DOCSLIB.ORG

The Medici Popes (Leo X and Clement Vii) by Herbert M

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Medici Popes (Leo X and Clement Vii) by Herbert M 1 www.cristoraul.org EL VENCEDOR EDICIONES THE MEDICI POPES (LEO X AND CLEMENT VII) BY HERBERT M. VAUGHAN 1 2 LEO X, CARDINAL GIULIO DE' MEDICI (CLEMENT VII) AND CARDINAL DE' ROSSI 2 3 ALTHOUGH the names of the two great Popes of the House of Medici loom large in the annals of the Italian Renaissance, yet the private side of their lives and conduct has naturally been dwelt upon with less insistence by the papal historian than the leading part they took in the development of Italian politics or in the course of the Reformation throughout Europe. Even in William Roscoe’s elaborate biography of Leo X, the figure of that famous pontiff is largely overshadowed by the momentous episodes of his reign both within and without Italy; “one cannot see the wood for the intervening trees!” In the present volume, therefore, I have made the attempt of presenting to the reader a purely personal study, from which I have excluded, so far as was practicable, all reference to the burning theological questions of the Reformation, and have also avoided any undue amount of dissertation on the tortuous and complicated policy pursued by these Popes of the House of Medici. For I hope that a simple account of the personal career and character of Leo X (with whom of necessity my work chiefly deals) will prove of some value to the historical student of the Renaissance, who may thereby become better able to comprehend the varying part played by the former of the two Medicean pontiffs in the political and religious struggles during the opening decades of the sixteenth century. The earliest, and indeed only contemporary life of any importance of Giovanni de’ Medici, Pope Leo X, is the Vita Leonis X of Paolo Giovio, Bishop of Nocera, himself a member of Leo’s own brilliant court in Rome, and therefore a person well qualified to undertake such a task. The work of Giovio, or Jovius, which was first published at Florence in 1549, is written in Latin, and though it has been rendered into Italian and French, it has never, so far as I am aware, been translated into English. Giovio’s Life, which is divided into four books, is a most meagre and disappointing narrative, scarcely a biography at all in the modern sense of the term, for it principally consists of a long rambling account of contemporary politics, albeit the Fourth Book contains a large number of intimate details concerning the Pope, which have often been utilised by succeeding writers. Poor and unsatisfactory as was Giovio’s Life, this work remained for over 250 years the sole biography of the great Medicean pontiff until 1797, when there appeared an enlarged Leonis X Vita from the pen of the learned Monsignore Angelo Fabroni of Pisa. This biography, which was published in Latin and has never been translated, contains a fuller account, together with a copious Appendix of original Documents discovered and given to the world by Fabroni himself. His work was followed eight years later by the justly celebrated biography from the pen of William Roscoe of Liverpool, who based his study on Fabroni’s researches. Roscoe’s The Life and Pontificate of Leo X was soon translated into Italian, and published in 1817 by Count Luigi Bossi of Milan, whose splendid edition in twelve volumes constitutes the best and fullest Life of this Pope in existence. Amongst more recent volumes on the same subject, the carefully compiled Leo X of Professor Ludwig Pastor, published in 1906, may be mentioned. Free use has been made in the ensuing work of these various biographies, together with their voluminous Appendices. I have treated of Giulio de’ Medici, Pope Clement VII, in a less detailed manner, for two reasons: first, because his life before obtaining the tiara is 3 4 closely bound up with, and consequently covered by, the career of his more distinguished cousin, Leo X; and second, because his private biography offers far less of general interest. Special attention has been drawn throughout the book to the various existing works of art in Florence and Rome which are connected with the personal history, or are due to the bountiful patronage of these two Medicean pontiffs. In accordance with the title chosen for this work, I have also added a brief account of the later Popes, Pius IV and Leo XI, both of whom bore the historic name of Medici, although their connection with the senior branch of the great Florentine House was exceedingly remote. In case it may be remarked that an undue proportion of space has been bestowed on the early years of Leo X (and thereby also on those of his near kinsman and contemporary, Clement VII), I would reply that far less is generally known of the youthful struggles and adventures of Cardinal Giovanni de’ Medici than of the pomp and power of his pontificate; and that some acquaintance with the story of Leo X’s early poverty and insignificance is essential to a clearer understanding of his subsequent conduct as Supreme Pontiff. The vast and ever-increasing mass of material reflecting on the life, public and private, of the Medici Popes has rendered my task of selection and rejection peculiarly difficult; indeed, an adequate and comprehensive account of the reign of Leo X alone would afford occupation for a lifetime, as every historian is well aware. Yet I think that from the pages of this book the reader will contrive to obtain a tolerably accurate glimpse into the personality of those two great Popes, whose deeds and influence for good or evil did so much to shape the course of the political, religious, intellectual and artistic development of Europe during the early stages of the Reformation. 4 5 CONTENTS CHAPTER I Childhood and Youth in Florence Aspect of Florence under the Medici—Birth of Giovanni de’ Medici—His parents—His childhood and education—He is destined for the Church—Quarrel between Politian and Clarice de’ Medici—Giovanni de’ Medici receives the tonsure—He is given preferment in the Church—Lorenzo de’ Medici is anxious to obtain a Cardinal’s hat for Giovanni—His efforts in Rome—Condition of Italian politics—Accession of Pope Innocent VIII.—Giovanni is nominated a Cardinal Deacon—He is sent to the University of Pisa—Bernardo Dovizi of Bibbiena—Giovanni receives the scarlet hat in public—Rejoicings in Florence— Giovanni sets out for Rome—His reception by Innocent VIII.—Letter of Lorenzo de’ Medici to his son Giovanni—Death of Lorenzo. CHAPTER II Misfortune and Exile Effects of Lorenzo’s death upon the politics of Florence and of Italy—Piero de’ Medici succeeds his father—Lorenzo’s three sons and their respective characters—Arrival of the Cardinal in Florence—State of Europe in the year 1492—Death of Innocent VIII and election of Roderigo Borgia as Alexander VI— Giovanni returns to Florence—Sermons and influence of Savonarola in Florence— Critical condition of Italian politics—Ludovico Sforza invites Charles VIII of France into Italy—Attitude of the Medici—Piero’s foolish conduct—The Medici are expelled from Florence—Bravery of the Cardinal—His flight to Bologna—Entry of King Charles VIII into Florence—Position of the Cardinal and his brothers—Giulio de’ Medici joins his cousin, the Cardinal—Together they travel in Germany and France—Meeting at Savona of Giovanni and Giulio de’ Medici with Cardinal Della Rovere, afterwards Pope Julius II—Death of Alexander VI. and election of Pius III—Early death of Pius III and election of Julius II—Piero de’ Medici is drowned in the river Garigliano—His wife and family—His monument at Monte Cassino. CHAPTER III Rise to Power under Julius II Improved position of the House of Medici—Friendship of the Cardinal with the Papal nephew—The Cardinal’s mode of life in Rome— Character and policy of Julius II—Contrast between the Pope and the Cardinal—Campaigns of Julius—He is accompanied by Giovanni and Giulio de' Medici—Surrender of Perugia and Bologna to the Pope—The League of Cambrai—Loss of Bologna and murder of Cardinal Alidosi of Pavia—Giovanni de’ Medici is appointed Papal Legate of Bologna—Gaston de Foix—The battle of Ravenna—The Cardinal- 5 6 Legate a prisoner of the French—He sends his cousin Giulio de’ Medici to Rome—The Cardinal and Giulio de’ Medici at Milan—Retreat of the French army—Escape of the Cardinal and his subsequent adventures—Importance of this episode in the Cardinal’s career. CHAPTER IV Return of the Medici to Florence The conference at Mantua—Julius wishes to restore the Medici to Florence—Efforts of the Cardinal and opposition of the Duke of Urbino to them—The Cardinal with the Spanish army of Cardona prepares to cross the Apennines into Tuscany—Public feeling in Florence—The Gonfalionere Soderini and Niccolò Machiavelli urge the citizens to defend their city against the Medici—Advance of the Cardinal towards Barberino—The Florentine Republic rejects Cardona’s offers—Siege and Sack of Prato—Conduct of the Cardinal thereat—Giuliano de’ Medici re-enters Florence—Flight of Soderini—The Cardinal returns to the city—He is practically master of Florence—Formation of the societies of the Diamond and the Bough—Death of Pope Julius II.—The Cardinal sets out for the conclave in Rome. CHAPTER V Leo Decimus Pontifex Maximus Last days of Julius II—The judgment of history upon him—His portrait by Raphael—The Conclave of March, 1513—Illness of Giovanni de’ Medici—He is elected Pope under the title of Leo X.—Rejoicings in Rome and Florence—The personal appearance of the new Pope—He is crowned in St.
Load more

Recommended publications
  • An Annotated List of Italian Renaissance Humanists, Their Writings About Jews, and Involvement in Hebrew Studies, Ca
    An annotated list of Italian Renaissance humanists, their writings about Jews, and involvement in Hebrew studies, ca. 1440-ca.1540 This list, arranged in chronological order by author’s date of birth, where known, is a preliminary guide to Italian humanists’ Latin and vernacular prose and poetic accounts of Jews and Judaic culture and history from about 1440 to 1540. In each case, I have sought to provide the author’s name and birth and death dates, a brief biography highlighting details which especially pertain to his interest in Jews, a summary of discussions about Jews, a list of relevant works and dates of composition, locations of manuscripts, and a list of secondary sources or studies of the author and his context arranged alphabetically by author’s name. Manuscripts are listed in alphabetical order by city of current location; imprints, as far as possible, by ascending date. Abbreviations: DBI Dizionario biografico degli Italiani (Rome: Istituto della enciclopedia italiana, 1960-present) Kristeller, Iter Paul Oskar Kristeller, Iter Italicum: A Finding List of Uncatalogued or Incompletely Catalogued Humanistic Manuscripts of the Renaissance in Italian and Other Libraries; Accedunt alia itinera, 6 vols (London: Warburg Institute; Leiden: E. J. Brill, 1963-1991) Simon Atumano (d. c. 1380) Born in Constantinople and became a Basilian monk in St John of Studion there. Bishop of Gerace in Calabria from 1348 until 1366, and Latin archbishop of Thebes until 1380. During his time in Thebes, which was the capital of the Catalan duchy of Athens, he studied Hebrew and in the mid- to late-1370s he began work on a polyglot Latin-Greek-Hebrew Bible dedicated to Pope Urban VI.
    [Show full text]
  • The Medici Palace, Cosimo the Elder, and Michelozzo: a Historiographical Survey
    chapter 11 The Medici Palace, Cosimo the Elder, and Michelozzo: A Historiographical Survey Emanuela Ferretti* The Medici Palace has long been recognized as an architectural icon of the Florentine Quattrocento. This imposing building, commissioned by Cosimo di Giovanni de’ Medici (1389–1464), is a palimpsest that reveals complex layers rooted in the city’s architectural, urban, economic, and social history. A symbol – just like its patron – of a formidable era of Italian art, the palace on the Via Larga represents a key moment in the development of the palace type and and influenced every other Italian centre. Indeed, it is this building that scholars have identified as the prototype for the urban residence of the nobility.1 The aim of this chapter, based on a great wealth of secondary literature, including articles, essays, and monographs, is to touch upon several themes and problems of relevance to the Medici Palace, some of which remain unresolved or are still debated in the current scholarship. After delineating the basic construction chronology, this chapter will turn to questions such as the patron’s role in the building of his family palace, the architecture itself with regards to its spatial, morphological, and linguistic characteristics, and finally the issue of author- ship. We can try to draw the state of the literature: this preliminary historio- graphical survey comes more than twenty years after the monograph edited by Cherubini and Fanelli (1990)2 and follows an extensive period of innovative study of the Florentine early Quattrocento,3 as well as the fundamental works * I would like to thank Nadja Naksamija who checked the English translation, showing many kindnesses.
    [Show full text]
  • Raphael's Portrait of Baldassare Castiglione (1514-16) in the Context of Il Cortegiano
    Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2005 Paragon/Paragone: Raphael's Portrait of Baldassare Castiglione (1514-16) in the Context of Il Cortegiano Margaret Ann Southwick Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd Part of the Arts and Humanities Commons © The Author Downloaded from https://scholarscompass.vcu.edu/etd/1547 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. O Margaret Ann Southwick 2005 All Rights Reserved PARAGONIPARAGONE: RAPHAEL'S PORTRAIT OF BALDASSARE CASTIGLIONE (1 5 14-16) IN THE CONTEXT OF IL CORTEGIANO A Thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts at Virginia Cornmonwealtli University. MARGARET ANN SOUTHWICK M.S.L.S., The Catholic University of America, 1974 B.A., Caldwell College, 1968 Director: Dr. Fredrika Jacobs Professor, Department of Art History Virginia Commonwealth University Richmond, Virginia December 2005 Acknowledgenients I would like to thank the faculty of the Department of Art History for their encouragement in pursuit of my dream, especially: Dr. Fredrika Jacobs, Director of my thesis, who helped to clarify both my thoughts and my writing; Dr. Michael Schreffler, my reader, in whose classroom I first learned to "do" art history; and, Dr. Eric Garberson, Director of Graduate Studies, who talked me out of writer's block and into action.
    [Show full text]
  • Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
    Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support.
    [Show full text]
  • 4. Dressing and Portraying Isabella D'este
    Cover Page The handle http://hdl.handle.net/1887/33552 holds various files of this Leiden University dissertation. Author: Dijk, Sara Jacomien van Title: 'Beauty adorns virtue' . Dress in portraits of women by Leonardo da Vinci Issue Date: 2015-06-18 4. Dressing and portraying Isabella d’Este Isabella d’Este, Marchioness of Mantua, has been thoroughly studied as a collector and patron of the arts.1 She employed the finest painters of her day, including Bellini, Mantegna and Perugino, to decorate her studiolo and she was an avid collector of antiquities. She also asked Leonardo to paint her likeness but though Leonardo drew a preparatory cartoon when he was in Mantua in 1499, now in the Louvre, he would never complete a portrait (fig. 5). Although Isabella is as well known for her love of fashion as her patronage, little has been written about the dress she wears in this cartoon. Like most of Leonardo’s female sitters, Isabella is portrayed without any jewellery. The only art historian to elaborate on this subject was Attilio Schiaparelli in 1921. Going against the communis opinio, he posited that the sitter could not be identified as Isabella d’Este. He considered the complete lack of ornamentation to be inappropriate for a marchioness and therefore believed the sitter to be someone of lesser status than Isabella.2 However, the sitter is now unanimously identified as Isabella d’Este.3 The importance of splendour was discussed at length in the previous chapter. Remarkably, Isabella is portrayed even more plainly than Cecilia Gallerani and the sitter of the Belle Ferronnière, both of whom are shown wearing at least a necklace (figs.
    [Show full text]
  • Pope Paul III and the Cultural Politics of Reform Pope Paul III and the Cultural Politics of Reform
    6 RENAISSANCE HISTORY, ART AND CULTURE Cussen Pope Paul III and the Cultural Politics of Reform of Politics Cultural the and III Paul Pope Bryan Cussen Pope Paul III and the Cultural Politics of Reform 1534-1549 Pope Paul III and the Cultural Politics of Reform Renaissance History, Art and Culture This series investigates the Renaissance as a complex intersection of political and cultural processes that radiated across Italian territories into wider worlds of influence, not only through Western Europe, but into the Middle East, parts of Asia and the Indian subcontinent. It will be alive to the best writing of a transnational and comparative nature and will cross canonical chronological divides of the Central Middle Ages, the Late Middle Ages and the Early Modern Period. Renaissance History, Art and Culture intends to spark new ideas and encourage debate on the meanings, extent and influence of the Renaissance within the broader European world. It encourages engagement by scholars across disciplines – history, literature, art history, musicology, and possibly the social sciences – and focuses on ideas and collective mentalities as social, political, and cultural movements that shaped a changing world from ca 1250 to 1650. Series editors Christopher Celenza, Georgetown University, USA Samuel Cohn, Jr., University of Glasgow, UK Andrea Gamberini, University of Milan, Italy Geraldine Johnson, Christ Church, Oxford, UK Isabella Lazzarini, University of Molise, Italy Pope Paul III and the Cultural Politics of Reform 1534-1549 Bryan Cussen Amsterdam University Press Cover image: Titian, Pope Paul III. Museo di Capodimonte, Naples, Italy / Bridgeman Images. Cover design: Coördesign, Leiden Lay-out: Crius Group, Hulshout isbn 978 94 6372 252 0 e-isbn 978 90 4855 025 8 doi 10.5117/9789463722520 nur 685 © B.
    [Show full text]
  • Weird Tales, Vol. II Weird Tales, Vol. II., by E. T. A. Hoffmann the Project
    Weird Tales, Vol. II Weird Tales, Vol. II., by E. T. A. Hoffmann The Project Gutenberg EBook of Weird Tales, Vol. II., by E. T. A. Hoffmann This eBook is for the use of anyone anywhere at no cost and with almost no restricti ons whatsoever. You may copy it, give it away or re-use it under the terms of th e Project Gutenberg License included with this eBook or online at www.gutenberg. net Title: Weird Tales, Vol. II. Author: E. T. A. Hoffmann Translator: J. T. Bealby Release Date: February 28, 2010 [EBook #31439] Language: English Character set encoding: ISO-8859-1 *** START OF THIS PROJECT GUTENBERG EBOOK WEIRD TALES, VOL. II. *** Produced by Charles Bowen, from scans obtained from The Internet Archive. Transcriber's notes: 1. This book is derived from the Web Archive, http://www.a rchive.org/details/weirdtales05bealgoog. 2. The oe diphthong is represented by [oe]. 3. Footnote references to volume I of this work are incorporated in the note in order to provide easier reading. WEIRD TALES BY E. T. W. HOFFMANN A NEW TRANSLATION FROM THE GERMAN WITH A BIOGRAPHICAL MEMOIR By J. T. BEALBY, B.A. FORMERLY SCHOLAR OF CORPUS CHRISTI COLLEGE, CAMBRIDGE IN TWO VOLUMES VOL. II. NEW YORK CHARLES SCRIBNER'S SONS 1885 TROW'S PRINTING AND BOOKBINDING COMPANY, NEW YORK. CONTENTS OF VOLUME II. THE DOGE AND DOGESS, MASTER MARTIN THE COOPER, MADEMOISELLE DE SCUDÉRI, GAMBLER'S LUCK, MASTER JOHANNES WACHT, BIOGRAPHICAL NOTES, THE DOGE AND DOGESS[1] This was the title that distinguished in the art-catalogue of the works exhibit ed by the Berlin Academy of Arts in September, 1816, a picture which came from t he brush of the skilful clever Associate of the Academy, C.
    [Show full text]
  • Donatello's Terracotta Louvre Madonna
    Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning A thesis presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Sandra E. Russell May 2015 © 2015 Sandra E. Russell. All Rights Reserved. 2 This thesis titled Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning by SANDRA E. RUSSELL has been approved for the School of Art + Design and the College of Fine Arts by Marilyn Bradshaw Professor of Art History Margaret Kennedy-Dygas Dean, College of Fine Arts 3 Abstract RUSSELL, SANDRA E., M.A., May 2015, Art History Donatello’s Terracotta Louvre Madonna: A Consideration of Structure and Meaning Director of Thesis: Marilyn Bradshaw A large relief at the Musée du Louvre, Paris (R.F. 353), is one of several examples of the Madonna and Child in terracotta now widely accepted as by Donatello (c. 1386-1466). A medium commonly used in antiquity, terracotta fell out of favor until the Quattrocento, when central Italian artists became reacquainted with it. Terracotta was cheap and versatile, and sculptors discovered that it was useful for a range of purposes, including modeling larger works, making life casts, and molding. Reliefs of the half- length image of the Madonna and Child became a particularly popular theme in terracotta, suitable for domestic use or installation in small chapels. Donatello’s Louvre Madonna presents this theme in a variation unusual in both its form and its approach. In order to better understand the structure and the meaning of this work, I undertook to make some clay works similar to or suggestive of it.
    [Show full text]
  • Is There a Printer's Copy of Gian Giorgio Trissino's Sophonisba?
    Is There a Printer’s Copy of Gian Giorgio Trissino’s Sophonisba? Diego Perotti Abstract This essay examines the manuscript Additional 26873 housed in the British Library. After clarifying its physical features, it then explores various hypotheses as to its origins and its intended use. Finally, the essay collates the codex with Gian Giorgio Trissino’s first edition of the Sophonisba in order to establish the tragedy’s different drafts and the role of the manu- script in the scholarly edition’s plan. The manuscript classified as Additional 26873 (Hereafter La) is housed at the British Library in London and described in the online catalogue as follows: “Ital. Vellum; xvith cent. Injured by fire. Octavo. Giovanni Giorgio Trissino: Sophonisba: a tragedy”. A few details may be added. La is part of a larger collection comprising Additional 26789–26876: eighty-eight items composed in various languages (English, French, Italian, Latin, Portuguese, Spanish), many of which have been damaged to different degrees by fire and damp. The scribe has been identified as Ludovico degli Arrighi (1475–1527), the well-known calligrapher from Vicenza (Veneto, northern-east Italy) who later turned into a typographer, active between his hometown and Rome during the first quarter of the sixteenth century.1 Arrighi’s renowned handwriting, defined as corsivo lodoviciano (Ludovico’s italic), is a calligraphic italic based on the cancelleresca, well distinguished from the latter by the use of upright capitals characterized by long ascend- ers/descenders with curved ends, the lack of ties between characters, the greater space between transcriptional lines, and capital letters slightly 1.
    [Show full text]
  • Motherhood and the Identity Formation of Masculinities in Sixteenth-Century “Erudite Comedy”
    MOTHERHOOD AND THE IDENTITY FORMATION OF MASCULINITIES IN SIXTEENTH-CENTURY “ERUDITE COMEDY” A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Yael Manes February 2010 © 2010 Yael Manes MOTHERHOOD AND THE IDENTITY FORMATION OF MASCULINITIES IN SIXTEENTH CENTURY “ERUDITE COMEDY” Yael Manes, Ph. D. Cornell University 2010 The commedia erudita (erudite comedy) is a five-act drama that is written in the vernacular and regulated by unity of time and place. It was conceived and reached its mature form in Italy during the first half of the sixteenth century. Erudite comedies were composed for audiences from the elite classes and performed in private settings. Since the plots dramatized the lives of contemporary, sixteenth-century urban dwellers, this genre of drama reflects many of the issues that preoccupied the elite classes during this period: the art of identity formation, the nature, attributes, and legitimacy of those who claim the authority to rule, and the relationship between power and gender, age, and experience. The dissertation analyzes five comedies: Ludovico Ariosto’s I suppositi (1509), Niccolò Machiavelli’s Mandragola (1518) and Clizia (1525), Antonio Landi’s Il commodo (1539), and Giovan Maria Cecchi’s La stiava (1546). These plays represent and critique idealized visions of patriarchal masculinity among the elite of Renaissance Italy through an engagement with the problems that maternity and mothering present to patriarchal ideology and identity. By unpacking the ways in which patriarchal masculinity is articulated in response to the challenges of maternal femininity, this dissertation gives a rich account of the gender order and the ways in which it was being problematized during the Italian Renaissance.
    [Show full text]
  • Patronage and Dynasty
    PATRONAGE AND DYNASTY Habent sua fata libelli SIXTEENTH CENTURY ESSAYS & STUDIES SERIES General Editor MICHAEL WOLFE Pennsylvania State University–Altoona EDITORIAL BOARD OF SIXTEENTH CENTURY ESSAYS & STUDIES ELAINE BEILIN HELEN NADER Framingham State College University of Arizona MIRIAM U. CHRISMAN CHARLES G. NAUERT University of Massachusetts, Emerita University of Missouri, Emeritus BARBARA B. DIEFENDORF MAX REINHART Boston University University of Georgia PAULA FINDLEN SHERYL E. REISS Stanford University Cornell University SCOTT H. HENDRIX ROBERT V. SCHNUCKER Princeton Theological Seminary Truman State University, Emeritus JANE CAMPBELL HUTCHISON NICHOLAS TERPSTRA University of Wisconsin–Madison University of Toronto ROBERT M. KINGDON MARGO TODD University of Wisconsin, Emeritus University of Pennsylvania MARY B. MCKINLEY MERRY WIESNER-HANKS University of Virginia University of Wisconsin–Milwaukee Copyright 2007 by Truman State University Press, Kirksville, Missouri All rights reserved. Published 2007. Sixteenth Century Essays & Studies Series, volume 77 tsup.truman.edu Cover illustration: Melozzo da Forlì, The Founding of the Vatican Library: Sixtus IV and Members of His Family with Bartolomeo Platina, 1477–78. Formerly in the Vatican Library, now Vatican City, Pinacoteca Vaticana. Photo courtesy of the Pinacoteca Vaticana. Cover and title page design: Shaun Hoffeditz Type: Perpetua, Adobe Systems Inc, The Monotype Corp. Printed by Thomson-Shore, Dexter, Michigan USA Library of Congress Cataloging-in-Publication Data Patronage and dynasty : the rise of the della Rovere in Renaissance Italy / edited by Ian F. Verstegen. p. cm. — (Sixteenth century essays & studies ; v. 77) Includes bibliographical references and index. ISBN-13: 978-1-931112-60-4 (alk. paper) ISBN-10: 1-931112-60-6 (alk. paper) 1.
    [Show full text]
  • Compendio Storico Della Città Di Firenze Fino All'anno 1849 Di
    Informazioni su questo libro Si tratta della copia digitale di un libro che per generazioni è stato conservata negli scaffali di una biblioteca prima di essere digitalizzato da Google nell’ambito del progetto volto a rendere disponibili online i libri di tutto il mondo. Ha sopravvissuto abbastanza per non essere più protetto dai diritti di copyright e diventare di pubblico dominio. Un libro di pubblico dominio è un libro che non è mai stato protetto dal copyright o i cui termini legali di copyright sono scaduti. La classificazione di un libro come di pubblico dominio può variare da paese a paese. I libri di pubblico dominio sono l’anello di congiunzione con il passato, rappresentano un patrimonio storico, culturale e di conoscenza spesso difficile da scoprire. Commenti, note e altre annotazioni a margine presenti nel volume originale compariranno in questo file, come testimonianza del lungo viaggio percorso dal libro, dall’editore originale alla biblioteca, per giungere fino a te. Linee guide per l’utilizzo Google è orgoglioso di essere il partner delle biblioteche per digitalizzare i materiali di pubblico dominio e renderli universalmente disponibili. I libri di pubblico dominio appartengono al pubblico e noi ne siamo solamente i custodi. Tuttavia questo lavoro è oneroso, pertanto, per poter continuare ad offrire questo servizio abbiamo preso alcune iniziative per impedire l’utilizzo illecito da parte di soggetti commerciali, compresa l’imposizione di restrizioni sull’invio di query automatizzate. Inoltre ti chiediamo di: + Non fare un uso commerciale di questi file Abbiamo concepito Google Ricerca Libri per l’uso da parte dei singoli utenti privati e ti chiediamo di utilizzare questi file per uso personale e non a fini commerciali.
    [Show full text]