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Updated: May 18, 2025
Among those who had loved Cosimo so well as to go with him into exile, had been Michelozzo Michelozzi, the architect and sculptor, the pupil of Donatello.
Moreover, above the door of the sacristy and the Office of Works, opposite to S. Giovanni, Michelozzo made a little S. John in full-relief, wrought with diligence, which was much extolled.
One thing alone the genius of Michelozzo could not remedy, namely, the public staircase, because it was badly conceived from the beginning, badly situated, awkwardly built, steep, and without lights, while from the first floor upwards the steps were of wood.
It is essentially light and quiet and well regulated, sane and reasonable, never staggering or blinded by excess: it is full of intelligent discrimination, of intelligent leniency, of well-bred reserved sympathy; it is civilized as are the wide well-paved streets of Ferrara compared with the tortuous black alleys of mediæval Paris; as are the well-lit, clean, spacious palaces of Michelozzo or Bramante compared with the squalid, unhealthy, uncomfortable mediæval castles of Dürer's etchings.
After these things, the same Piero de' Medici, intending to build the Chapel of the Nunziata, in the Church of the Servi, entirely of marble, besought Michelozzo, now an old man, to give him his advice in the matter, both because he greatly admired his talents and because he knew how faithful a friend and servant he had been to his father Cosimo.
In 1417, Cosimo, after his marriage with Contessina de' Bardi, had bought and Michelozzo had rebuilt for him the Villa Careggi, where, in the Albizzi conspiracy, he had retired, he said, "to escape from the contests and divisions in the city." It was here that he lay dying when he wrote to Marsilio Ficino to come to him. "Come to us, Marsilio, as soon as you are able.
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