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The Duke and His Artists: The Politics of Visual Representation in Public Spectacles of Florence during the Reign of Cosimo I de’ Medici

The Duke and His Artists: The Politics of Visual Representation in Public Spectacles of Florence during the Reign of Cosimo I de’ Medici

In Pagni’s report to Cosimo, the highlight of the Pianigiani’s gathering was a macabre funeral where they fabricated an effigy of the dead and his body with rape, leeks, and carrots. 308 What offended Pagni was that the subject of the funeral was the recently deceased Archibishop of Pisa, Onofrio Bartolini. Bartolini, from a family known for its loyalty to the Medici, had been appointed to the Archibishop of Pisa by Pope Leo X in 1518. He was an important member of Cosimo’s court and an eminent member of the Accademia Fiorentina. By coincidence, he had played a visible role in some of the cultural events that this thesis has investigated. It was Bartolini who received Eleonora of Toledo at Livorno in 1539. 309 When arguing with Cellini over the exact value of Perseus, Cosimo had sent Bartolini to Baccio Bandinelli for an independent evaluation of the sculpture. Bartolini returned with an estimate of “sixteen thousand crowns or more” and Cellini reports in his autobiography that the Duke was “mightily enraged.” 310 The Pianigiani celebrated Bartolini’s death in a burlesque manner. After an oration had been delivered, raucous drums and horns were played and the members sang the obsequy services. An owl emerged from the effigy’s head and flew around the darkened room to represent the spirit of the Archbishop “freed from the punishments of Hell.” 311 “That particular thing disturbed me” wrote Pagni to the Duke, regarding the manner with which the mock funeral was staged. The members of the Accademia del Piano were apparently parodying the obsequies of the Accademia Fiorentina, and for Pagni, it was even more significant that the spectacle took place on the anniversary of the assassination of Duke Alessandro deMedici. 312 Though Pagni admitted that he might be exaggerating the meaning of the event, he recommended a legal retribution, referring to a law issued in 1549 that forbade group meetings without prior ducal authorization in order to prevent conspiracy. 313
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PREFERENCES OF PATRONAGE IN THE PORTRAITS OF COSIMO I DE MEDICI

PREFERENCES OF PATRONAGE IN THE PORTRAITS OF COSIMO I DE MEDICI

Duke. Vasari was born in 1511 and was the first son of Antonio di Giorgio Vasari and wife Maddalena Tacci. 185 In 1519, a cousin of Vasari, Luca Signorelli, came to visit the Vasari family and according to Vasari, Signorelli convinced his father to allow him to learn how to draw. 186 His academic education began under Antonio da Saccone and Giovanni Lappoli, but Vasari initiated his study of art under Guillaume de Marcillat, a French glass-painter. 187 In 1524 Vasari joined Alessandro and Ippolito deMedici in Florence after being brought to the city by Cardinal Silvio Passerini, and he studied with the Medici children under tutor Piero Valeriano. 188 According to Vasari‟s autobiography as presented in the Lives, Vasari spent some time in Andrea del Sarto‟s workshop and then under the sculptor Baccio Bandinelli. 189 When the Medici were expelled from Florence on May 16, 1527, Vasari returned to Arezzo and meddled in the goldsmith profession during this time. 190 Vasari made numerous paintings here and there in this interim, but his career as an artist really began when he entered into Duke Alessandro deMedici‟s service in 1532, when he was offered many ducal commissions. 191
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The Duke and His Artists: The Politics of Visual Representation in Public Spectacles of Florence during the Reign of Cosimo I de’ Medici

The Duke and His Artists: The Politics of Visual Representation in Public Spectacles of Florence during the Reign of Cosimo I de’ Medici

value of Perseus, Cosimo had sent Bartolini to Baccio Bandinelli for an independent evaluation of the sculpture. Bartolini returned with an estimate of “sixteen thousand crowns or more” and Cellini reports in his autobiography that the Duke was “mightily enraged.” 79 The Pianigiani celebrated Bartolini’s death in a burlesque manner. After an oration had been delivered, raucous drums and horns were played and the members sang the obsequy services. An owl emerged from the effigy’s head and flew around the darkened room to represent the spirit of the Archbishop “freed from the punishments of Hell.” 80 “That particular thing disturbed me” wrote Pagni to the Duke, regarding the manner with which the mock funeral was staged. The members of the Accademia del Piano were apparently parodying the obsequies of the Accademia Fiorentina, and for Pagni, it was even more significant that the spectacle took place on the anniversary of the assassination of Duke Alessandro deMedici. 81 Though Pagni admitted that he might be exaggerating the meaning of the event, he recommended a legal retribution, referring to a law issued in 1549 that forbade group meetings without prior ducal authorization in order to prevent conspiracy. 82
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BRONZINO ARTIST AND POET AT THE COURT OF THE MEDICI Palazzo Strozzi, Florence

BRONZINO ARTIST AND POET AT THE COURT OF THE MEDICI Palazzo Strozzi, Florence

By covering the period between the establishment of the first republic (1494) and the dramatic capitulation of the second (1530), L’officina della maniera strived to redeem the critical interpretation of that era from the oppressive assumption that the new cultural mood had emerged from an atmosphere of serious crisis; it thus planned to highlight the values of freedom cultivated at the time and rooted in the climate of staunch morality that had matured in Florence with Savonarola. Without further investigating the concept of ‘Mannerism’ or advancing new theories as to its meaning, the Uffizi exhibition also aspired to draw a distinction between the first three unconventional decades of the 16 th century and the years that followed. The exhibition closed with the lyrical and poignant works created during the siege of Florence, although – ironically – upon leaving the rooms in which they were displayed one had to walk under the elegant carved and gilt coat of arms of Alessandro deMedici: the ducal symbol of the demise of the libertarian aspirations that had flourished with the republic, but also the harbinger of a new age and a different culture (with everything that this would bring to bear on figurative language).
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Alessandro Pellegata Curriculum Vitae

Alessandro Pellegata Curriculum Vitae

welfare: a comparative analysis of new democracies” co-financed by the Italian Ministry for Research and Higher Education (PRIN 2008, Protocol 2008WPTS99_001, Principal Investi[r]

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ALESSANDRO BONANNO January, 2012

ALESSANDRO BONANNO January, 2012

Li “ Food Access and Food Security: an Empirical Analysis.” Selected Paper for Presentation at the 2011 AAEA & NAREA Joint Annual Meeting, Pittsburgh, Pennsylvania, July 24-26, [r]

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Alessandro Diaz de Santillana

Alessandro Diaz de Santillana

Extended residences at Museum of Glass (MoG), Tacoma, Washington, preparing in the hot shop of the museum all the works for Scapes, joint exhibition with Laura de Santillana. The Maestro is Ben Cobb and the technical advisor Charlie Parriott. 2011

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Alessandro Mendini Brad Slavin

Alessandro Mendini Brad Slavin

The value of knowledge is immeasurable, and having the ability to share knowledge with others is an opportunity that is often taken for granted. It is this opportunity that fuels Alessandro Mendini’s work and his ideas that lead to the theories of Italian Radical Design in Milan during the 1960s. Focusing on the humanistic side of design and not on mass production, Mendini and other theorists of the time, such as Ettore Sottsass, drew from intellectual ideas as inspiration for their work. Mendini’s attitude of being “more interested in humanity than naturalness” allowed him to produce works that were focused on the specific context in which he was part of (Mendini, 2005).
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Curriculum Vitae. Alessandro Sarracino

Curriculum Vitae. Alessandro Sarracino

May 2009 Seminar at ISC-CNR, University Sapienza Roma, Italy August–September 2007 “Les Houches Predoctoral School in Statistical Physics” September 2006 “IV Workshop on non equilibrium [r]

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ALESSANDRO GABBIADINI CURRICULUM VITAE

ALESSANDRO GABBIADINI CURRICULUM VITAE

- 2010 -2011 External professor for the course of graphical user interfaces for communication, Department of Psychology, University of Milan-Bicocca.. - 2010 -2011 Introductory lectur[r]

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Dott. Alessandro Zardini

Dott. Alessandro Zardini

De Marco M., Rossignoli C., Ferrari A:, Mola L., Zardini A. (2010), “BI as a service: an attempt to understand the leading adoption factors”, in Chen G., Kerre E.E., Westland J.C., Wang R. (Eds.), Electronic-business intelligence for corporate competitive advantages in the age of emerging technologies & globalization, Atlantis Press, pp. 120-127.

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Alessandro MARGHERITA, PhD

Alessandro MARGHERITA, PhD

Degree of Management Engineering, Faculty of Engineering, University of Salento. EDITORIAL POSITIONS and MEMBERSHIPS Reviewer Positions[r]

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Alessandro Colantonio

Alessandro Colantonio

[3] Alessandro Colantonio, Roberto Di Pietro, Alberto Ocello, and Nino Vincenzo Verde. Mining business-relevant RBAC states through decomposition. In Proceedings of the IFIP TC 11 25 th International Information Security Conference, SEC ’10, pages 19–30, 2010. [4] Alessandro Colantonio, Roberto Di Pietro, Alberto Ocello, and Nino Vincenzo Verde.

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Alessandro Veneziani

Alessandro Veneziani

PhD in Computational and Applied Mathematics, University of Milan, 1998, Doctoral Dissertation: Mathematical and Numerical Modeling of Blood Flow Problems, July 1998, Alfio Quarteroni, a[r]

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ALESSANDRO SARRACINO - CURRICULUM VITAE. Alessandro Sarracino, born in Naples, Italy, December 22, 1981.

ALESSANDRO SARRACINO - CURRICULUM VITAE. Alessandro Sarracino, born in Naples, Italy, December 22, 1981.

September 2013: Poster at “Large deviations and rare events in physics and biology”, University of Rome Sapienza, Italy.. July 2013: Talk (invited) at 7th IDMRCS, Barcelona, Spain.[r]

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Religio Medici  Medicine and religion in seventeenth century England

Religio Medici Medicine and religion in seventeenth century England

As Harley is aware the Godly were only one component of a religious culture, an alternative response to the problems of illness and affliction is discussed in Sarah Hutton’s elegant study of Anne Conway’s search for a therapy to cure her the headaches that had pained her since her adolescence. As Hutton explains, Anne Conway in turning to her doctor, Francis Von Helmont, and his pharmacopoeia also embraced his religious and philosophical beliefs. It was Conway’s experience of pain that prompted the development of her mature philosophy. Exploiting the two sources for the history of Conway’s illness (Thomas Willis De anima brutorum 1672, and her correspondence with Henry More) Hutton shows how her subject adopted an eclectic approach to her sickness. As Hutton puts it ‘being a high class patient, [she] was treated by the top doctors of her age’. She also consulted healers like Matthew Coker and Valentine Greatrakes. The Letters give us ample evidence of the sort of cures she took: again the emphasis is upon diversity - tobacco, coffee, blue and red ‘powders’, all sorts of ‘oyntment’, baths, bloodletting, mercury, and a variety of amulets and stones. Conway’s encounter with Van Helmont led to a revision of commonplace ideas of Christian providentialism to a more cabalistic accommodation of the suffering of the Godly with the goodness and justice of God.
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Alessandro LAVIANO, MD Curriculum Vitae

Alessandro LAVIANO, MD Curriculum Vitae

1994-1995 1-year research fellowship granted by The Research Foundation of State University of New York to conduct studies on experimental cancer anorexia at the Surgical Metabolism [r]

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A catalogue of great white sharks Carcharodon carcharias (Linnaeus, 1758) preserved in European museums. Alessandro De Maddalena

A catalogue of great white sharks Carcharodon carcharias (Linnaeus, 1758) preserved in European museums. Alessandro De Maddalena

A total of 239 museums have been contacted, including museums and institutes of natu- ral history, zoology, biology, anatomy and ichthyology across all of Europe. Material held by private citizens has not been considered; that means that some especially interesting pieces, such as the large jaws of a female white shark captured in Filfla, Malta, on 17 April 1987 and estimated to be 6.68-6.81 m TOT (De Maddalena et al. 2001), are not included in this paper. I preferred to restrict the focus of the catalogue to the material that has been preserved in museums and scientific institutes and is available for research.
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EXHIBITOR LIST. Marramiero Medici Ermete Tenute Silvio Nardi

EXHIBITOR LIST. Marramiero Medici Ermete Tenute Silvio Nardi

Exporting the best Italian wines and food from Italy to China for almost two decades, Insider International has estabilished the best relationships within custom and free-trade zone in [r]

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Floating Point Arithmetic. Alessandro Corbetta

Floating Point Arithmetic. Alessandro Corbetta

• Rounding -> computers offer only finite precision in representing real numbers (THIS LECTURE).!. Example 1: earth surface calculation![r]

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