#de'Medici

[jacopocioni]

Ubaldino Peruzzi de' Medici

Ubaldino Peruzzi de' Medici nasce a Firenze il 2 aprile 1822, figlio di Vincenzo Peruzzi, gonfaloniere di Firenze e di Enrichetta Torrigiani. Discendente della famiglia Peruzzi che si era imparentata con la famiglia Medici alla fine del XVIII con il matrimonio tra Bindo Simone (il nonno) e Maria Luisa de' Medici ultima erede della famiglia Medici. La casa dei Peruzzi, posizionata in Borgo dei Greci, sorge sul luogo anticamente occupato da un orto di proprietà dei Peruzzi e su alcune case edificate a loro volta sui resti dell'anfiteatro romano di Firenze. Un'altra dimora dei Peruzzi, la preferita da Ubaldino, è la villa dell'Antella sulle colline fiorentine nel Comune di Bagno a Ripoli. Gli studi per Ubaldino cominciarono nel 1828 presso una scuola privata per poi proseguire presso il collegio Cicognini di Prato. Nove anni dopo, nel 1837, il granduca concesse l'ammissione al collegio Tolomei di Siena, luogo dove studiavano i figli della nobiltà toscana. Conseguì la laurea in tre anni diventando dottore in legge nel 1840. Lo zio paterno, Simone Peruzzi, insistette molto e convince il padre di Ubaldino ad affiancarlo a lui presso Parigi dove lo zio era in affari presso il re di Francia. Ubaldino nel periodo parigino frequentò la École des mines dove conseguì un diploma in ingegneria mineraria nel maggio 1843.

Grazie a questa formazione, al suo rientro a Firenze, diversificò i suoi investimenti in nuovi settori come quello ferroviario, assicurativo e ovviamente minerario. Nel dicembre 1847, alla morte del padre ed entusiasta delle riforme di Pio IX, si lega alla realizzazione dell'ordinamento della guardia civica meritandosi nel 1848 un pubblico ringraziamento dal Municipio Fiorentino. La sua visibilità fu accresciuta anche  dall'essere diventato, nel 1848, capo della commissione incaricata di trattare il rientro dall’Austria dei prigionieri toscani. Eletto nel 1948, nel nuovo Parlamento costituzionale sostituì come gonfaloniere il cugino Bettino Ricasoli. Se pur affetto da Vaiolo contribuì al colpo di Stato del 12 aprile 1849 e a stendere il successivo proclama con cui il Comune di Firenze assumeva i pieni poteri in nome del principe, rientrò poi nel suo ruolo di gonfaloniere.

Si sposò, il 9 settembre 1849  con Emilia Toscanelli, nata a Pisa, e conosciuta nel salotto di Carlotta Marchesini Torrigiani. Grazie ad Emilia si istaurò a Firenze un grande salotto culturale conosciuto come il «salotto rosso» frequentato da una miriade di personaggi a partire da Edmondo De Amicis per finire con Cesare Alfieri. Mentre la moglie "creava" relazioni interpersonali il marito Ubaldino si dedica alla vita politica albergando tra i moderati; negli anni che seguirono l'Unità d'Italia si affermò nella vita politica nazionale.

Il 27 aprile 1859 entrò nel Governo provvisorio della Toscana, dopo la definitiva partenza di Leopoldo II, dove fu nominato capo del governo provvisorio toscano. A livello nazionale divenne, nel 1860, deputato e lo rimase per dieci legislature in rappresentanza del primo collegio di Firenze. Fu Ministro dei lavori pubblici con il terzo Governo Cavour mantenendo la carica con il successivo Governo Ricasoli e poi Ministro dell'interno nel Governo Minghetti.

Nel 1865 entrò nel Consiglio provinciale Toscano, divenne, dal 1865 al 1870, Presidente della Provincia Fiorentina per poi divenire Sindaco di Firenze per 8 anni fino al 1878. Durante la sua attività di Sindaco, nel 1876, contribuì alla fondazione del Collegio degli Architetti e Ingegneri in Firenze di cui fu nominato Presidente Onorario. Furono suoi i grandiosi progetti di espansione edilizia della città di Firenze rappresentati ed eseguiti poi dal piano Poggi. Ritiratosi a vita privata nella villa dell'Antella vi mori il 9 settembre 1891.

Jacopo Cioni Gran Cerusico Read the full article

[yxxxxxx1]

To his wife Clarice at Florence Milan, 22 July 1469

I have arrived here safely and am well. I am sure this will please you more than any other news save that of my return, judging by my own feelings of longing for you and for home. Make much of Piero, Mona Contessina, and Mona Lucrezia. I shall hasten to finish here and return to you, for it seems to me a thousand years since I saw you. Pray to God for me, and if you want anything from here let me know, so long as I have not already left. -From Milan, July 22, 1469

Source: Lorenzo de' Medici, Selected Poems and Prose

[tragediambulante]

Portrait of Cosimo I de'Medici, Pontormo (Jacopo Carucci), about 1538

[te-nebre]

Медичи

— Я удивляюсь! В этом мальчике есть частичка Джулиано! — Чего ты хочешь? — Я не могу больше писать усопших в Лоджии. Прости, Лоренцо. Джулиано был полон жизни. Давай почтим его память, оставив смерть в прошлом. — Нет, этому не бывать. Твоя работа важна. — Потому что она наводит страх?! Учит людей бояться тебя? — Хватит. Закончи работу, которую я тебе дал.

[artemlegere-art]

Portrait Of Bia De' Medici

Artist: Agnolo Bronzino (Italian, 1503-1572)

Genre: Portrait

Date: circa 1542

Medium: Oil on Wood

Collection: The Uffizi, Room of the Dynasties

In the late 19th century, this painting was already identified as a portrait of the “natural daughter of the Duke”, Cosimo, born before his marriage in 1539: the little Bianca, known as Bia.

In 1560, Francesco Maria II della Rovere’s ambassador to Tuscany, Simone Fortuna wrote in a letter that Cosimo “in his first years as duke, had, by a noblewoman of Florence, a girl who was baptised in the name of His Illustrious Excellence, and called Bia. And the Lady Duchess, finding her in her home, was raising the girl lovingly, as she was born to her husband before she became his wife.” The young girl was therefore brought up, as often happened, alongside the legitimate children of the household, surrounded by the affection of Eleanor of Toledo and her grandmother, Maria Salviati, with whom she spent a great deal of time and who was particularly fond of her.

Unfortunately, at the age of about five, Bia suddenly fell ill towards the end of January 1542 and died within a few weeks.

The duke was distraught and had a plaster funeral mask cast of the child, as listed in the Guardaroba inventory of 1553, which also contains the first record of the portrait of Bia by Bronzino, mentioned by Giorgio Vasari in his biography of the artist. Some scholars have advanced the theory that Bronzino did not paint the child while she was alive, but that he took the mask as his model. The date of the work is therefore between 1542 and 1545, when the painter also completed the Portrait of Eleanor of Toledo with her son, Giovanni (Uffizi) which uses the same solution as the other painting, placing the figure before a deep blue background that becomes lighter around the face.

In spite of the young girl’s clothing, which is in white to allude both to her purity and her name, Bianca, and the abundance of jewels worthy of an adult princess, Bronzino’s exceptional talent has given the living image of the child all of the vivacity of a painting done from life. This is also due to the seated position that sees the child almost ready to jump to her feet, with a barely contained exuberance, and the way that she fidgets with the belt between her fingers.

As well as the string of pearls around her neck, the child is also wearing a gold chain with a medal showing the profile of her father, Cosimo, as he appears in a portrait by Pontormo, now in the Palatine Gallery in Pitti Palace.

[uwmspeccoll]

Publishers’ Binding Thursday

This week’s publishers’ binding is our 1906 copy of The Life of Benvenuto Cellini, Written by Himself, published by Brentano’s in New York. Benvenuto Cellini (1500-1571) was an Italian goldsmith, sculptor, author, and murderer. His life seems to have been very interesting, with multiple murders (including the murder of his brother’s killer and the murder of a rival) and other issues that got him in trouble with the law. Definitely worth a read of the ol’ Wikipedia page. His biography was begun in 1558 and finished in 1563. 

The binding is quite a nice one, in red bookcloth with gold filigree on the front cover and spine, and a decorative gold circle with the initials B.C. on the back cover. The book is illustrated mainly with portraits and busts, the most interesting to me being the one of Lorenzo de’Medici featured here, with strange, demonic-looking heads in the background. 

View more Publishers’ Binding Thursday posts.

-- Alice, Special Collections Department Manager 

[diana9241livejournalcom]

hisChapters: 1/1 Fandom: I Medici | Medici: Masters of Florence (TV) Rating: General Audiences Warnings: No Archive Warnings Apply Relationships: Giulio di Giuliano de' Medici | Pope Clement VII&Piero di Lorenzo de' Medici Characters: Piero di Lorenzo de' Medici, Giulio di Giuliano de' Medici | Pope Clement VII, Giovanni di Lorenzo de' Medici | Pope Leo X, Angelo "Poliziano" Ambrogini Additional Tags: Season/Series 03, Missing Scene, Historical Accuracy, Bullying, Period Typical Attitudes Summary:

Odiava quella situazione.

For @historical-epic

[allwaysfull]

Italy: The Beautiful Cookbook | Lorenza de'Medici

[snailspng]

Random PNGs, part 154.

(1. Shell cross lamp, 2. Still life from ca. 1640, 3. "Mycoplasma Altar" by Sharona Franklin, 4. "Aurora" by William Jacob Baer, 5. Jelly from Gucci Cruise 20, 6. Angel sylvanian, 7. Art jelly by Sharona Franklin, 8. Pearl cradle that was owned by Anna Maria de'Medici, 9. Carnelian Medusa intaglio.)

[tozettastone]

Ah, I'm sure I've said this before, but for a fantasy writer, writing bankers as big-nosed greedy nonhumans always seems like such a missed opportunity. I'm glad it mostly seems to be a product of the long 20th century.

One could just as easily take one's banking inspo from the larger-than-life Medici family with all its wild dramas (assassinations! four popes! slow underminings of the republic! Savonarola may or may not have refused Lorenzo de'Medici the last rites!) and intrigues.

The Medici family were very Catholic and the way of making money in charging interest on loans was a sin (usury), which delivers one the easy potential for a much more complex relationship with greed than "well... we like gold." This also complicated their relationship with all the religious art and buildings and stuff they commissioned. (It's okay to commit sins, if you can donate them away.)

Your bankers could be cutthroat "apolitical" "first citizens" with boatloads of money who give to the poor (while creating the poor) and produce enormous numbers of of iconic artworks to uplift the local religion and embrace public life as gentlefolk.

They could be clicking their tongues and shaking their heads and saying, "Oh, I can't help that! Aren't we all just private citizens under popular government?" while half the government is related to them and the other half owes them favours.

Even if one's story isn't about these guys, it would be great fun to have them swanning about in the background. Definitely if I'm ever writing my own old school fantasy story that's the inspiration I want to draw from.

[eponastory]

Bring the salt!

I need some for my fries.

Unpopular opinion

Character Assassination is cathartic.

Yep... that's right. I said it.

So, when I was writing The Medici Girl, I had someone comment about how they hated my interpretation of Ezio. They said that I made him an asshole because of the way he treated his wife.

Well, here's the deal... I fucking love Ezio Auditore da Firenze! He is possibly my all-time favorite character ever. But why did I turn him into an asshole?

For context, the story was basically a retelling of Assassin's Creed 2, only more historically accurate. The story is told from Contessina de'Medici's perspective for the most part, and she was married to Ezio before the events of AC2. He was in an affair (canonically) with another woman, making it Contessina's main conflict. So yes, Ezio's actions are pretty bad. That being said, I didn't intend to make him completely bad, but in Contessina's eyes... she saw him as someone in contention to her until he finally let his mistress go.

That is the purpose of character Assassination.

To a point.

But I wouldn't call exaggerating a characters traits and beliefs to the point of debauchery, Character Assassination. It's character exaggeration. It's like putting the speakers up to 11.

In the case that most Kat*angers use as contention for Zutara, all I've ever seen is writers exaggerate character flaws (which are canon) and dial them up because it is in character. It's just another form of conflict. Does it mean we are destroying that character to make our ship work? No. I don't see it that way because these are fictional characters, and it's just another part of being creative.

If anyone has a problem with that, it's likely because they don't understand how conflict moves a story or builds a character. It's actually one of the building blocks for any story. You can't have a good story without some sort of internal or external conflict, and if that means dialing up a character, then fine.

I do want to add that if you are trying to see a character from the pov of another, making the outside character look a certain way makes it more interesting.

But don't get your panties in a knot over it. Just move on.

Stay classy!

[feytouched]

call me de'medici but i think art patronage is a forgotten source of joy nowadays. like i can make art myself but there is something special in the collaborative process of bringing my ideas to someone else and seeing how they interpret them into a tangible form. i'm talking about visual art but also other stuff! like music, clothes, perfume... there are artists out there for everything you might think of

[hornyforpoetry]

Tomb of Giuliano de'Medici in San Lorenzo Chapel by Michelangelo Buonarroti // Florence, Italy

[joseandrestabarnia]

Agnolo di Cosimo conocido como BRONZINO (Florencia 1503-1572) Retrato de una joven con un libro (¿Giulia de Alessandro de'Medici?) 1548-1550 Óleo sobre tabla Inv. 1890 n. 770

El esquema del retrato es el mismo que utiliza Bronzino para toda la serie de los jóvenes Medici: el busto se muestra entero y el corte frontal hierático que subraya el linaje. El vestido sigue la rígida y lujosa moda española introducida en la Corte por la Gran Duquesa Leonora, pero la franqueza de su mirada y la expresión seria revelan el carácter de la adolescente, ciertamente estimulada por la lectura, como indica el libro que tiene entre manos: tal vez se trate de Giulia, huérfana del duque Alejandro, que creció en la familia de Cosme I de 'Medici y se casó en 1550 - a los quince años - con Francesco Cantelmi, duque de Popoli.

Información de la Gallerie degli Uffizi, fotografía de mi autoría.

[destiniesfm]

{adjoa andoh, 59, cis woman, she/her} We are so glad to see you safe, [THE ROYAL ADVISOR] [CLEOTHA SOLOMAN] of [ETHIOPIA]! It’s dangerous out in the world these days, but I hear that you are [INGENIOUS] and [CREATIVE] enough to handle it. Just don’t let your [SHARP-TONGUED NATURE] bring you down! Stay on your guard, because with your secret being at risk for exposure, you wouldn’t want everyone to find out [ YOU MURDERED YOUR BEST FRIEND'S HUSBAND ].

Cleotha:

She's a very far-sighted advisor and can see the benefits of maintaining amicable diplomatic relations with powerful empires such as the mughal one but she is also a very blunt person XD

Her personality is greatly inspired by lady danbury in the bridgerton novels, a bit of catherine de'medici and a lot of olenna tyrell from GOT.

She's very sharp-tongued, blunt with dry humour, absolutely unafraid to speak her mind though she knows how to sometimes employ tact on very delicate matters, very shrewd, cunning and always ingenious in her ideas and solutions to problems. Can be a dangerous woman to cross as she has a lot of resources and connections at her disposal and she can be vicious to those who have wronged her loved ones. ( cue the time she unalived her bestie's husband bcos he was abusing her ).

She also has a love for fashion and is iconic for creating her own trendsetting outfits.

She is also the aunt to the current king of ethiopia as she was his father's younger sister and thus currently still retains the title of princess and the honorific of "your highness".

However some who has known her when she was married to a duke in England and is now dowager duchess ( her son is the current duke and a wc! ) may refer to her as "your grace".

She very dearly loves all of her family members and is a very present figure in their lives though she does hand out tough love sometimes, especially more so now that they are all adults who should be wiser figures XD

[dumbbitchhour]

Alessandro Allori, Maria de'Medici, 1555 x