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Updated: May 22, 2025
The Duke had long been anxious to lure the most gifted of his subjects back to Florence; but Michelangelo, though he remained a loyal servant to the Medicean family, could not approve of Cosimo's despotic rule. Moreover, he was now engaged by every tie of honour, interest, and artistic ambition to superintend the fabric of S. Peter's.
The magnets which draw every one who visits Florence to S. Marco are first Fra Angelico, and secondly Savonarola, or first Savonarola, and secondly Fra Angelico, according as one is constituted. Fra Angelico, at Cosimo's desire and cost, came from Fiesole to paint here; while Girolamo Savonarola, forced to leave Ferrara during the war, entered these walls in 1482.
In 1555 the ancient republic of Siena fell to Cosimo's troops after a cruel and barbarous siege and was thereafter merged in Tuscany, and in 1570 Cosimo assumed the title of Cosimo I, Grand Duke of Tuscany, and was crowned at Rome.
Cosimo's librarian was Tommaso Parenticelli, a little busy man, who, to the general astonishment, on the death of Eugenius IV became Pope and took the name of Nicholas V. His energies as Pontiff went rather towards learning and art than anything else: he laid the foundations of the Vatican library, on the model of Cosimo's, and persuaded Fra Angelico to Rome to paint Vatican frescoes.
In the year 1439, as chapter II related, through the instrumentality of Cosimo a great episcopal Council was held at Florence, at which John Palaeologus, Emperor of the East, met Pope Eugenius IV. In that year Cosimo's son Piero was twenty-three, and Gozzoli nineteen, and probably upon both, but certainly on the young artist, such pomp and splendour and gorgeousness of costume as then were visible in Florence made a deep impression.
Those who understood the contradictions of the age most deeply were the least capable of rising above them Consequently we obtain in Machiavelli's works the ideal picture of personal character, moving to calculated ends by scientifically selected means, none of which are sanctioned by the unwritten code of law that governs human progress. Cosimo's positivism is reduced to theory.
Under Pietro Medici, Ficino was already at the head of a school; to him Pietro's son and Cosimo's grandson, the illustrious Lorenzo, came over from the Peripatetics. Among his most distinguished fellow-scholars were Bartolommeo Valori, Donato Acciaiuoli, and Pierfilippo Pandolfini.
A man in Cosimo's position a great merchant and party leader, who also had on his side all the thinkers, writers and investigators, a man who was the first of the Florentines by birth and the first of the Italians by culture such a man was to all intents and purposes already a prince.
More probably, however, Cosimo's hatred and contempt of his father's minion Aretino, whose portrait by Titian he had condescended to retain, yet declined to acknowledge, impelled him to show something less than favour to the man who was known to be the closest friend and intimate of this self-styled "Scourge of Princes."
In 1495, after Cosimo's worthless grandson Piero de' Medici had been expelled from Florence and the Medici palace sacked, the statue was moved to the front of the Palazzo Vecchio, where the David now is, and an inscription placed on it describing it as a warning to all enemies of liberty.
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