The "Sagrestia Nuova" complex.
The Basilica of San Lorenzo, Florence, Italy, features two heavily decorated mausoleums celebrating the Medici family which are known as Medici Chapels (Italian: Cappelle medicee). The first is the "New Sacristy" (Italian: Sagrestia Nuova) and the second, and bigger, is the "Chapel of the Princes" (Italian: Cappella dei Principi). Respectively, they were designed and sculpted by Renaissance artists Michelangelo Buonarroti and Matteo Nigetti, with the latter being guided by the family's input.
The "New Sacristy" complex features sculptures as its main ornaments. The tombs of several Medici family members are here — Lorenzo di Piero de'Medici (a.k.a. Lorenzo the Magnificent); Giuliano di Piero de'Medici, Lorenzo's brother who was assassinated in church in 1478 and whose remains were brought together with his brother's once the family returned to power; Lorenzo's third son Giuliano di Lorenzo de'Medici, Duke of Nemours (Lorenzo's other sons, Piero "the Unfortunate" di Lorenzo, and Giovanni di Lorenzo a.k.a. Pope Leo X, are both buried in Rome); and Lorenzo's grandson, (another) Lorenzo di Piero de'Medici (Duke of Urbino).
Their portraits by Michelangelo are accompanied by figures of the four times of the day —"Dawn", "Dusk", "Day", and "Night"— resting on the architraves. These represent the unrelenting nature of time as well as the life and death cycle, therefore alluding to the family's interest in Alchemy and the occult. Additionally, there is the "Madonna and Child" sculpture flanked by Cosmas and Damian, the Medicis' patron saints. The final decorative element is the lantern, sculpted with several motifs. All of these artworks were made on pietra serena.
The "Chapel of the Princes" complex, on the other hand, has a revetment of marble and semiprecious stones in commessi (i.e., jigsaw-like) style. The sarcophagi's niches feature portrait sculptures of more Medici family members and the dados have reliefs of Tuscan cities' coats-of-arms.
This monumental complex contains examples of:
- Anthropomorphic Personification: The sculptures on the side tombs of the "New Sacristy" are representations of the four times of the day. Michelangelo himself notes this trope because he called them "Allegories". "Dawn" and "Dusk" are placed in such a way that they receive light respectively when the sun is rising and when it's setting. Although all of them are vague in imagery, there are certain cues to their identities. "Night" is deep in a tense sleep, "Dawn" is languidly resting as if she were waking up because the sun rays bother her, "Day's" muscular frame evokes the energy needed to do one's daily activities, and "Dusk's" rough edges represent tiredness.
- Art Imitates Art: Sleeping Ariadne, an ancient Roman sculpture, loosely influences three of the allegorical statues. All of them are in resting positions. "Night", in particular, is also sleeping. "Dawn" has just woken up and "Dusk" is preparing to sleep. "Day", by contrast, has an energetic posture.
- Blue Oni, Red Oni: That the Medici brothers are Sibling Yin-Yang of sorts is symbolized by the statues that flank their tombs. "Dusk" and "Dawn" represent the transitions of the day, where the light is tender and invites calm contemplation. They are placed at Lorezon's sides and, like him, are Blue Onis. On the other hand, "Day" and "Night" convey tension —the former is full of energy to tackle his routine while the latter is in a fitful sleep. They are Red Onis whose stark contrast belies Giuliano's prideful disposition.
- Characterizing Sitting Pose:
- The Medici brothers' sculptures have them in vastly different sitting positions. Lorenzo, who got to live longer and had an academic disposition, is depicted with his legs crossed at the ankles and his head resting pensively on his hand; hence the statue's nickname "Il Pensiero". Meanwhile, Giuliano, who died younger and had more artistic interests, is portrayed in a more relaxed but still proper position, and holding a Staff of Authority.
- In "Madonna and Child", Saint Mary is sitting very primly, with her legs open just enough to allow her son to sit on her lap. This reflects her role as a sacred mother.
- While not sitting by any means, the particular way the "Allegories" sculptures lie conveys a lot of information about what they represent. "Dawn" lazily lifts her head, "Day" is full of energy, "Dusk" looks exhausted, and "Night" is sleeping.
- Cue the Sun: "Dawn" symbolizes the beginning of life as part of the cycle of time, so the fact that she's being awakened by the first rays of the sun also means that she's receiving her soul and thus, being born.
- Day Hurts Dark-Adjusted Eyes: "Dawn" is staring blearily at the soft rays of the nascent sun because she's just been awakened by them from her sleep.
- Determined Expression: "Day" holds one of these over his shoulder, with his eyes dead set on the horizon, his eyebrows in a slight frown, and his tensed muscles ready to stand up and begin his daily activities.
- Male Frontal Nudity: Unlike "Day", "Dusk" is facing toward the viewer and his legs are crossed in a way that allows his penis to be in full display.
- Nightmare Sequence: Implied with "Night", as she is clearly sleeping —closed eyes and head nested in her arm—, but sports a troubled expression. We don't know what she's dreaming but it's clearly unpleasant.
- Offscreen Inertia:
- By virtue of being sculptures, all four "Allegories" are trapped on the verge of an action. "Day" is forever preparing to seize the day while "Dusk" will always be tiredly contemplating sleep. We don't know how "Dawn" will react to the sunrays other than blinking owlishly at them. It's uncertain whether "Night" will wake up from her nightmare or find a peaceful rest.
- In the same vein, the sculpted portraits of the Medici brothers. It's unknown what has Lorezon thinking so hard or what Giliuano has captured Giuliano's attention enough to make him turn his head.
- One-Word Title: The allegorical sculptures are named like this: "Dawn", "Dusk", "Day", and "Night".
- Nice Day, Deadly Night: "Day" and "Night" are metaphorical representations of this trope. The former is bursting with energy and is an ideal of health, what with his bulging muscles and determination —it represents the peak of human life. By contrast, the latter suffers from a terminal illness, cancer possibly, and unpleasant dreams if her frown is anything to go by —she is the ugly end that awaits everyone.
- The Place: All the sculptures and reliefs are located in mausoleums (or chapels) built to house some of the deceased members of the Medici family.
- Reclining Venus: "Dawn" and "Night", while not inspired by the Love Goddess Venus, are still naked figures of attractive young women in reclining positions; albeit a tense one in the latter's case. "Dawn" is putting her weight on one arm while "Night" is cradling her head between her arms, therefore evoking different elements of the typical odalisque.
- Rule of Symbolism:
- The "Allegories" sculptures are Anthropomorphic Personifications of a concept tied to the Medicis' beliefs in Alchemy and the cyclic nature of time —"Dawn" is the beginning (birth), "Day" is the peak of life (youth and adulthood), "Dusk" is life's decline (old age), and "Night" is a life's end (death).
- Flanking the mandatory Christian statue of Saint Mary and baby Jesus, there are the Medicis' patron saints. Having been real people, Cosmas and Damian aren't allegories of a concept in the traditional sense. However, they were martyr healers who believed in much the same things as the Medicis. As such, they represent how the Medicis' pseudo-scientific beliefs don't contradict their religious ones.
- Rule of Three: The sculptures in the "New Sacristy" are grouped into three groups. Two for the tombs of the Medici brothers, with each brother being flanked by two Anthropomorphic Personifications, and one solely composed of Christian saints —the Virgin Mary surrounded by the Medicis' two patron saints. However, this latter group comes with a twist because the Virgin Mary is holding an infant Jesus, which means that said group is made of four characters instead of three.
- Ruler Protagonist: The central figures of the chapels —and the reason they were built in the first place— are the Medici brothers, the co-rulers of the city-state of Florence. They are portrayed in regal apparel (Giuliano holds a Staff of Authority while Lorezon wears a detailed headpiece) and possess muscular bodies in order to elevate them from the commoners.
- Sequential Art: Taken together, the side sculptures at the Medici brothers' tombs represent the passage of time (birth, growth, decline, and death) and the stages of the day (dawn, day, dusk, and night).
- Sibling Yin-Yang: The Medici brothers' contrasting but complimentary interests are reflected in their tomb sculptures by means of Characterizing Sitting Pose, among other cues. Lorenzo, the more academic of the two and the Blue Oni, sits in an introspective Thinker Pose. He sports a wise man's beard and his chest is covered by his arms and crouch. On the other hand, Giuliano's artistic passion has him depicted as a handsome golden boy who proudly shows his muscular chest and is seated like a Roman general —he's the Red Oni.
- Siblings Share the Throne: Lorenzo and Giuliano were this in real life, which their portraits reflect. The "New Sacristy", where their tombs are located, lavishes them with an equal measure of detail, befitting of their status. Both brothers wear regal capes and have their tombs ornamented by paired, matching, allegorical sculptures.
- Staff of Authority: Giuliano holds an unadorned baton and sits like a proud general, an image the sculpture is intended to evoke because of the subject's status as Florenze's co-ruler.
- Sundial Waypoint: The most important clue about the identities of the sculptures flanking Lorenzo de'Medici's tomb is the hour of the day when they receive sunlight. "Dawn" when the sun rises and "Dusk" when it sets.
- Thinker Pose: The tomb portrait of Lorenzo is known as "Il Pensiero" ("The Thinker"). The similarity between the poses is what gave Rodin's much later sculpture its name.
- The Topic of Cancer: "Night" not only represents the evening but also death. This is cued by the state of her breasts, which lie in an unnatural position (too separated from each other) and present an irregular shape; therefore indicating some late-stage of breast cancer.
