Although actually subdivided between the Basilica of San Lorenzo and the adjoining monuments surrounding the two courtyards (property of the parish), the Laurentian Medici Library, and the Museum of the Medici Chapels (both State property), the entire Laurentian Complex is under the guardianship and responsibility of the Opera Medicea Laurenziana (OML). Established in 1907 as a “vestry board”, its purpose was to care for the maintenance and the ever-increasing enjoyment of visitors from all over the world who are attracted by names such as Filippo Brunelleschi, Michelangelo, Donatello, Verrocchio, Bronzino, Filippo Lippi, and Rosso Fiorentino (just to mention a few).

Due to adequate financing following the introduction ( March 2001) of the ticket for visitors to the Basilica and the Old Sacristy, it was possible to carry out maintenance work and services to the monumental complex. OML intensified their renewed projects and restoration of the monument, in particular the enormous basement area. Until recently it was practically unused and dilapidated, filled with heaped up household goods. These are still completely unknown to the public, but without a doubt, as work progresses, extremely charming environments are being revealed, eventually to be utilized for various purposes.

The OML is proceeding with archival research, crowned with alluring results with which to identify other works of art (gold, paintings, furnishings, drawings, models) which were once gathered in the Complex. It is relevant to note,that although these works of art in previous years were dispersed in various locations, there is now the firm intent to recover and unite them.

Environments of such beauty, and furnishings of such value can’t possibly remain inaccessible and unknown to the public. Therefore, without hindering the ample commitment, the OML is putting into effect a new project. This project involves opening to the public some of the underground rooms and the exhibition of highly prestigious furnishings. In agreement with other involved institutions (the Parish, the Soprintendenze, and the Library), the intention is to reconstruct the unity of the Complex creating an extensive work, resulting in a unique museum itinerary.

Nevertheless, the intention of OML is certainly not the foolish ambitions and sterile creations of an umpteenth museum in a city already too rich with museums overcrowded with dusty showcases but deserted by visitors. Instead, the idea is to utilize the impressive, antique spaces, already partially open to the public, or in preparation to be opened. They explain, without a doubt, the historical and artistic testimonies of the past in an innovative way. Also to be “utilized” (according to a seemingly fashionable term back in style) for different functions, such as exhibits and temporary set-ups, cultural displays, artisan shops, restoration laboratories, and additional services which any tourist can highly appreciate. With places like a rest area, a refreshment spot, a bookshop, and the likes, these are spaces where visitors can truly relax.

It is expected that an important role will be given to illustration, by means of photographs, videos, and reconstructions (real and virtual) of the “secret” parts of the Laurentian Complex. Unfortunately, because of their locations, they will never be accessible to the public. On the other hand, with the aid of this mixed media, visitors will receive highly unusual yet charming glimpses of the monument and city.