Description of the sculpture by Michelangelo “Tomb of Lorenzo Medici.

Michelangelo Buonarroti is that rare type of creator whose works were awarded the greatest fame during the life of the author. The son of an impoverished nobleman, he was proud of his lineage. The works of Buonarroti left a deep imprint on the entire culture of the Renaissance, and also on world art generally. Being engaged in painting and architecture at the same time, creating poetic and philosophical works, first of all, Michelangelo was still a brilliant sculptor. He lived long life– almost ninety years old, and outlived thirteen Popes. For most of them, he carried out various orders.

The creation of the Medici tomb was originally the idea of ​​Pope Leo Tenth (whose real name is Giovanni Medici). It was to become a memorial for the brother of Leo the Tenth, Giuliano de' Medici, and his nephew Lorenzo. Both of them died young and were famous for being the first of the Medici to receive ducal titles. But in the end, the next Pope, Clement the Seventh, also a member of the Medici family, became the customer for the burial structure. At the time of the creation of sculptures for the tomb in Florence, a revolution broke out. Creating images that adorn the tomb, the creator thought more about the death and destruction of his native city than about the death that befell the young dukes.

The sculpture of Lorenzo bears no direct resemblance to his surviving portraits; to create this work, Michelangelo used this artistic technique as an idealization. The young man is full of grandeur and nobility, and his thoughtful, relaxed posture emphasizes the beauty of the figure. Left hand props his chin, and leans with his elbow on a piggy bank with coins; right - mannered rests on the thigh. Lorenzo's head is decorated with a helmet, similar to those worn by noble ancient Roman commanders. However, the zoological origin of the helmet decorations and the shadow cast on the face by this headdress are very peculiar. According to some researchers, the morphology of the helmet indicates that the Duke of the Medici died while not in his right mind. Other scholars argue that the statues of Lorenzo and Giuliano in the sacristy were mixed up, and the true statue of Lorenzo is the more detailed statue of Giuliano, located directly opposite. These works were installed after the departure of Michelangelo from the city, and therefore such a turn of events is very likely. Outwardly, the face of the second statue is more reminiscent of the existing lifetime portraits Lorenzo Medici.

Under the statue of the duke are two allegorical figures, symbolizing Morning and Evening. This is a man and a woman of ideal proportions, which, together with the statue of Lorenzo, form an equilateral triangle, but Morning and Evening are pushed forward relative to Lorenzo. All three sculptures have a naturalistic size corresponding to the dimensions human body. The figures are depicted in natural, but very tense poses, as if with difficulty holding their bodies on the lid of the tomb; on their faces - deep sorrow. Morning, beautiful woman, with apparent reluctance, awakens from sleep - the present scares her. Evening, a middle-aged muscular man, with a tired look, is ready to go to sleep. All sculptures in the Medici tomb are depicted without pupils.

In 1421-1428, Brunelleschi built a chapel on the side of the temple of San Lorenzo (Medici Chapel) in Florence. She was to become a crypt for the Medici house. Almost a hundred years later, Pope Leo X invited Michelangelo to complete its facade. Due to lack of money, work was stopped.

Florence, Church of San Lorenzo

The oldest church in Florence is the temple of San Lorenzo. In 339 this Cathedral consecrated St. Ambrose, Bishop of Milan. It was rebuilt during the Romanesque period and re-consecrated in 1059. In 1418, the Medici decided to completely rebuild it and entrusted it to Philip Brunelleschi. The temple inside is decorated with works by Donatello. The Chapel of the Princes has become the tomb for all the Medici dukes of the second line of the family, starting with Cosimo I. It flaunts the wealth and power of the Medici.

It is filled with all the coats of arms of the cities of the Duchy of Tuscany and the coat of arms of the Medici on the ceiling. The lavish interior was made for almost two hundred years. The work was done very carefully. There were supposed to be the burial places of six dukes. In reality, the huge sarcophagi are empty and serve only as funerary monuments. In fact, the Medici are buried in the crypt. Behind each sarcophagus, sculptures of dukes were to be placed in them. However, there are only two monuments - the statue of Ferdinand I and Cosimo II. The dome repeats the dome of Brunelleschi and is decorated with scenes from Scripture.

Crypt with burials. Princes Chapel

The entrance to the Medici Chapel will lead directly to the crypt. It is from here that you can go to the chapel of the princes and the New Sacristy. The crypt is dark and gloomy, which is natural for the tomb, where most of the members of the Medici family are actually buried, including those who were supposed to rest in the chapel of the princes.

In the picture, a noble lady is sitting in a majestic chair. This is Anna Maria Luisa de Medici, the last heiress of this family, who died in 1743. She left a huge artistic legacy of her native Florence.

For Michelangelo lovers

In 1520, it was necessary to build a chapel with gravestones for Lorenzo the Magnificent and his brother Giuliano, as well as for two other sons of the Medici family: Giuliano, Duke of Nemours, and Lorenzo, Duke of Urbino. In addition, Cardinal Giulio, cousin of Pope Leo X, wants to entrust Michelangelo with the construction of the library. It should contain books belonging to the whole family, as well as received from various courtiers and other famous book lovers. The Medici Chapel and the New Sacristy in it and the library are two important assignments for the 45-year-old master, who will have to deal with architecture for the first time.

The new sacristy is one of the architectural projects that the master completed. It has no less than seven sculptures of the genius of the Renaissance.

Beginning of work

Cardinal Giulio of the Medici family, elected pope under the name Clement VII, called Michelangelo to Rome and gave firm instructions that the Medici chapel should be completed without delay. He wants to be glorified through the centuries no less than Pope Leo X and his predecessors, who left a memory of themselves as patrons of architecture, sculpture and painting. It was necessary to perpetuate the images not of the famous Medici who were in ancient times, but of those who established the monarchy in Florence. They were two young dukes who did not glorify themselves in any way. New Sacristy in Churches of San Lorenzo(Medici Chapel) should be single complex with the Old, which was built by Brunelleschi.

Michelangelo conceived and then made it with more complex orders, cornices, capitals, doors, niches and tombs. He departed from the previously accepted rules and customs. The Medici Chapel, at the request of the pope, should no longer include the tombs of Lorenzo the Magnificent and his brother Giuliano. The tombs of Pope Leo X and his own should take pride of place. Wishing that no one else would use the genius of Michelangelo, Clement VII invited the architect to become a monk and take the veil of the Order of St. Francis. When the artist refused, dad gave him a house. Next to it stood the Medici Chapel. The salary exceeded 3 times the amount requested by Michelangelo.

Michelangelo in Florence

What was Michelangelo Buonarroti to do? The Medici Chapel required the addition of a chapel. It was necessary to erect a ceiling vault, build a skylight and perform a number of no less laborious work. And then you can already think about the sculptures with which the sculptor intended to decorate the tombstones of Giuliano and Lorenzo Medici. This will require workers, and therefore money from Clement VII.

Ideas for the sculptures of the Dukes

What feelings will the Medici Chapel evoke? Michelangelo, not fooling himself, assumed that when the sculptures were ready, they would disappoint those who wanted to see the image of the two descendants of the family. They will not have a portrait resemblance. He wanted to create new people, generated not only by their time, but also by their own new artistic challenges. In statues, movement should be conveyed by the balance of the pose, which seems to be frozen in the air. They will be two strong young men, filled with majestic calmness.

Medici Chapel: description

In the Medici tomb, a person finds himself in a completely different world, not the one that was on the street. You are overcome by a feeling of longing and the impression that you are in the square. There are unfinished facades of houses around, because dark pilasters, platbands on rare windows, the windows themselves, the light walls of this ensemble give an unsettling feeling of a medieval street and square. It is this space that includes a person in the rapidly flowing flow of time that Michelangelo created. The master's tomb is a reflection on the measure of variability, duration and brevity of existence, captured in the fusion of architecture and sculpture.

Madonna

In the church of San Lorenzo (Medici Chapel), the New Sacristy looks like a free cube, which is topped with a vault. The architect placed niches with wall-mounted, significantly enlarged tombs in the walls. For them, he took advantage of the sculptural figures in life size. Opposite the altar he placed sculptural group"Madonna and Child" and surrounded her with statues of St. Cosmas and Damian (patrons of the Medici).

They were made by his students according to his clay sketches. The Madonna is the key to the whole chapel. She is beautiful and inwardly focused. Madonna's face is inclined towards the child. She is full of sadness and sorrow. Madonna is immersed in deep, heavy meditation. The folds of her clothes create a tense rhythmic action and connect her with the entire architectural form. The baby reaches out to her. It is also filled with internal dynamics and tension, which is consistent with the entire chapel. The Madonna plays a very important role in the composition of the chapel. It is to her that the figures of Giuliano and Lorenzo are turned.

Statues in niches

Without a hint of portrait resemblance, two allegorical figures are sitting in the armor of the ancient Romans. Courageous, energetic Giuliano with his head uncovered leans on the commander's baton.

It symbolizes the peace that came after the war. effective life. While his brother Lorenzo is in the deepest meditation and symbolizes the contemplative life.

His head, covered with an antique helmet, rests on his hand, and with his elbow - on the box, the animal muzzle of which is symbolic. It means wisdom and business qualities. Both figures are tired and melancholic. Niches squeezed them, which causes the viewer a feeling of anxiety and anxiety. They are experiencing a difficult time of wars and troubles and remember Lorenzo the Magnificent, the benefactor of Italy, under whom peace reigned.

Figures on the lids of sarcophagi

Slipping off the sloping lids of the tombs, barely holding onto them, sculptural allegories of morning and evening lie at the feet of Lorenzo and day and night at Giuliano's. The symbols of running time are painfully uncomfortable. Their powerful perfect proportions bodies - materialized languor and sorrow. “Morning” wakes up slowly and reluctantly, “Day” is awake joylessly and anxiously, “Evening”, numb, falls asleep, “Night” is immersed in a heavy restless sleep. What is the bird in the Medici Chapel? "Night" with its foot rests on an owl, which, if fluttered, will wake it up.

The stone she holds in her hand can fall out at any moment and wake her up too. There is no rest of the "Night". This is evidenced by the mask full of suffering in her hand.

The figure of The Day deserves attention, because the inconsistency between the sculpture of a beautiful body and the head that turns with difficulty towards the viewer is surprising. The body is beautiful and polished, and the face shows through slightly, the image is barely outlined. Den retains traces of instruments and is artistically under-formulated. The “Morning” and “Evening” figures have not been finalized. This creates additional expressiveness, anxiety and threat. The sculptor was not afraid to go beyond his time, forcing the viewer to think out and interpret the sculptures in any way. Here is the face of the "Evening" (Medici Chapel). The photo confirms the above.

The figures do not want to live or feel. All together, the times of day confirm the Medici motto "Always" (Semper), meaning constant service. Together with the figures of young people, the allegories are enclosed in a stable triangular composition.

"Crouching Boy"

The Medici Chapel and the heavy timelessness that embraces a person in it had another sculpture, which is now in the Hermitage.

It is also called "The Boy Taking Out the Splinter". If you mentally return it to the chapel, it turns out that the infinity of time is connected with the moment. This is a small statue that freely enters the cube. She, like The Day, is not quite finished: her bottom has not been finalized, and her back has not been polished. The child is all bent over to the sore leg, such an unusual and unexpected posture for him. The sculptor sought to remove from the marble only the most necessary, so that if it fell from the pedestal, then nothing would break off. The boy is important in the overall design, for he is a moment within time. If the Madonna is a historical, Christian time that united the people of that era, then the boy is its short duration. He is both the situation and the moment. The figures under the niches are in the same cycle of changing times, and not by themselves, standing out in something special. Everything in a genius exists as in life - simultaneously and diversely.

Laurenzian Library

Simultaneously with the work in the New Sacristy, which he turned into a majestic chapel, Michelangelo was building a library. Passing through a cozy courtyard, through the left nave you can get into it. It is intended only for initiates.

It contains ancient manuscripts, illustrated codices, the text of the union, which was concluded at the Council of Florence in 1439. First there was a vestibule, then a hall for manuscripts, where they could be stored and read. This long room of gray stone light walls. The lobby is tall. Further than it, tourists are not allowed. There are no statues in it, but there are double columns that are recessed into the walls. Particular attention was paid to an unusual one that resembles the flow of molten lava. It has semi-circular steep steps and very low railings. It starts at the threshold of the vestibule and expands to form three parts. The master himself was already in Rome, when a staircase was built according to his clay model - the main attraction of the lobby.

This concludes the description of the creation of the brilliant Michelangelo. In this grandiose work, he embodied his innovative ideas. They are so universal that they have acquired significance for all mankind. This is how the Medici Chapel changed. Florence received a Medici monument, which became a monument to the city itself.

The Medici Chapel in Florence is the memorial chapel of the entire Medici family at the church of San Lorenzo. The sculptural decoration of the temple is among the most ambitious achievements of the Late Renaissance and Michelangelo Buonarotti in particular.
Michelangelo first came to Florence in 1514. He arrived with the aim of creating a new facade for the family temple of San Lorenzo, the church of the influential Medici family. The order was given to him by Pope Leo X. The facade was to become a "mirror of Italy", the embodiment best traditions Italian artists, evidence of the power of the Medici family. But the grandiose project was not realized by Michelangelo due to lack of funding and the death of the pope.
Then the ambitious artist received a task from Cardinal Giulio Medici not to restore the facade, but to create a new chapel in the same church of San Lorenzo. Work began in 1519.
The headstone has come a long way since the renaissance. Then Michelangelo turned to the topic of memorial plastics. The Medici Chapel became a monument dedicated to the powerful Medici family, and not the will of a creative genius.
In the middle of the chapel, Michelangelo wanted to place the gravestones of the early deceased representatives of the Medici - the Duke of Nemours Giuliano and the Duke of Urbino Lorenzo. Their sketches were offered along with those of the temple. But not a simple development of new options, as well as the study of predecessors, forced the artist to create them according to traditional pattern side monuments near the walls. Michelangelo decorated the headstone with sculptures. The lunettes above them were topped with frescoes.
The Medici Chapel is a small room, square in plan, the length of the walls reaches twelve meters. In the architecture of the building, one can see the influence of the Pantheon in Rome, a famous example of the domed construction of the masters ancient rome. The ordinary and lofty construction of the chapel makes an unpleasant impression with its rough surface and unadorned walls. The monotonous surface is broken only by occasional windows and a dome. Overhead lighting inside is practically the only lighting in the building.
The artist began work on such a complex project with a large number of sculptures at the age of 45. He even managed to create figures of dukes, allegorical figures of the time of day, a boy on his knees, Saints Cosmas and Damian, Madonna and Child. But only the sculptures of Lorenzo and Giuliano were completed, as well as the allegorical figure of Night. The master managed to grind only their surface. Having completed the sketches of the sculptures, Michelangelo left Florence and moved to Rome. The Medici Chapel continued to be built according to his design decisions, the unfinished sculptures were installed in the appropriate places.

If suddenly, while in Florence, you want to visit the resting place of the last of the Medici family, visit Church of Saint LawrenceBasilica of San Lorenzo). And even though this harsh building is not located in the most prestigious place in the city, and, in fact, is unfinished, it undoubtedly deserves your attention. Indeed, in the past, the Basilica of San Lorenzo was a small family church great family Medici. But from an architectural point of view it is one of the first churches belonging to the renaissance era.

Let's go back a little and try to find out the history of the appearance of this ambiguous structure. So, back in 393 AD. Milanese archbishop Ambrogio ordered the laying of a church dedicated to St. Lawrence and the first archbishop of Florence, St. Zenobius. The relics of the latter were kept within the walls of the church from the 4th to the 7th centuries. It was at this time that the Basilica of St. Lawrence was considered the Cathedral. Today, the main cathedral of Florence is this.

In the 11th century, the first global restructuring of the building took place, during which the Renaissance style was replaced by Romanesque. At the beginning of the 15th century, several influential Florentine townspeople banded together to finance the expansion of the Church of San Lorenzo. The most significant was the donation made by Giovanni Medici, who wished to enter the higher strata of society in this way and strengthen his status.

The main architect to work on the basilica was (Filippo Brunelleschi). The first thing the famous italian architect- This is an extension of the side chapel, which later received the name of the Old Sacristy.

Since it was planned to arrange a tomb for the Medici in it, Giovanni never spared funds to finance the construction.

The construction of the Old Chapel lasted from 1421 to 1428. Its interior revived the system of a dome covering a square room. The interior space was characterized by simplicity and clarity.

After finishing work on the sacristy, Brunelleschi set about general work over the church. However, he did not have time to finish them. In 1429, Giovanni de' Medici passed away. And with his death, the financial flow also dries up. In the future, work on the reconstruction of San Lorenzo continued at the suggestion of Cosimo Medici the Old, who invited him to the post of architect Bartolomeo Michelozzo. Later, Cosimo the Elder became the first to be buried in the underground crypt, and the Basilica of San Lorenzo became the burial place of all representatives of the famous Florentine family.

In 1520, Pope Leo Medici hired an architect to build the New Sacristy (Sacristy). In it, one of the great Medici planned to bury those from the family who left the world at a young age (Giuliano Medici, Lorenzo di Pietra). This project is one of the most important creative life masters. For example, if previously the tombs themselves and tombstones It was customary to place a room in the center, then Michelangelo was not afraid to make an architectural revolution by placing tombs and statues around the perimeter along the walls.

Interestingly, the facade reconstruction work was never completed. According to historical documents, this was due to disagreements between Michelangelo and Pope Leo X of the Medici. Michelangelo insisted on facing the facade with Carrara marble, while the pope preferred to decorate the facade with stone from Pietrasanta.

Actually, the dispute itself arose due to the fact that the facade was supposed to reflect the skill of Italian artists and at the same time testify to the power of the Medici family. And for this, Leo X considered his choice of stone more acceptable. The stubbornness of the sides led to the unfinished façade. After the death of the pope, funding decreased, and the project itself came to naught.

To great artist not completely turned away from the family, Cardinal Giulio Medici decided to distract him from the facade and commissioned the creation of a new chapel in the Basilica of San Lorenzo. Work on the new building began in 1519. And until now, the tomb sculptures created by him attract tourists from all over the world. In addition to tourists in the chapel, you can often see students from art academies. Here they are trained in craftsmanship on the example of world masterpieces.

What to watch

Despite the external ugliness of the basilica, a tourist who gets inside San Lorenzo is unlikely to regret it. After all, he will have the opportunity to see the world's works of art. For example, it is worth noting the bronze pulpit by the great Donatello, which appeared in the second half of the 15th century. The interior is mesmerizing. A row of columns of various diameters, devoid of any decoration, is believed to be the work of the architect Vasalleto. It is impossible to ignore the magnificent floor pattern, reminiscent of a carpet with drawings on the church theme.

Old Sacristy

Interior decoration Old Sacristy filled with beautiful medallions, lunettes and bas-reliefs by Donatello. There is also the tomb of Giovanni and Pietro Medici. The inner surface of the dome is decorated with a unique fresco. It depicts the sky with day and night luminaries, as well as the stars known at that time.

New Sacristy

The walls of the New Sacristy contain the sarcophagi of two Dukes of the Medici. The tombs are decorated with various allegorical sculptures made by Michelangelo. In the center is the composition "Madonna and Child".

Chapel of the Princes (Cappella Dei Principi)

The octagonal room of the Chapel of the Princes has the second largest dome in Florence. The dome is decorated with frescoes, on which you can see images of the city coats of arms of the Duchy of Tuscany. The painting of the crypt in which the Medici are buried was made in 1826 by Pietro Benvenuti.

Laurentian Library (Biblioteca Laurenziana)

The authorship of Buonarotti also belongs to the Laurentian Library. The master was engaged in its construction from 1524 to 1534, by order of Pope Clement VII of the Medici.


He also designed an amazing staircase, in the form of a flow of molten lava, and interior decoration. reading room. The library contains many books and historical manuscripts. The original collection belonged to Cosimo the Old, and was later expanded by the rest of the extended Medici family. The library also owns some priceless items. For example, a Bible dated to the 8th century AD. or the most ancient Roman encyclopedia (Naturalis Historia).

Despite the fact that the Church of St. Lawrence is not the most majestic architectural structure, it attracts tourists from all over the world every year. And, of course, the Medici family parish deserves your attention.

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Michelangelo arrived in Florence in 1514 because Pope Leo X of the Medici suggested that he create a new façade for the local church of San Lorenzo, the family temple of the powerful Medici family. This facade was to become a "mirror of all Italy", the embodiment of best features the skill of Italian artists and a witness to the power of the Medici family. But long months of reflection, design decisions, Michelangelo's stay in marble quarries turned out to be in vain. There was not enough money for the implementation of the grand facade - and the project came to naught after the death of the pope.

In order not to alienate the ambitious artist from the family, Cardinal Giulio Medici instructed him not to complete the facade, but to create a chapel in the same church of San Lorenzo. Work on it began in 1519.

Idea and projects

The renaissance tombstone went through a significant development path, when Michelangelo was forced to turn to the topic of memorial plastics. The Medici Chapel is a monument to the formidable and powerful Medici family, and not the free will of a creative genius.

In the first drafts, it was proposed to create a tombstone for the early deceased members of the family - the Duke of Nemours Giuliano and the Duke of Urbino Lorenzo, whom Michelangelo wanted to place in the middle of the chapel. But the development of new options and the study of the experience of predecessors forced the artist to turn to the traditional scheme of side, wall monuments. Michelangelo developed wall versions in the last project, decorating the headstone with sculptures, and the lunettes above them with frescoes.

The artist flatly refused to make portraits. He made no exception for the Dukes Lorenzo and Giuliano. He presented them as the embodiment of generalized, idealized faces - active and contemplative. A hint of the transience of their lives were also allegorical figures of the course of the day - Night, Morning, Day and Evening. The triangular composition of the tombstone was complemented by recumbent figures of the river gods already on the floor. The latter are a hint of the continuous flow of time. The background was a wall, compositionally beaten with niches and pilasters, complemented by decorative figures. It was planned to place garlands, armor and four decorative figurines of crouching boys over Lorenzo's tombstone (the only one created of them would later be sold to England. From the Lyde Brown collection in 1785, the Russian Empress Catherine II would acquire it for her own palace collections).

Large shells were held over the tombstone of Giuliano Putti in the project, and a fresco was planned in the lunette. In addition to the gravestones, there was also an altar and sculptures of the Madonna and Child and two holy doctors - Cosmas and Damian, the heavenly patrons of the family.

Incomplete embodiment

The Medici Chapel is a small room, square in plan, the side wall length of which is twelve meters. The architecture of the building was influenced by the Pantheon in Rome, a famous example of the domed construction of ancient Roman masters. Michelangelo created in hometown its small version. Outwardly ordinary and high, the building makes an unpleasant impression with the rough surface of undecorated walls, the monotonous surface of which is broken by rare windows and a dome. Overhead lighting is practically the only lighting of the building, as in the Roman Pantheon.

A huge idea with a large number of sculptures did not frighten the artist, who began working on the project at the age of 45. He will also have time to create the figures of both dukes, allegorical figures of the course of the day, a boy on his knees, the Madonna and Child, and Saints Cosmas and Damian. Only the sculptures of Lorenzo and Giuliano and the allegorical figure of Night were really completed. The master even managed to polish their surface. The surface of the Madonna, the boy on his knees, the allegories of Day, Evening and Morning are much less worked out. in a strange way the imperfection of the figures gave them a new expressiveness, menacing strength and anxiety. The contrasting combination of light walls with dark colors of pilasters, cornices, window frames and lunette arches contributed to the impression of melancholy. The disturbing mood was also supported by the terrible, teratological ornaments of the friezes and the masks on the capitals.

The figures of the river gods were only developed in drawings and sketches. In the finished version, they were abandoned altogether. The niches along the figures of Lorenzo and Giuliano and the lunettes also remained empty. The background of the wall with the figures of the Madonna and Child and Saints Cosmas and Damian has not been developed at all. On one of the options, they also planned to create pilasters and niches here. In the lunette there could be a fresco on the theme of "The Resurrection of Christ" as an allusion to eternal life dead in afterlife and which is in the sketch.

Break with the Medici

Work on the figures of the chapel stretched out for almost fifteen years and did not bring the artist satisfaction with the final result, because it did not correspond to the plan. His relationship with the Medici family also deteriorated. In 1527, the republican-minded Florentines revolted and expelled all the Medici from the city. Work on the chapel stopped. Michelangelo took the side of the rebels, which gave rise to an accusation of ingratitude towards longtime patrons and patrons.

Florence was besieged by the soldiers of the combined armies of the Pope and Emperor Charles. The provisional government of the rebels appointed Michelangelo the head of all fortifications. The city was taken in 1531 and Medici power in Florence was restored. Michelangelo was forced to continue work in the chapel.

Michelangelo, having completed the sketches of the sculptures, left Florence, moved to Rome, where he worked until his death. The chapel was built according to his design solutions and unfinished sculptures were installed in the appropriate places. The figures of Saints Cosmas and Damian were made by assistant sculptors Montorsoli and Raffaello da Montelupo.

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