#giovanni di lorenzo de medici

[all-is-fair-in-love-and-war]

BROTHERS IN MEDICI DESERVE BETTER

[all-is-fair-in-love-and-war]

Piero deserved the father that Lorenzo would have been without the Pazzi conspiracy

lorenzo with the baby🤗

[all-that-is-gold-is-now-gone]

The Parents

Lorenzo the Magnificent

Clarice Orsini

The Children

Piero The Unfortunate

Maddalena Daughter of the Magnificent

Giovanni, Pope Leo X

[diceriadelluntore]

Integerrimi

Racconta Tito Livio:

La censura si era resa necessaria non solo perché non si poteva più rimandare il censimento che da anni non veniva più fatto, ma anche perché i consoli, incalzati dall’incombere di tante guerre, non avevano il tempo di dedicarsi a questo ufficio. Fu presentata in senato una proposta: l’operazione, laboriosa e poco pertinente ai consoli, richiedeva una magistratura apposita, alla quale affidare i compiti di cancelleria e la custodia dei registri e che doveva stabilire le modalità del censimento. (Ab Urbe Condita, IV, 8).

La magistratura Censorea venne istituita nel 443 a.C., durante il regime repubblicano di Roma: Censura deriva da una concrezione tra CĒNSEŌ, “dare un’opinione, giudicare, valutare” e il suffisso -TŪRA, necessario per formare un sostantivo a partire da un verbo. I magistrati censori non solo facevano i censimenti (necessari sia per il sistema fiscale che per quello militare), ma erano anche guardiani della CURA MORUM, cioè i costumi del singolo e della collettività ed avevano poteri particolari: erano decisivi nelle assegnazioni degli appalti per i lavori pubblici, ed erano loro a concedere in affitto i terreni statali e avevano incarico di nominare i candidati che si potevano candidare al seggio del Senato, Massima Istituzione di Roma, nelle famose Lectio Senatus.

Il significato odierno si deve ad uno di questi poteri antichi, e ad uno rinascimentale: si racconta che i censori potevano tagliare con una cesoia apposita gli abbellimenti che ritenevano troppo distante dalla Cura Morum, tanto che come antonomasia dell'integerrimo amico della sobrietà si ricorda Marco Porcio Catone, detto il Censore, proprio per il ruolo che svolgeva al tempo.

Durante il Rinascimento, precisamente nel 1515, Papa Leone X, nato Giovanni di Lorenzo de' Medici, secondogenito di Lorenzo Il Magnifico, emanò una bolla, Inter Sollicitudines, dove si stabilisce che essendo la stampa "inventato per la gloria di Dio, la crescita della fede e la propagazione delle scienze utili” ma con la paura che possa diventare “un ostacolo alla salvezza dei fedeli in Cristo”, decide che nessuno può stampare un libro senza l'autorizzazione del vescovo locale (o del Vicario del Papa, se si tratta di libri da stampare nello Stato della Chiesa), sotto pena di scomunica. Nasceva così l’imprimatur, ossia il visto ecclesiastico per la stampa dei libri. Di pochi anni dopo, nel 1559, è il primo Indice dei Libri Proibiti, il quale fu per l'ultima volta aggiornato nel 1959 prima del Pontificato di Papa Giovanni XXIII.

Gli uomini potrebbero fare a meno dell'arte, ma non i censori. Stanisław Jerzy Lec

[thiswaycomessomethingwicked]

And I have found three of Giovanni’s daughters!

A million years later Jesus Christ this man is hard to track down.

One might have been born out of wedlock when he was twenty-two? But that’s still TBC.

If I got it right, he married Maria Castellani circa 1469 (young! He would have been 25ish. Italian men in this period tended to marry a little older).

Daughters are: Lena (possible out of wedlock one), Lucrezia, and Ginevra (presumably named for his aunt).

I’ve seen sources saying he had four daughters, so we might be missing a name. TBC.

What I want to track down is the last will and testament, that would have some interesting information.

Also found his parents: Niccolò and Constanza

I believe this will be of interest to like three people, the main one being @centaurianthropology

(So that letter where Marsilio is like “I heard you had another daughter. But you haven’t officially told me so I’m congratulating you but also not? Idk man. Remember that daughters are also blessings!” That would have been for Ginevra, I think. If not her then the so-far unnamed fourth daughter.)

——

And what was our beloved philosopher up to in 1468/69?

Translating De Amore on Giovanni’s urging/recommendation of course.

From my little chronology:

1468 – Marsilio translated Dante’s De monarchia. It is said that he may have suffered a bit of a crises over his Platonic philosophising and its potential conflicts with his Christian beliefs—however, the extent of what this meant is debated. Some historians (e.g., Carol Kaske and John Clark) believe that the “famous” crises never occurred and was fabricated by his first biographer Giovanni di Bardo Corsi.

Also in 1468 Marsilio wrote/completed De amore, his commentary on Plato’s Symposium.

This was the year Lorenzo de’ Medici’s came of age. Giovanni Cavalcanti participated in the joust held in Lorenzo’s honour.

The joust is the first, formal, public mention of Giovanni Cavalcanti that we have.

1469 – Marsilio completed his translations of Plato and began his work on Platonic Theology, or, the Immortality of Souls in Eighteen Books. He also had the first Latin edition of Pimander, from the Corpus Hermeticum, published in Venice.

[vecchiorovere]

DONATELLO

"Annunciazione Cavalcanti"

uno straordinario capolavoro di Donatello che è possibile ammirare all’interno della Basilica di Santa Croce, a Firenze.

L’opera realizzata in pietra serena serena dorata e in parte policroma fu commissionata all’artista da Giovanni Cavalcanti, cognato di Lorenzo de’ Medici il Vecchio, fratello di Cosimo, il Pater Patriae. Per tale ragione non è da escludere che la famiglia Medici abbia avuto un ruolo rilevante in questa commissione affidata a Donatello.

L’artista mise mano all’opera in età matura, nel 1435, poco prima di partire alla volta di Padova.

L’ubicazione originale dell’opera è ancora oggetto di dibattito tra gli studiosi.

Fonte Web

[themuseumwithoutwalls]

MWW Artwork of the Day (12/4/23) Scheggia [Giovanni di ser Giovanni Guidi](Italian, 1406–1486) The Triumph of Fame (c. 1449) Tempera, silver & gold on wood, 62.5 cm. The Metropolitan Museum of Art, New York (Rogers Fund)

This commemorative birth tray (desco da parto), celebrates the birth of Lorenzo de' Medici (1449–1492), the most celebrated ruler of his day as well as an important poet and a major patron of the arts. Knights extend their hands in allegiance to an allegorical figure of Fame, who holds a sword and winged cupid (symbolizing celebrity through arms and love). Winged trumpets sound Fame's triumph. Captives are bound to the elaborate support. The three-colored ostrich feathers around the rim are a heraldic device of Lorenzo's father, Piero de' Medici. Painted by the younger brother of Masaccio, it was kept in Lorenzo’s private quarters in the Medici palace in Florence.

[teecupangel]

What if scenario: Desmond dies and is reborn in AC2 and ends up somehow being betrothed to Claudia instead of Duccio. (Duccio still gets beaten up though lol) Desmond has his memories like in yew branches.

I’m sure there’s going to be at least three people (one of them being Claudia herself) who would joke that he only wants to marry Claudia to finally be Ezio’s brother. XD

Okay, in all seriousness, let’s talk about how this would work.

Betrothals during this era is quite… early. Claudia herself is betrothed to Duccio by the time she is 15 so it won’t be surprising if their betrothal happened when she was 13 or 14.

Now, you mention Yew Branches and I think that we would have an easiest way to make this happen by just kicking Desmond into a canon character that would make sense to be betrothed to Claudia.

Of course, the first target that comes to mind would be one of the Medicis, mainly because that would fortify the alliance between House Medici and House Auditore and Claudia would be marrying ‘up’ but the oldest son of Lorenzo would be Piero and he has an 11 year difference with Claudia and would be 4 when Claudia is 15.

Claudia would definitely complain and say no. Honestly, pre-tragedy Claudia feels like a girl who would be into older men because she’d think they’re sooooo mature and ‘dashing’ and ‘mysterious’. A bit of a hopeless romantic keeping her Auditore audacity at bay.

So…

May I suggest… kicking Desmond into being reborn as Lorenzo’s unfortunate will-die-in-the-Pazzi-conspiracy younger brother, Giuliano?

He would be 8 years older than Claudia but that’s fine. There are larger age gaps in Renaissance Italy (Lucrezia’s 14 year gap with Giovanni Sforza for example) and it would be funny if Claudia is actually attracted to him because he’s cool, strong and sooooo mysterious.

Desmond… Desmond just wants to save everyone, goddammit.

Also… this gives us an excuse for Desmond to have complicated feelings over having Lorenzo as his brother.

If you’re still iffy with the age gap, Lorenzo di Pierfrancesco de' Medici is only 2 years older than Claudia and marrying Claudia to a branch family member of the Medici would be a better move because Lorenzo is trying to lock in the Auditores’ loyalty (and the Assassins’ support) but marrying from the main family seems a bit… ‘wasteful’.

Either way, pre-tragedy Claudia? She’d definitely be attracted to Desmond.

Post-tragedy Claudia? Yeah, she’d cling to Desmond more because she’s so lost but, once she gets her feet to the ground and starts understanding the ‘freedom’ she has in Monteriggioni, she’d probably be the one to break off the engagement (especially if this is Brotherhood!Claudia).

Desmond accepts it but, shit… He can’t believe he’s saying this but…

He…

He might have accidentally fallen in love with Claudia already???

[palecleverdoll]

Ages of Medici Women at First Marriage

I have only included women whose birth dates and dates of marriage are known within at least 1-2 years, therefore, this is not a comprehensive list.

This list is composed of Medici women from 1386 to 1691 CE; 38 women in total.

Piccarda Bueria, wife of Giovanni di Bicci de’ Medici: age 18 when she married Giovanni in 1386 CE

Contessina de’ Bardi, wife of Cosimo de’ Medici: age 25 when she married Cosimo in 1415 CE

Lucrezia Tornabuoni, wife of Piero di Cosimo de’ Medici: age 17 when she married Piero in 1444 CE

Bianca de’ Medici, daughter of Piero di Cosimo de’ Medici: age 14 when she married Guglielmo de’ Pazzi in 1459 CE

Lucrezia de’ Medici, daughter of Piero di Cosimo de’ Medici: age 13 when she married Bernardo Rucellai in 1461 CE

Clarice Orsini, wife of Lorenzo de’ Medici: age 16 when she married Lorenzo in 1469 CE

Caterina Sforza, wife of Giovanni de' Medici il Popolano: age 10 when she married Girolamo Riario in 1473 CE

Semiramide Appiano, wife of Lorenzo di Pierfrancesco de' Medici: age 18 when she married Lorenzo in 1482 C

Lucrezia de’ Medici, daughter of Lorenzo de’ Medici: age 18 when she married Jacopo Salviati in 1488 CE

Alfonsina Orsini, wife of Piero di Lorenzo de’ Medici: age 16 when she married Piero in 1488 CE

Maddalena de’ Medici, daughter of Lorenzo de’ Medici: age 15 when she married Franceschetto Cybo in 1488 CE

Contessina de’ Medici, daughter of Lorenzo de’ Medici: age 16 when she married Piero Ridolfi in 1494 CE

Clarice de’ Medici, daughter of Piero di Lorenzo de’ Medici: age 19 when she married Filippo Strozzi the Younger in 1508 CE

Filberta of Savoy, wife of Giuliano de’ Medici: age 17 when she married Giuliano in 1515 CE

Madeleine de La Tour d’Auvergne, wife of Lorenzo II de’ Medici: age 20 when she married Lorenzo in 1518 CE

Catherine de’ Medici, daughter of Lorenzo II de’ Medici: age 14 when she married Henry II of France in 1533 CE

Margaret of Parma, wife of Alessandro de’ Medici: age 13 when she married Alessandro in 1536 CE

Eleanor of Toledo, wife of Cosimo I de’ Medici: age 17 when she married Cosimo in 1539 CE

Giulia de’ Medici, daughter of Alessandro de’ Medici: age 15 when she married Francesco Cantelmo in 1550 CE

Isabella de’ Medici, daughter of Cosimo I de’ Medici: age 16 when she married Paolo Giordano I Orsini in 1558 CE

Lucrezia de’ Medici, daughter of Cosimo I de’ Medici: age 13 when she married Alfonso II d’Este in 1558 CE

Bianca Cappello, wife of Francesco I de’ Medici: age 15 when she married Pietro Bonaventuri in 1563 CE

Joanna of Austria, wife of Francesco I de’ Medici: age 18 when she married Francesco in 1565 CE

Camilla Martelli, wife of Cosimo I de’ Medici: age 25 when she married Cosimo in 1570 CE

Eleanor de’ Medici, daughter of Francesco I de’ Medici: age 17 when she married Vincenzo I Gonzaga in 1584 CE

Virginia de’ Medici, daughter of Cosimo I de’ Medici: age 18 when she married Cesare d’Este in 1586 CE

Christina of Lorraine, wife of Ferdinando I de’ Medici: age 24 when she married Ferdinando in 1589 CE

Marie de’ Medici, daughter of Francesco I de’ Medici: age 25 when she married Henry IV of France in 1600 CE

Maria Maddalena of Austria, wife of Cosimo II de’ Medici: age 19 when she married Cosimo in 1608 CE

Caterina de’ Medici, daughter of Ferdinando I de’ Medici: age 24 when she married Ferdinando Gonzago in 1617 CE

Claudia de’ Medici, daughter of Ferdinando I de’ Medici: age 16 when she married Federico Ubaldo della Rovere in 1620 CE

Margherita de’ Medici, daughter of Cosimo II de’ Medici: age 16 when she married Odoardo Farnese in 1628 CE

Vittoria della Rovere, wife of Ferdinando II de’ Medici: age 12 when she married Ferdinando in 1634 CE

Anna de’ Medici, daughter of Cosimo II de’ Medici: age 30 when she married Ferdinand Charles of Austria in 1646 CE

Marguerite Louise d’Orleans, wife of Cosimo III de’ Medici: age 16 when she married Cosimo in 1661 CE

Violante Beatrice of Bavaria, wife of Ferdinando de’ Medici: age 16 when she married Ferdinando in 1689 CE

Anna Maria Franziska of Saxe-Lauenberg, wife of Gian Gastone de’ Medici: age 18 when she married Philipp Wilhelm of Neuberg in 1690 CE

Anna Maria Luisa de’ Medici, daughter of Cosimo III de’ Medici: age 24 when she married Johann Wilhelm, Elector Palatine in 1691 CE

The average age at first marriage among these women was 17 years old.

[robin-in-the-library]

Here is how we can kill Giovanni Auditore and still win—

So, everyone who knows me know that I have a personal and deep dislike of the whole assassination of the Auditore, for a variety of reasons. First of all my suspension of disbelief ends at a process on a noble that is part of the medicean close circle being concluded, ruling for execution too, in but one night. It would be more likely for it to rule for exile, even if it happened in one night. Anyway. Second thing, you are really going to make a pivotal death in the game’s plot happen, in the kill-people-game, set in incredibly-violent-stab-stab-murders years of Italy, cushioned between the Duke of Milano being stabbed in the chest entering a church and Giuliano de’ Medici getting his head bashed in and a dozen other stab wounds in Santa Maria del Fiore, and make it something so utterly boring as a hanging? Where is the drama? Where is the visceral hatred, the centuries long hidden war intertwined with the political opposition in Firenze? Shameful, I say.

I have already ranted about the execution but I will shortly repeat it: man wasn’t getting condemned to the rope in one night. Least of all his children, and especially Petruccio. Like, that was going to be unlikely even if he were not in the favour of the current political power. But he very much is in the favour of the Medici, and even if Lorenzo were away for that day (one hour away on horseback, btw) his brother remained in Firenze, and most people involved with the trial would have been in the Medici’s pockets, loyal to them, or simply unwilling to risk going against them, I truly doubt the Templars could buy or threaten everyone. With the added point of, what guarantees Lorenzo wouldn’t have retaliated? Even if the hanging were lawful (which, it can’t be, but anyway) the Medici are very good at financially ruining people (see what happened after the congiura dei Pitti).

That being said, we have arrested Giovanni and Federico (and not Petruccio because that’s just whack, and that child shouldn’t even be in Firenze anyway, put him in the countryside for his health or so help me). Now we have the, previously mentioned arrest or Cosimo de Medici to take inspiration from, I guess: when the man was imprisoned in 1433 he refused to eat anything not given to him by his family for he feared being poisoned. Now, I don’t think you’d get to poison an Assassin, but he can still be killed in his cell.

After all, a hanging is so impersonal and clean, it’s much more satisfying to corner an imprisoned man and stab him enough times that his body has to be sewn closed for burial (that’s what happened to Giuliano, btw :3). And Federico can be made to watch, can be stabbed too, and whether he dies or not is up for discussion I guess.

[maranzalla]

19, 32, 33

32. Do you have a word/expression that you always use in your writing?

I’m sure I do, I am guilty of many adverbs. The issue is that I do not always notice it, and right now as I wear down at the wall sentence by sentence I do not always get the luxury to write in order. So I read it all again to review it, and I find I have written the exact same phrase in three consecutive instances because I actually wrote it on three separate nights trying to squeeze some juice out of the creative state. But heh.

33. Give your writing a compliment.

I know my dialogue fucks. I cackle madly sometimes when I reread some of my bangers and you guys don't even see what remains on the cutting room floor.

19 Post a WIP snipped with no context below the cut as it's long (the wall is permeable tonight!)

“What do you mean, why? I killed her husband. It’s only appropriate.”

[You didn’t kill her husband, the poison in the wine did, which is fair and appropriate, considering the fact that the Templars were going to use the spiced wine to poison Lorenzo de’ Medici – oh, why are you even explaining things? It’s useless!]

“But I was there, Diletta! I could have refused. I indulged him, we drank-”

[He! Was! A! Templar!]

“- and he died!”

[You almost died as well, you stupid bastard! If it weren’t for me, you would have died too! you screech, but it’s like Giovanni can’t even hear you.]

“- and you’ve seen how it is in there! Her life was going to be ruined as a widow. She might as well be dead already. ”

[Oh, may the good lord spare me from the fate of a young, pretty widow. You would have had a new husband in a week – well, make that ten months. A rich, elderly, new husband. This is how you play the game, none of that crying and sobbing shut up in your room. No wonder Soderini wanted to get her sent to a convent. ]

“Madonna Paola said that messer Vespucci won’t take her back, he says his daughter is cursed. Cursed. A woman has no rights in the eyes of the law unless she has a male guardian or a solicitor… would you enjoy the elder Soderini as a guardian? ”

[A solicitor. And her dead husband’s money. Blood money. Weregild. Oh, you see it now. This is how you buy back your conscience, you filthy soulless Genoese bastard, for not drinking yourself to death with the younger Soderini.]

“Maybe. But it bad after all? Why are you so mad that we made some balance in this perverse world?”

[EXPERIENCE A MOMENT OF PERSONAL INSIGHT?]

[No.]

[You’re just … it’s so unfair. It’s so unfair. No one ever turned up with a magic sheet of paper that fixed all your problems for you. No one plucked you from the precipice by the scruff of your pretty gown and offered you salvation: you had to get down in the mud and crawl in your sweat and tears while getting kicked in the teeth. The fact that these things can, in fact, happen, just not to you, has sent you in some sort of spiral.]

[You cannot actually bring yourself to say any of this out loud: you feel tears pushing your eyeballs out of your skull, and you know that if you actually lose your composure now, Giovanni might even try to console you, which would be the worst possible thing. You keep seeing in your mind’s eye the moment he handed madonna Vespucci her fortune: right now, if he were kind to you as well you could not possibly withstand it.]

[You must steer your ship away from these dangerous waters. On safer shores, cold, precise, hard...]

[THINK ABOUT MONEY?]

[Where did the money come from, anyway? Soderini’s father is still alive, so he hadn’t come into his inheritance yet…]

“It comes from the Auditore banco.”

[What?]

“Yes. Those funds got frozen when messer Auditore and his sons were executed as rebels to the Republic of Florence, so the Gonfaloniere could annex the money and estate. Soderini had the deeds and he was supposed to deposit them into the Bank of St. George, and the Templars would have gotten them…”

[But you made me will his deposit to his wife.]

“Yes! Isn’t it great? Do you know that madonna Vespucci was actually promised to Ezio Auditore before this whole shitshow started? I found the prenuptial in the archives of the Comune. This way it all stays in the family ...Ezio would agree, I’m sure.”

[You can ask him.]

“He’s alive?”

[Yes. Oh, yes.]

“Ah… Well, Lorenzo seemed to think it was a good idea.”

[Oh, you’re sure he did. Lorenzo de’ Medici seems to think anything can be fixed with a big enough deposit of florins. You’re so flabbergasted by the sheer enormity of this stunt that you do not even register Giovanni refers to the shadow tyrant of Florence on a first name basis. ]

“He’s really alive? Ezio Auditore? Because I think she might like to know-”

[What? Stop it! Stop being such a… such a solicitor!]

“No, no, I think it might make a fantastic novella. Lost love reunited. Don’t you like to read this sort of stuff?”

[This is it. You’re going to truly be sick now.]

[…]

[SEQUENCE ENDED.]

[mybeautifulchristianjourney]

500 years ago, Roman Catholicism was the predominant religion practiced in the European world. Giovanni di Lorenzo de' Medici was elected to the office of Pope in March 1513, and was the last non-priest to be elected pope. Giovanni is most widely known by his official Papal name, Pope Leo X; and was the Pope during the beginnings of the Protestant Reformation. In 1521, Pope Leo excommunicated Martin Luther who nailed the 95 theses (due to unbiblical practices such as the exploitation of people, and the corruption of biblical principles via the practice of selling indulgences). Leo then unexpectedly died from pneumonia 10 months afterwards.

This is why we remember Church History, because we can see how the Lord continues to work to preserve the truth of His Word and His covenant people, and it can give us perspective on current issues facing the church today. Next week, join us in remembering the protestant reformers on Reformation Day!

Source:

1689 Reformed Baptist

[joseandrestabarnia]

Retrato de Leonora de Toledo con su hijo Giovanni Agnolo di Cosimo Tori conocido como Bronzino (Florencia 1503-1572 ca. 1545 Óleo sobre tabla 115x96 cm Inventario 1890 n. 748

El espectacular retrato de Eleonora di Toledo junto con su segundo hijo Giovanni es una de las mayores obras maestras de Bronzino, y es la obra que contribuyó a transmitir el esplendor de la esposa de Cosimo I de Medici al imaginario colectivo. Eleonora, con su piel blanca, sus ricas joyas y su majestuoso vestido, destaca sobre un fondo azul magnético que le da un aura de sacralidad y confiere a su retrato el valor de una aparición. La inmensa extensión de azul fue creada con el pigmento más caro disponible, el azul lapislázuli, tradicionalmente reservado en el arte italiano para el manto de la Virgen y, por tanto, un signo de devoción que identifica a María. Una de las tareas de este retrato es sin duda realzar el papel dinástico de la duquesa, garante de la sucesión de la casa de los Medici, reforzado por el nacimiento en 1543 del mismísimo Giovanni que se encuentra a su lado, el segundo hijo varón candidato a una carrera eclesiástica, como le ocurrió al célebre antepasado cuyo nombre llevaba, el segundo hijo del Magnífico Lorenzo, que se convirtió en Papa en 1513. Otro elemento significativo es sin duda el manto tejido en un "brocado rizado", un tejido muy caro, una especialidad de Fabricación florentina, a menudo reservada a la confección de prendas litúrgicas. Los motivos repetidos en el tejido, la granada y la piña, son símbolos cristianos de resurrección y regeneración, adecuados para indicar la fertilidad de la duquesa. Pero la pintura, ciertamente, no pretende retratar exclusivamente la imagen de una buena esposa y madre cristiana. Eleonora era una estadista, hábil administradora y mano derecha del duque. En el verano de 1545, mientras Bronzino pintaba su retrato, Eleonora ya había ocupado el cargo de jefa de Estado tres veces durante las ausencias de Cosme. El mismo corte del cuadro, en su retrato de ella hasta las rodillas (repitiendo la solución innovadora que adoptó Rafael para el retrato de Leo Bronzino logró captar todos los rasgos de la personalidad de Eleonora y comunicarlos en un retrato extraordinario que representa a una esposa y madre, pero también a una mujer poderosa e independiente.

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

[all-that-is-gold-is-now-gone]

Medici Thoughts

Okay first things first, abuse its bad. Don't condone it.

So I don't agree with Lorenzo hitting Piero. Like it actually shocked me and I'm surprised Clarice didn't come back to live and hand her husband his ass right then and there for what he did.

While I don't agree with it, and it honestly...felt rather out of character for Lorenzo, also historically he had a good relationship with his kids

BUT I do see why the writers put it in, because I think it represents a lot of things.

1: It represents how lost Lorenzo is without Clarice. Like, the dude was bordering on losing it while she was still alive and her death really pushed him over the edge. He lost his way, he lost himself. He felt like an animal in a trap because he knows he's dying. The thing is, is that Clarice was supposed to survive HIM, not the other way around. Lorenzo would leave the bank and his family to her, probably one of the last people he trusts. But then she died. So he is not only mourning her but he is also panicking cause now he has to adjust his plans cause now when he dies he's gonna be leaving his children in charge of a broken Florence with no protection. He's panicking, he's freaking out and his son just did something to stop his plans, in his view to protect his family.

2: I think it shows just how much Lorenzo has changed over the years, the Pazzi Conspiracy hardened him. Lorenzo de Medici died that day, Lorenzo the Magnificent was all the remained. Lorenzo has basically been in fight or flight mode for the last several years and the dude is tired. He's done and he's losing it. (not en excuse)

3: I think it shows that in the end Lorenzo becomes something so much worse than any of his precedseeors. Worse than Giovanni, Cosimo and Piero. He was the hope and the light of the family. Now he has turned into something darker. He wanted to be better than those before him and instead he turned into something so much worse.

[alessandrodag]

Medici, Masters of Florence

Los Medici, Señores de Florencia, (Medici: Masters of Florence) en su idioma original, es una serie que nos sitúa en la Europa del siglo XV, más específicamente en la región que conocemos hoy en día como la península italiana. Adentrándonos en el contexto del surgimiento de posiblemente una de las familias más influyentes y ricas de toda Europa, “los Medici”.

Todo comienza en Florencia en el año de 1429, donde el principal de la familia de los Medici, “Giovanni de Medici” logra establecerse como un solido eslabón de la sociedad Florentina, a pesar de las acciones en contra de diversas familias de nobles que quieren acabar su influencia, como los Albizzi entre otros. En la serie nos muestran una serie de acontecimientos que causan que la trama nos enfoque en el desarrollo de los dos hijos principales de la familia y herederos del banco, Cosimo y Lorenzo de Medici, los cuales asumen el mando después de la misteriosa muerte de su padre envenenado, por consiguiente, veremos como estos dos personajes intentan mantener el legado de la familia a flote y como logran afrontan una serie de eventos que azotan a la Florencia de la época.

A lo largo de las escenas, tanto el guion como el transcurso de los acontecimientos nos ponen al frente de escenarios históricos de la cultura Florentina y la Italiana en general, pero principalmente los que comprende a la región toscana, teniendo de principales protagonistas del entorno a Montepulciano, Pienza, San Quirico de Orcia y Bagno Vignoni, además de la propia Florencia que funciona como escenario principal y lugar donde residen la mayoría de los personajes principales residen y conviven.

Una de las cosas mas remarcables es como a través de la ambientación, el uso de la utilería y de disfraces, además de usar las mismas construcciones antiguas y algunos que otro efectos de cámara nos narran como era la arquitectura de la época, una arquitectura medieval que iba en transición entre el gótico y las nuevas corrientes que a lo largo de la serie veremos promulgadas por artistas y arquitectos como Filippo de Brunelleschi y Donato di Niccolò di Betto Bardi, comúnmente conocido “Donatello”, que van experimentando en esta nueva corrientes del renacimiento.

Sin ningún tipo de duda la variedad de escenarios y la riqueza cultural que en ellos nos muestran es una deleite total, tempranamente en la serie nos ponen en contexto del entorno con edificaciones como La catedral de Pienza o el palacio Piccolomini, que nos muestran un poco de esta nueva arquitectura que se iba desarrollando en la Italia de 1400´s, esa postura clásica de las edificaciones, en contraste de otras edificaciones que portan mayor antigüedad así como Palazzo Comunal De Montepulciano

O por otro lado mostrando su lado mas bélico con estructuras de carácter militar como el Castillo de odescalchi bracciano

Que además de sus impresionantes tomas, poco a poco nos ponen en contexto de los hechos que van ocurriendo, entre intrigas y conspiraciones, enemistades políticas y conflictos abiertos, entre las familias, y abriéndonos a los sucesos mas globales, como la guerra entre Milano y Florencia por la ciudad de Luca, o la Aparición de la peste negra que azota inclemente a la ciudadanía Florentina y que tiene su desarrollo principal en torno a la Catedral de Santa María de las Flores y la construcción de su cúpula. Se percibe ampliamente la influencia de la religión en el día a día en la sociedad en general, y como los nobles y adinerados tratan de tomar ventaja sobre personajes de la Fe, ya sea con el uso de extorsión, soborno o incluso amenaza para así asegurarse favores dentro de la misma jerarquía religiosa, mostrando una vez más lo complejo de la situación y como los mismos protagonistas ni siquiera quieren formar parte de esto si no que se ven obligados a formar parte todo esto si es que quieren sobrevivir.

Sin lugar a dudas la serie logra su cometido de envolvernos en el punto de vista de la época, arrastrando al espectado al medievo y casi que dándole una alabarda y mandarlo a la ciudad más cercana para que o muera en alguna disputa entre familias, o le dé disentería antes  de tan siquiera llegar, la forma de como abordar la vida de los personajes y sus objetivos, la decepción de algunos por no cumplirlos, o el odio de otros al verse impedidos en su cometido se siente y como la historia te narra dos realidades, la de antemano desde el punto de vista de Cosimo y los miembros de su familia, y por otro lado, la de la gente de las ciudades del comienzo del renacimiento.

[thiswaycomessomethingwicked]

Some excerpts from the first speech Giovanni “gave” at a supper Bandini hosted in celebration of Plato’s death day where everyone read the Symposium then gave speeches on the nature of Love in response to each section of the Symposium.

Naturally, what the speeches actually were versus what Marsilio wrote down are likely vastly different. He very much was just using that gathering as a way to frame his commentary on Symposium in the classic Socratic style.

In any case, he gave Giovanni the most speeches (of course he did) with three of seven going to him. The others were given by Cristoforo Landino, Carlo Marsuppini, Tomasso Benci, Cristoforo Marsuppini.

Granted, technically all attendees were supposed to get one but a few people had to leave so the excess fell to Cavalcanti

Here’s Marsilio’s required plug about how hot his boyfriend is:

And a bit from the “official” preface and dedication (not the Secret/Personal one, as I call it, which was the true dedication to Giovanni):

The official dedication is to the citizens of Florence, Bernardo Del Nero, and Antonio di Tuccio Manetti and in this one he says Lorenzo de Medici inspired him to write the commentary on the Symposium. This is obviously just Ficino trying to please a patron because he says in many letters, and in the letter/secret preface of the first manuscript edition that it was Giovanni who persuaded him as a means to try and leverage him out of a deep depressive episode.

Anyway, your daily Ficino Blogging continues.