THE early years of Cosimo de’ Medici were passed during the great revolution in art by which realism, united with reminiscences of the antique, enforced its claims, and, superseding the Gothic and Pisan styles in architecture and sculpture, restricted that of Giotto, in painting, to a narrow circle of recognised types. Art had struck out for itself these new paths before Cosimo became ruler of the whole state; but he influenced its rapid development by his active sympathy and by a liberality rarely equalled by private individuals or even by princes. Independently of the encouragement he afforded to talent in his princely capacity, he gave honourable commissions to artists from his own resources. In personal intercourse with them he united a thorough knowledge of art with a sympathetic affability which did equal honour to them and to himself. His two favourite architects, Brunelleschi and Michelozzo, have been already mentioned. The former died eighteen years before him, the latter survived him about six years. He justly valued their genius, and promoted a friendly understanding between them while employing both on important works. It was Brunelleschi who continued the building of the church of San Lorenzo and the abbey of Fiesole. After the days of Giovanni di Bicci both branches of the Medici seem to have been reunited. The church of San Lorenzo was the parish church of Cosimo’s branch, and the burial-place of both. As early as 1415 there had been a talk of enlarging this sacred edifice, which dated from the earliest years of Christianity. Three years later a street at the back, the Via de’ Preti—a name ill-suited to the occupations of its inhabitants—was assigned to the Chapter for the purpose of enlargement. They began to rebuild the choir in 1419.[119] With other members of wealthy families, Giovanni de’ Bicci, having pledged himself to build some chapels, undertook the sacristy, which, for harmony of proportions, both in its cupola and ground-plan, and for the excellence of its decorations, claims the highest admiration. What the father had begun the son continued on a larger scale. On September 23, 1440—while the building of the new church was proceeding under the direction of Brunelleschi, the older one still being in use—Cosimo buried his brother Lorenzo there. Upon this occasion Pope Eugene IV. sent the cardinals and prelates of his court with the banner of the church and his own, and 100 wax candles. Two years later Cosimo proceeded to complete the choir and cupola on condition of gaining the right of patronage for himself and his heirs, in return for which privilege he gave the chapter a state bond for 40,000 florins towards the expenses of the building. On May 15, 1457, the court of the Canonica was begun; it was finished, as well as the high altar and those in the transepts, four years after, and finally the high altar was consecrated by Archbishop Orlando Bonarli on August 9, 1461. Two years before,