423 fire. The language of the details (pilasters flanking the opening into the little square choir, capitals of the lunette vaults of the hall in front of the choir - which overlap older windows in the side walls) is that of the Michelozzo circle."[9]

Other Notable Works

From 1461 through 1464, he constructed the walls of Ston in Dalmatia, the largest medieval wall in Europe.[10]

Death and legacy

Chiostro di San Marco in Florence
Cloister of San Marco in Florence

In spite of Vasari's statement that he died at the age of sixty-eight, he appears to have lived until 1472. He is buried in the monastery of San Marco, Florence.

One of the most influential, yet unknown, architects of the Early Renaissance, Michelozzo's designs paved the way for the rapid development of the Central Italian Palazzo type. He developed the aisleless church and became the pioneer of a plan-type of sacred building, which is the most important in modern times. He transformed secular building and his adaptability in use of traditional forms enabled him to evolve good compromise solutions for distant regions, such as Lombardy and Damatia.

In his careful treatment of architectural ornament, "Michelozzo was able to adopt ideas and turn them to good account as well as to transmit new ones. The styles of Manetti, Bernardo Rossellino, Giuliano da Maiano, and even of Giuliano da Sangallo are unimaginable without the support and influence of Michelozzo's artistic idiom in addition to that of Brunelleschi, and later, of Donatello."[4]

See also


  1. ^ a b c d e f g h i j k l m n o Caplow, Harriet McNeal (1977). Michelozzo. New York: Garland Publishing, Inc. pp. 537–538. ISBN 0-8240-2678-0.
  2. ^ Fabriczy, Cornelius von. Michelozzo di Bartolommeo. pp. 59ff.
  3. ^ Lightbrown, R.W. (1980). Donatello & Michelozzo: An Artistic Partnership and its Patrons in the Early Renaissance. London: Harvey Miller.
  4. ^ a b c d Heydenreich, Ludwig Heinrich (1974). Architecture in Italy, 1400-1500, Volume 53. Yale University Press. p. 30.
  5. ^ Fabroni, Angelo (1789). Magni Cosmi Medicei Vita. p. 154.
  6. ^ "I Luoghi della Fede: Chiesa di San Girolamo". web.rete.toscana.it. Archived from the original on 21 June 2017. Retrieved 7 February 2018.
  7. ^ Martines, Lauro (2011). "The Social World of the Florentine Humanists, 1390-1460". University of Toronto Press, Scholarly Publishing Division. ISBN 978-1442611825.
  8. ^ a b c d Frommel, Christoph Luitpold (2007). The Architecture of the Italian Renaissance. New York: Thames & Hudson Ltd, London. p. 29.
  9. ^ a b c Saalman, Howard (1966). "Michelozzo Studies". The Burlington Magazine (Vol. 108, No. 758): 242–250.
  10. ^ What to visit in Stagno. Croatian tourist website Archived 2012-01-18 at the Wayback Machine (in Italian)

Further reading

  • Caplow, Harriet McNeal. Michelozzo, 2 vols. New York: Garland, 1977.
  • Ferrara, Miranda, and Francesco Quinterio. Michelozzo di Bartolomeo. Florence: Salimbeni, 1984.
  • Lightbown, Ronald W. Donatello and Michelozzo: an artistic partnership and its patrons in the early Renaissance. London: H. Miller, 1980.
  • Michelozzo: scultore e architetto (1396–1472). Florence: Centro Di, 1997.
  • Maria Carchio, Roberto Manescalchi, La scoperta di un Michelozzo inedito: una scala dimenticata nel convento dell’Annunziata, Firenze, Ananke n°43, settembre, 2004.

External links

Agostino di Duccio

Agostino di Duccio (1418 – c. 1481) was an early Renaissance Italian sculptor.

Born in Florence, he worked in Prato with Donatello and Michelozzo, who influenced him greatly. In 1441, he was accused of stealing precious materials from a Florentine monastery and was banished from his native city as a result. The following year he continued the work on the altar of S. Geminiano for the Cathedral of Modena, a work noticeable for the influence of Michelozzo.

In 1446, he studied late Gothic sculpture in Venice and met Matteo de' Pasti, a fellow sculptor who called on him to execute the sculptural decoration of the Tempio Malatestiano in Rimini, where he stayed from 1449 to 1457. The decorations were supposed to be a sort of mediaeval encyclopedia, with reliefs of zodiacal and other allegorical and mythological figures.

Between 1457 and 1462 he created the marble façade of the church of S. Bernardino at Perugia and the following years until 1470 he created many works especially in Florence, such as a Madonna d'Auvillers for Piero di Cosimo de' Medici, now found at the Louvre. In 1473 he designed the outer facade of the Porta di San Pietro in the city walls of Perugia, in a style influenced by Leone Battista Alberti. Other works are at Amelia and at the National Gallery of Umbria at Perugia. He died in about 1481 in Perugia.

Cosimo de' Medici

Cosimo di Giovanni de' Medici, called "the Elder" (Italian: il Vecchio) and posthumously "Father of the Fatherland" (Latin: pater patriae) (10 April 1389 – 1 August 1464), was an Italian banker and politician, the first member of the Medici political dynasty that served as de facto rulers of Florence during much of the Italian Renaissance. Despite his influence, his power was not absolute; Florence's legislative councils at times resisted his proposals throughout his life, and he was always viewed as primus inter pares ("first among equals") rather than an autocrat. His power derived from his wealth as a banker, and he was a great patron of learning, the arts and architecture.

Giovanni di Cosimo de' Medici

Giovanni di Cosimo de' Medici (3 June 1421 – 23 September 1463) was an Italian banker and patron of arts.

Giovanni was the son of Cosimo de' Medici the Elder and Contessina de' Bardi, and brother to Piero the Gouty. Unlike the latter, Giovanni enjoyed good health and was seen by Cosimo as his probable successor. From 1438 he directed the branch of the family bank in Ferrara. He received also a humanistic education, showing a major interest in music.

In 1454 Giovanni was elected Prior of Florence and the following year he was a member of the delegation which received Pope Pius II in the city. The following year Cosimo made him general director of the Medici bank, but, unsatisfied because of Giovanni's distraction in arts and other activities, assigned to him Francesco Sassetti as tutor.

Giovanni married Maria Ginevra di Niccolò Alessandri, daughter of Niccolò Alessandri, in 1452. This marriage recognized the support that Niccolò had provided to Cosimo during his exile in 1433, and bound the families together. The couple had one child, Cosimo (c. 1454-c. 1459). Ginevra frequently visited thermal baths for her health. There she built up a network of influential women who she regularly corresponded with. Ginevra died after 2 Aug 1478.He died in 1463, and was buried in the Sagrestia Vecchia of the Basilica di San Lorenzo. Later a monument was sculpted for him and his brother by Andrea Verrocchio.

Giovanni de' Medici was a famous patron of arts. He had the Villa Medici in Fiesole built by Michelozzo Michelozzi (but probably in collaboration with Giovanni's friend, Leon Battista Alberti). He had a large collection of sculptures, coins, manuscripts, jewels, musical instruments and other material. Artists who worked for him included: Mino da Fiesole, Desiderio da Settignano, Donatello, Domenico Veneziano, Filippo Lippi and Pesellino.

Michelozzo (horse)

Michelozzo (foaled 1986 in the United States) is a retired British Thoroughbred racehorse best known for winning the 1989 Classic St. Leger Stakes (run that year at Ayr because the Doncaster course was deemed unsafe due to subsidence) under jockey Steve Cauthen. Raced by Charles A. B. St-George, who had owned the great Ardross, Michelozzo was trained by Henry Cecil.

Museo Nazionale di San Marco

Museo Nazionale di San Marco is an art museum housed in the monumental section of the medieval Dominican friary dedicated to St Mark, situated on the present-day Piazza San Marco, in Florence, region of Tuscany, Italy.

The museum, a masterpiece in its own right by the fifteenth-century architect Michelozzo, is a building of very first historical importance for the city, and contains the most extensive collection in the world of the works of Fra Angelico, who spent several years of his life as a member of the Dominican community here. The works are both paintings on wood and frescoes. The museum also contains other works by artists such as Fra Bartolomeo, Domenico Ghirlandaio, Alesso Baldovinetti, Jacopo Vignali, Bernardino Poccetti and Giovanni Antonio Sogliani.

San Marco is famous as the seat of Girolamo Savonarola's discourses during his short spiritual rule in Florence in the late 15th century.

Pagno di Lapo Portigiani

Pagno di Lapo Portigiani (1408 — 1470) was an Italian Renaissance decorative sculptor, a minor follower of Donatello who worked on numerous occasions in projects designed and supervised by Michelozzo.

Palazzo Medici Riccardi

The Palazzo Medici, also called the Palazzo Medici Riccardi after the later family that acquired and expanded it, is a Renaissance palace located in Florence, Italy. It is the seat of the Metropolitan City of Florence and a museum.

Pazzi Madonna

The Pazzi Madonna is a rectangular "stiacciato" marble relief sculpture by Donatello, now in the sculpture collections of the Bode-Museum in Berlin. Dating to around 1425-1430, it was probably originally produced for private devotion in the Palazzo Pazzi della Congiura in Florence at the beginning of Donatello's collaboration with Michelozzo. It was extremely popular and is known in several copies.

The Virgin Mary is shown three-quarter-length, holding the Christ Child in her arms. Neither of them are shown with haloes and the emphasis is instead on their tender and intense intimacy, developing themes from the Eleusa-type icon in Byzantine art. The child reaches out his arm to his mother, but both their expressions are melancholy, with the Virgin reflecting on her son's future Passion.

Portinari Chapel

The Portinari Chapel (Italian: Cappella Portinari) is a Renaissance chapel at the Basilica of Sant'Eustorgio, Milan, northern Italy. Commenced in 1460 and completed in 1468, it was commissioned by Pigello Portinari as a private sepulchre and to house a silver shrine given by Archbishop Giovanni Visconti in 1340 containing the relic head of St. Peter of Verona, to whom the chapel is consecrated. The architect is unknown, the traditional attribution to Michelozzo having been succeeded with equal uncertainty by attributions to either Filarete or Guiniforte Solari, architect of the apses of the Certosa di Pavia and the church of San Pietro in Gessate in Milan.

Rector's Palace, Dubrovnik

The Rector's Palace (Croatian: Knežev dvor) is a palace in the city of Dubrovnik that used to serve as the seat of the Rector of the Republic of Ragusa between the 14th century and 1808. It was also the seat of the Minor Council and the state administration. Furthermore, it housed an armoury, the powder magazine, the watch house and a prison.

The rector's palace was built in the Gothic style, but it also has Renaissance and Baroque elements, harmoniously combining these elements.Originally it was a site of a defence building in the early Middle Ages. It was destroyed by a fire in 1435 and the town decided to build a new palace. The job was offered to the master builder Onofrio della Cava of Naples, who had previously built the aqueduct. It became a Gothic building with ornaments sculpted by Pietro di Martino of Milan. A gunpowder explosion badly damaged the building in 1463. The renewal was offered to the architect Michelozzo of Florence. But he was rejected in 1464 because his plans went too much in the style of the Renaissance. Other builders continued the work. The capitals of the porch were reshaped in Renaissance style probably by Salvi di Michele of Florence. He continued the reconstruction from 1467 on. The building suffered damages from the earthquake of 1520 and again in 1667. Reconstruction was in Baroque style. A flight of stairs and a bell were added in the atrium. In 1638 the Senate erected a monument to Miho Pracat (by Pietro Giacometti of Recanati), a rich shipowner from Lopud, who had bequeathed his wealth to Dubrovnik.

The History Department of the Museum of Dubrovnik has operated in the palace since 1872.

Renaissance architecture

Renaissance architecture is the European architecture of the period between the early 14th and early 16th centuries in different regions, demonstrating a conscious revival and development of certain elements of ancient Greek and Roman thought and material culture. Stylistically, Renaissance architecture followed Gothic architecture and was succeeded by Baroque architecture. Developed first in Florence, with Filippo Brunelleschi as one of its innovators, the Renaissance style quickly spread to other Italian cities. In particular Venetian Renaissance architecture had a very distinct character. The style was carried to France, Germany, England, Russia and other parts of Europe at different dates and with varying degrees of impact.

Renaissance style places emphasis on symmetry, proportion, geometry and the regularity of parts, as they are demonstrated in the architecture of classical antiquity and in particular ancient Roman architecture, of which many examples remained. Orderly arrangements of columns, pilasters and lintels, as well as the use of semicircular arches, hemispherical domes, niches and aedicula replaced the more complex proportional systems and irregular profiles of medieval buildings.

San Marco, Florence

San Marco is the name of a religious complex in Florence, Italy. It comprises a church and a convent. The convent, which is now the Museo Nazionale di San Marco, has three claims to fame. During the 15th century it was home to two famous Dominicans, the painter Fra Angelico and the preacher Girolamo Savonarola. Also housed at the convent is a famous collection of manuscripts in a library built by Michelozzo.

Santissima Annunziata, Florence

The Basilica della Santissima Annunziata (Basilica of the Most Holy Annunciation) is a Renaissance-style, Roman Catholic minor basilica in Florence, region of Tuscany, Italy. This is considered the mother church of the Servite Order. It is located at the northeastern side of the Piazza Santissima Annunziata near the city center.

Steve Cauthen

Steve Cauthen (born May 1, 1960) is an American jockey who is now retired.

In 1977 he became the first jockey to win over $6 million in a year, and in 1978 he became the youngest jockey to win the U. S. Triple Crown. Cauthen is the only jockey ever named Sports Illustrated Sportsman of the Year.After riding for a few years in the United States, he began racing in Europe. He is the only jockey to have won both the Kentucky Derby and the Epsom Derby.

Tomb of Antipope John XXIII

The Tomb of Antipope John XXIII is the marble-and-bronze tomb monument of Antipope John XXIII (Baldassare Cossa, c. 1360–1419), created by Donatello and Michelozzo for the Florence Baptistry adjacent to the Duomo. It was commissioned by the executors of Cossa's will after his death on December 22, 1419 and completed during the 1420s, establishing it as one of the early landmarks of Renaissance Florence. According to Ferdinand Gregorovius, the tomb is "at once the sepulchre of the Great Schism in the church and the last papal tomb which is outside Rome itself".Cossa had a long history of cooperation with Florence, which had viewed him as the legitimate pontiff for a time during the Western Schism. The tomb monument is often interpreted as an attempt to strengthen the legitimacy of Cossa's pontificate by linking him to the spiritually powerful site of the Baptistry. The evocation of papal symbolism on the tomb and the linkage between Cossa and Florence have been interpreted as a snub to Cossa's successor Pope Martin V or vicarious "Medici self-promotion", as such a tomb would have been deemed unacceptable for a Florentine citizen.The tomb monument's design included figures of the three Virtues in niches, Cossa's family arms, a gilded bronze recumbent effigy laid out above an inscription-bearing sarcophagus supported on corbel brackets, and above it a Madonna and Child in a half-lunette, with a canopy over all. At the time of its completion, the monument was the tallest sculpture in Florence, and one of very few tombs within the Baptistry or the neighboring Duomo. The tomb monument was the first of several collaborations between Donatello and Michelozzo, and the attribution of its various elements to each of them has been debated by art historians, as have the interpretations of its design and iconography.

Tomb of Cardinal Rainaldo Brancacci

The Tomb of Cardinal Rainaldo Brancacci (or Brancaccio) is a sculptural work in the church of Sant'Angelo a Nilo in Naples, southern Italy, executed by Donatello and Michelozzo around 1426-1428. Built in marble, partly gilt and polychrome, it has a height of 11.60 meters and a width of 4.60.

Villa Medici at Cafaggiolo

The Villa Medicea di Cafaggiolo is a villa situated near the Tuscan town of Barberino di Mugello in the valley of the River Sieve, some 25 kilometres north of Florence, central Italy. It was one of the oldest and most favoured of the Medici family estates, having been in the possession of the family since the 14th century, when it was owned by Averardo de' Medici. Averardo's son, Giovanni di Bicci de' Medici, is considered to be the founder of the Medici dynasty.

The villa was reconstructed following designs of the eminent Renaissance architect Michelozzo in 1452, becoming a meeting place for some of the greatest intellectuals of the Italian Renaissance. The villa is located in the Mugello region, the area which was the homeland of the Medici. Although by no means the grandest or largest of their many houses, they visited it often: as a consequence, the villa was the scene of many momentous events in the history of the dynasty, ranging from the reception of Medici brides to the murder of a Medici wife.

The castle is today privately owned by the company Società Cafaggiolo srl.

Villa Medici at Careggi

The Villa Medici at Careggi is a patrician villa in the hills near Florence, Tuscany, central Italy.

Villa del Trebbio

The Villa del Trebbio is a Medici villa in Tuscany, Italy.

The villa is located near San Piero a Sieve in the Mugello region, in the province of Florence, in the area from which the Medici family originated. It was one of the first - if not the first - of the Medici villas built outside Florence. The estate is situated on a strategic position in the Apennines, on the top of a hill dominating the Val di Sieve, near a crossroads (giving rise to its name, from the Latin trivium).

The villa belonged to Giovanni di Bicci de' Medici, the founder of the Medici bank and of the fortunes of the Medici family. Following his death in 1429, it was remodelled by his son, Cosimo de' Medici, whose architect, Michelozzo, restyled it as a fortified castle. Michelozzo retained the windowless tower, moat and drawbridge, and added a perimeter walkway with corbels. There is a central courtyard with a well.

The villa remained essentially a fortified house, but various features indicate its secondary purpose as a place of pleasure, including an early walled garden, built on two terraces beside the villa. The upper terrace has a stone pergola, with a double row of columns; a similar pergola has disappeared from the lower terrace. The garden was a place of retreat for Cosimo, away from the troubles of politics in Florence, where he could tend his fruit trees.

On the other side of the villa stands a chapel. The villa was surrounded by woods and an agricultural estate, bordering that of the Villa Medicea di Cafaggiolo.

In the sixteenth century the villa was enlarged by Cosimo I de' Medici, Grand Duke of Tuscany, who enjoyed hunting in the estate, and his son Ferdinand I. Ferdinand II sold the estate to a wealthy Florentine, Giuliano Serragli, in 1644, who gave it to the Oratorians.

The garden to the front of the villa, with roses and box hedges, was laid out in the twentieth century.

As of 2008, it belongs to a private individual who uses the property to produce fine wines. Wine tasting and tours are available to interested groups in English and Italian.

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