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Updated: June 6, 2025
"By the way," said Francesco Cei, "have you heard that Camilla Rucellai has outdone the Frate in her prophecies? She prophesied two years ago that Pico would die in the time of lilies.
A change indeed had passed over him, as if the chilling touch of the abstract and disembodied beauty Platonists profess to long for was already upon him; and perhaps it was a sense of this, coupled with that over-brightness which in the popular imagination always betokens an early death, that made Camilla Rucellai, one of those prophetic women whom the preaching of Savonarola had raised up in Florence, declare, seeing him for the first time, that he would depart in the time of lilies prematurely, that is, like the field-flowers which are withered by the scorching sun almost as soon as they are sprung up.
Some of the social unions which were afterwards formed in Florence were in part political clubs, though not without a certain poetical and philosophical character. Of this kind was the so-called Platonic Academy which met after Lorenzo's death in the gardens of the Rucellai. At the courts of the princes, society naturally depended on the character of the ruler.
My friend Bernardo Rucellai here is a man of reasons, I know, and I have no objection to anybody's finding fine-spun reasons for me, so that they don't interfere with my actions as a man of family who has faith to keep with his connections."
Bernardo Rucellai was a man to hold a distinguished place in that Academy even before he became its host and patron. He was still in the prime of life, not more than four and forty, with a somewhat haughty, cautiously dignified presence; conscious of an amazingly pure Latinity, but, says Erasmus, not to be caught speaking Latin no word of Latin to be sheared off him by the sharpest of Teutons.
Hardly any one was so bold. Tito quoted Horace and dispersed his slice in small particles over his plate; Bernardo Rucellai made a learned observation about the ancient price of peacocks' eggs, but did not pretend to eat his slice; and Niccolo Ridolfi held a mouthful on his fork while he told a favourite story of Luigi Pulci's, about a man of Siena, who, wanting to give a splendid entertainment at moderate expense, bought a wild goose, cut off its beak and webbed feet, and boiled it in its feathers, to pass for a pea-hen.
Distribution of Artistic Gifts in Italy Florence and Venice Classification by Schools Stages in the Evolution of Painting Cimabue The Rucellai Madonna Giotto His widespread Activity The Scope of his Art Vitality Composition Colour Naturalism Healthiness Frescoes at Assisi and Padua Legend of S. Francis The Giotteschi Pictures of the Last Judgment Orcagna in the Strozzi Chapel Ambrogio Lorenzetti at Pisa Dogmatic Theology Cappella degli Spagnuoli Traini's "Triumph, of S. Thomas Aquinas" Political Doctrine expressed in Fresco Sala della Pace at Siena Religious Art in Siena and Perugia The Relation of the Giottesque Painters to the Renaissance.
Heroic Epic Poetry; Tasso. 5. Lyric Poetry; Bembo, Molza, Tarsia, V. Colonna. 6. Dramatic Poetry; Trissino, Rucellai; the Writers of Comedy. 7. Pastoral Drama and Didactic Poetry; Beccari, Sannazzaro, Tasso, Guarini, Rucellai, Alamanni. 8. Satirical Poetry, Novels, and Tales; Berni, Grazzini, Firenzuola, Bandello, and others. 9. History; Machiavelli, Guicciardini, Nardi, and others. 10.
And I, having to distribute the various works at the commission of his Excellency who ordained that I should act in company with the said four men, who were Giovanni Corsi, Luigi Guicciardini, Palla Rucellai, and Alessandro Corsini gave the greatest and most difficult labours for that festival to Tribolo to execute, which were four large statues.
This panel was removed from that place on account of the siege, and placed for safety in the Sacristy of the Badia of Florence. In S. Spirito in the same city, for Tanai de' Nerli, he painted a panel with Our Lady, S. Martin, S. Nicholas, and S. Catherine; with a panel in the Chapel of the Rucellai in S. Pancrazio, and a Crucifix and two figures on a ground of gold in S. Raffaello.
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