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Updated: June 14, 2025
After the death of Barbiano in 1409, Sforza and Braccio separated and formed two distinct companies, known as the Sforzeschi and Bracceschi, who carried on between them, sometimes in combination, but usually in opposition, all the wars of Italy for the next twenty years.
In the old Audience Chamber of the Fraternity of S. Maria della Misericordia, Parri painted a Madonna who has under her mantle the people of Arezzo, wherein he portrayed from the life those who then ruled that holy place, clothed according to the use of those times; and among them one called Braccio, who is now called, when there is talk of him, Lazzaro Ricco, and who died in the year 1422, leaving all his riches and means to that place, which dispenses them in the service of God's poor, performing the holy works of mercy with much charity.
The cardinal was a very good man, like many of the Braccio family, but he was also a man of the world, who had been sent upon foreign missions of importance, and had acquired some worldly fame as well as much ecclesiastical dignity in the course of his long life.
He has a great war on his hands, he is in a state of exhaustion, he has no choice of generals, it is necessary to humour those he has, those possessed of great authority with the soldiers: a Braccio, a Sforza, a Wallenstein.
To her, who had grown up to look upon Maria Braccio as a holy woman, cut off in her youth by a frightful death, the truth was overwhelmingly awful. She strove within herself to find something upon which she could throw the merest shadow of an extenuation, but she could find nothing.
In the end, he constructed all the base of the tomb, which is an isolated pedestal about four braccia on every side, and has at the foot a socle with a moulding in the manner of a base, which goes right round, and with a fillet at the top, such as is generally made for pedestals; and above this a cyma three-quarters of a braccio in height, which goes inwards in a concave curve, inverted, after the manner of a frieze, on which are carved some horse's skulls bound one to another with draperies; and above the whole was to be a smaller pedestal, with a seated statue of four braccia and a half, armed in the ancient fashion, and holding in the hand the baton of a condottiere captain of armies, which was to represent the person of the invincible Signor Giovanni de' Medici.
She had an invaluable ally in her artistic enterprises in the person of an artist, who, in a sort of way, was considered as belonging to Casa Braccio, though his extraordinary talent had raised him far above the position of a dependent of the family, in which he had been born as the son of the steward of the ancient castle and estate of Gerano.
Thus encouraged, the citizens engaged Count Oddo the son of Braccio, and united with him, for directing the operations of the war, Niccolo Piccinino, a pupil of his father's, and one of the most celebrated of all who had served under him. To these they added other leaders, and remounted some of those who had lost their horses in the late defeat.
And then he executed the great altar-piece of the altar of the Muletta, painting therein a S. Peter and a S. John, which are little more than one braccio in height, but wrought so well and with such diligence, that they have the appearance of miniatures. The carvings of this work were executed by Fra Giovanni da Verona, a master of tarsia and carving.
Niccolo Fortebraccio was instigated by the ancient enmity which Braccio had always entertained against the church; the count was induced by ambition: so that Niccolo assailed Rome, and the count took possession of La Marca.
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