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IMT Institute for Advanced Studies, Lucca, Italy Gift ! IMT Institute for Advanced Studies, ! Lucca, Italy! ! ! ! Gift Exchange at the Court of Cosimo I de’ Medici (1537-1574)! ! ! PhD Program in the Management & Development of Cultural Heritage! XXVI Cycle! ! ! Samuel Morrison Gallacher! 2015 REVIEWERS PAGE! The dissertation of Samuel Morrison Gallacher is approved.! !Tutor: Emanuele Pellegrini The dissertation of Samuel Morrison Gallacher has been reviewed by the following committee:! Alessio Assonitis, The Medici Archive Project! Henk van Veen, University of Groningen! Paula Volpini, Università degli Studi di Roma "La Sapienza" ! Diana Carrió-Invernizzi, Universidad Nacional de Educación a Distancia! ! ! ! ! ! IMT Institute for Advanced Studies, Lucca 2015 "i ACKNOWLEDGEMENTS! ! ! The author would like to acknowledge the following people for their help !and support over the last four years.! In alphabetical order: Bailey Adie, Roberta Anderson, Maurizio Arfaioli, Lorenzo Allori, Alessio Assonitis, Sheila Barker, Sarah Bercusson, Mark Berry, Davide Boerio, Elena Brizio, Ashley Buchanan, Lorenzo Casini, Maria Luisa Catoni, Juan Cobo, Stefano Baia-Curioni, Steven Daniels, Marcin Fabia#ski, Bassma Reda Abouel Fadl, Catherine Fletcher, Damodar Frlan, Stefania Gerevini, Silvia Ginzburg, Alexander Greenwood, Magda Jarosik, Anna Kalinowska, Konstantinos Karatzias, Alexander Köller, Paula Matiz, Laura Mesotten, Srdjan Milosevic, Ivanna Nakic, Olimpia Nicosia, Lorena Pellumbi, Oliver Perry, Emanuele Pellegrini, Tihana Puc, Alexander Röstel, Riccardo Senesi, Salvatore Settis, Ahmed Shams, Natalia Skorupska, Benjamin Slingo, Yesim Tonga, !Laura Windisch, Micha$ Wi%niewski, and Cristiano Zanetti.! Furthermore, the author would like to express his gratitude to the staff of the following institutions: The Medici Archive Project, Archivio di Stato di Firenze, Biblioteca Nazionale Centrale di Firenze, British Institute of Florence, Biblioteca delle Oblate, Kunsthistorisches Institut in Florenz, and of course, a special thanks to the administration, library, kitchen, and housekeeping staff of IMT Institute for Advanced Studies, Lucca. "v VITA! ! ! !April 1, 1988! Edinburgh, UK! 2009! B.A. History! !! First Class Honours! !! Sir Herbert Butterfield Prize for History! !! University of Cambridge! !!! Cambridge, UK! 2010! M.Phil. History! !! First Class! !! Lady Ward Studentship in Historical Studies! !! University of Cambridge! !!! Cambridge, UK! 2012-2013! Associated Researcher! !!! ICOM Europe! 2013! Thesaurus Poloniae Fellowship! !! International Cultural Centre! !!! Krakow, Poland! 2013! Samuel Freeman Fellowship! !! The Medici Archive Project! !!! Florence, Italy! 2014-! Junior Research Fellowship! !! The Medici Archive Project! !!! Florence, Italy! ! ! ! ! "vi CONFERENCE PRESENTATIONS! ! “Unwanted Gifts: Avoiding Obligation in Early Modern Diplomacy” – Splendid Encounters: Diplomats and Diplomacy in Europe, 1500 - 1750, Warsaw, Poland, 18th September 2013. “Displaying Exotic Gifts in Sixteenth Century Grand Ducal Florence” – !Courts in a Globalized World, Lisbon, Portugal, 11th November 2013. “Fealty and Familiarity: Gifts of Food at the Court of Cosimo I de’ Medici” – Culinary Culture: Appetite and Ambition in Renaissance Florence, Florence University of the Arts, 13th November 2013. “The Gifts of Others: Medici Intelligence Gathering and Diplomatic Gifts” – Renaissance Society of America Annual Conference, New York, 28th March !2014. “The Personal Diplomacy of Eleonora de Toledo, Duchess of Florence” – Translating cultures: The symbolic languages of diplomacy, Institute of Medieval and Early Modern Studies, University of Durham, 31st January & !1st February 2014. “Diplomacy and the Hunt at the court of Cosimo I de’ Medici – Early Modern !Italian Diplomacy” British Institute of Florence, 1st December 2014. “The Medici dominium versus the Habsburg imperium: Bartolomeo Concini at the Imperial Court, 1545-1549” Renaissance Society of America Annual Conference, Berlin, 29th March 2015. ! "vii ! ! ! ! ! ! ! DEDICA! ! Il più delle volte, coloro che desiderano entrare nelle grazie di un Principe son soliti presentarsi con quelle cose che reputano le più care fra le loro e che vedono piacere di più al Principe; per questo si vede molte volte che sono presentati cavalli, armi, drappi d’oro, pietre preziose e simili ornamenti degni della grandezza dei principi. Desiderando dunque io offrirmi alla vostra Magnificenza con qualche testimonianza della mia servitù verso voi, non ho trovato fra i miei beni una cosa che mi è più cara o che tanto io stimi quanto la conoscenza delle azioni dei grandi uomini da me imparata con una lunga riflessione sugli avvenimenti moderni e una continua lezione da parte di quelli antichi: e ora le mando a voi dopo averle con gran diligenza esaminate e meditate e raccolte in un piccolo volume.! ! NICCOLO MACHIAVELLI, IL PRINCIPE !1 ABSTRACT! ! ! !Objects are there to be used. Throughout history, the gifting of objects has been a universal activity. Anthropologists, sociologists, economists, philosophers, and historians (amongst others) have all grappled to define the role that gift-giving has played in diverse human societies. The act of gifting immediately modifies the value of an object, transfiguring it into a ‘gift’. Once defined as a gift, both the object and its presentation contain particular meanings which resonate within the context of its exchange: the gift both communicates a message and a bond between sender and recipient. The resulting web of connections formed by gift exchanges are arguably the sinews of complex societies. The gift debits and credits, it obligates and liberates, it intimates and discriminates, not only between the one who gifts and the one who receives, but by those who view its exchange (who interpret the symbolism of a gift as indicative of a relationship or favour). In a society in which loyalty, gratitude, obligation, courtesy, personal conduct, and social standing matter acutely – for example, sixteenth-century Europe – the gift is a truly efficacious social tool. In the hands of someone who understands the communicative power of objects, particularly artworks, but not solely – for example, Cosimo I de’ Medici (1519-1574) – then gifts, both those given and received, can force the actions of others, influence the perception of the audience, and effect the realisation of political objectives. As such, the Florentine court – famous for its magnificent collections of objects – represents an outstanding historical context in which to analyse the efficacy of gifts and the social and political world of material culture they inhabit. This thesis draws upon a vast trove of unpublished archival material to study the potency of gifts in the diplomacy of Cosimo I de’ Medici, duke of Florence (from 1537), later Siena (from 1557), and finally, grand duke of Tuscany (from 1570). As well as portraying the social value of the gift in sixteenth-century Europe and tracing the influence of gifts and their presentation in the iconographic programme of the Palazzo Vecchio, this thesis also presents a diplomatic biography of Cosimo I through the gifts he sent and received. "viii LIST OF ABBREVIATIONS! ! ! !BNCF ! BIBLIOTECA NAZIONALE CENTRALE DI FIRENZE! !Magliab.! Fondo Magliabechiano! !——————! !ASF ! ARCHIVIO DI STATO DI FIRENZE! MAP! Mediceo avanti il Principato! MdP! Mediceo del Principato! GM! Guardaroba medicea! MM! Miscellanea medicea! !CS!! Carte strozziane! !——————! vol.!! volume/filza! ins.!! insert/inserto! fol.!! folio/foglio! !MAP Doc ID#! BIA Database (The Medici Archive Project)! !——————! O.S./N.S.! All dates have been given in the New Style (Gregorian calendar).! !! Florence’s traditional calendar year ended on March 24th, when this !! date has been preserved, it is indicated with O.S. "ix !——————! Car.le ! Cardinale! Ex. V. / V. Ex. ! Eccellenza Vostra ! Ill.mo ! Illustrissimo! M. !! Messer! M. V. / V. M. ! Magnificenza Vostra ! S.M.tà ! Sua Maestà! S. S. ! Sua Signoria! S. S.tà ! Sua Santità! S. V. ! Signoria Vostra! V. A.! Vostra Altezza! !Ser.mo! Serenissimo! !——————! Note on Transcriptions and Sources: The vast majority of sources used in this thesis are drawn from the Medici Archive Project’s BIA database. This database of largely unpublished material is the product of two decades of transcription and research by dozens of scholars. The author owes a huge debt of gratitude to everyone who has been involved with the Medici Archive Project. Wherever possible, the author has proofed transcriptions, and whenever possible, double-checked transcriptions when digitised versions have been made available. As a result, the author takes full responsibility for any remaining errors, especially with regards translations, which have been rendered as close to the original Italian as possible while, on occasion, taking license to communicate to the English reader the spirit of the language. "x LIST OF FIGURES! ! ! Fig. 1.! Benedetto Pagni, The Medici Madonna, 1547, oil on panel, !!! Ringling Museum, Sarasota.! Fig. 2.! Agnolo Bronzino, Lamentation, 1553, oil on panel, Chapel of !!! Eleonora, Palazzo Vecchio.! Fig. 3.! Agnolo Bronzino, Lamentation, 1545, oil on panel, Musée des !!! Beaux-Arts et d'Archéologie, Besançon.! Fig. 4. ! Pierre d’Argent, Lamentation, 1572, oil on panel, Église Saint- !!! Laurent, Ornans, France.! Fig. 5.! Baccio Bandinelli, Bust of Cosimo I de’ Medici, 1544 (?), Museo !!! Nazionale del Bargello, Florence.! Fig. 6.! Baccio Bandinelli (Vincenzo de’ Rossi?), Bust of Cosimo I de’ !!! Medici, c.1539-1530, The Metropolitan Museum
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