It is well-known that Italy owns 70% of the world’s art collection, made up of architectural monuments, paintings, sculpture, and the minor arts. But it’s not just the most famous museums that conserve in their warehouses and storerooms the exceptional works of art that can’t be exposed to the public due to lack of space.

In short, it should be noted that many monuments and works of art of immense value but far from the main tourist circuits (such as cities with less important art collections, country churches, etc.) are prone to unstoppable deterioration, robberies, and acts of vandalism. This is sadly due to the lack of funds to secure their safety and future increase in value.

So why call attention again to the Laurentian Complex of Florence, an incredible monumental Complex famous all over the world? Members of the Complex include Brunelleschi’s Basilica and Old Sacristy, the adjoining cloisters, Michelangelo’s Laurentian Library, as well as the Museum of the Medici Chapels and the Medici burial Crypt. Included are also Michelangelo’s New Sacristy and the Chapel of the Princes, splendidly decorated with polychrome marbles and semi-precious stones. Why call attention to a Complex visited by millions of tourists each year?

The Laurentian Complex, subjected by law because of its integrity in acting as guardian of the Opera Medicea Laurenziana (OML), thanks to the proceeds provided by the OML itself and assisted by the Soprintendenze and competent Ministers, can already take advantage of the investment of millions of euro each year to insure its protection and maintenance. The Complex remains aware of its inestimable value and the fact that it’s a principal witness of the Renaissance, that most dazzling and celebrated period of art history.

Yet, the available funds, although remarkable, are just barely enough to cover the customary maintenance and safe-keeping of the Monument, of the areas open to visitors, and damages caused by the ravages of time. Ongoing for some years now, however, thanks to the OML and available funds derived from the admission tickets to the Basilica, is the attempt to restore and salvage other vast spaces (in particular, the basement area, a potentially charming environment) that are inaccessible to the public at this time. Also, the OML intends to reacquire exceptional works of art (paintings, gold, furnishing accessories, furniture, models, drawings, and handcrafted objects of use) under the jurisdiction of the Complex but dispersed over the centuries and accumulated in different warehouses. The OML also plans to recreate a unique museum itinerary, now fragmented under the diverse management of the Parish (the Basilica and annexes), the Ministero per i beni culturali (the Laurentian Library), and the Soprintendenza (the Museum of the Medici Chapels).

The firm intention of the OML is to arrive at this ambitious goal as soon as possible. By entrusting not only its own availability but also that of the fundamental and indispensible contributions of sponsors, the OML can achieve this goal.

Hence, the question, “why San Lorenzo?”
Without ignoring the worthy protective interventions and recovery of monuments and minor works of art otherwise destinated for ruin, or the importance of contributions for the restoration and maintenance of monuments and notorious museum complexes, by now consolidated to their dimensions and articulations, we can’t negate the importance of every contribution to the OML. Any assistance to the OML in carrying out its grand project to give a new and unexpected gift to Florence, Italy and the entire world, will acquire its own significant value.