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Michelangelo Buonarroti is that rare type of creator whose works have won the greatest fame during his lifetime. The son of an impoverished nobleman, he was proud of his origin. Buonarroti's works left a deep imprint on the entire Renaissance culture, as well as on world art in general. Being simultaneously engaged in painting and architecture, creating poetic and philosophical works, first of all Michelangelo was still a brilliant sculptor. He lived a long life - almost ninety years, and survived thirteen Popes. For most of them, he carried out various orders.
The creation of the tomb of the Medici was originally the idea of Pope Leo the Tenth (whose real name is Giovanni Medici). It was supposed to be a memorial for the brother of Leo the Tenth Giuliano Medici, and his nephew Lorenzo. Both of them died in their youth and were famous for the fact that the first of the Medici received the ducal titles. But in the end, the next Pope, Clement of Seventh, also a member of the Medici clan, became the customer of the burial structure. At the time of the creation of the 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 has no direct similarity with his surviving portraits; Michelangelo used such an artistic technique as idealization to create this work. The young man is full of grandeur and nobility, and his pensive, relaxed posture emphasizes the beauty of his figure. The left hand props up the chin, and with his elbow rests on the piggy bank with coins; right - mannually rests on the thigh. Lorenzo’s head is decorated with a helmet similar to those worn by the noble Roman warlords. However, the zoological origin of the helmet ornaments and the shadow cast on the face by this headgear are very peculiar. According to some researchers, the morphology of the helmet indicates that the Duke of Medici died while not in his right mind. Other scholars claim that the statues of Lorenzo and Giuliano, located in the sacristy, were confused, and the true statue of Lorenzo is a more detailed statue of Giuliano, located directly opposite. These works were established after Michelangelo’s departure from the city, and therefore such a turn of events is very likely. Externally, the face of the second statue is more reminiscent of the existing intravital portraits of Lorenzo Medici.
Under the statue of the Duke are two allegorical figures symbolizing Morning and Evening. This is a man and woman of ideal proportions, which together with the statue of Lorenzo make up an equilateral triangle, but Morning and Evening are advanced forward relative to Lorenzo. All three sculptures have a naturalistic size corresponding to the size of the human body. The figures are depicted in natural, but very tense poses, as if with difficulty holding their bodies on the tomb lid; there is deep sorrow on their faces. Morning, a 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 bed. All sculptures in the tomb of the Medici are depicted without pupils.