By F. W. Kent
In the previous part century students have downplayed the importance of Lorenzo de' Medici (1449–1492), known as "the Magnificent," as a consumer of the humanities. much less filthy rich than his grandfather Cosimo, the argument is going, Lorenzo used to be way more drawn to accumulating old gadgets of paintings than in commissioning modern artwork or structure. His past attractiveness as a purchaser was once acknowledged to be mostly a build of humanist exaggeration and partisan deference.
Although a few fresh reports have taken factor with this view, no synthesis of Lorenzo as artwork buyer and paintings lover has but emerged. In Lorenzo de' Medici and the artwork of Magnificence historian F. W. Kent deals a brand new examine Lorenzo's courting to the humanities, aesthetics, accumulating, and building—especially within the context of his function because the political boss ( maestro della bottega) of republican Florence and a number one participant in Renaissance Italian international relations. because of this process, which can pay cautious awareness to the occasions of his brief yet dramatic existence, a greatly new chronology of Lorenzo's actions as an artwork purchaser emerges, revealing them to were extra large and artistic than formerly suggestion. Kent's Lorenzo used to be widely attracted to the humanities and supported efforts to decorate Florence and the various Medici lands and palaces. His services used to be good appeared through guildsmen and artists, who frequently grew to become to him for suggestion in addition to for patronage. Lorenzo himself was once knowledgeable within the arts by means of such males, and Kent explores his aesthetic schooling and flavor, bearing in mind what's identified of Lorenzo's patronage of track and manuscripts, and of his personal artistic paintings as an enormous Quattrocento poet.
Richly illustrated with photos of Medici landmarks via Ralph Lieberman, Lorenzo de' Medici and the artwork of Magnificence bargains a masterful portrait of Lorenzo as a guy whose achievements may have rivaled his grandfather's had he no longer died so young.
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Extra resources for Lorenzo de' Medici and the Art of Magnificence (The Johns Hopkins Symposia in Comparative History)
151 At precisely this time, inspired in part by his Mantuan journey, one might well think, Lorenzo was continuing his self-education in Alberti’s architectural theories, which had perhaps begun during his visit to Rome in 1471. 155 There were also three versions of Vitruvius in Lorenzo’s library, as well as a manuscript of Antonio Filarete’s recent vernacular treatise on architecture, dedicated to Lorenzo’s father, Piero. Lorenzo de’ Medici never visited northern Europe, though he was once invited to go to see the “most beautiful and most magniﬁcent” palace that his family had purchased in Bruges in 1466.
When he was a newborn, had his eyes been able to focus, perhaps Lorenzo’s ﬁrst sight would have been the sumptuous birth tray painted for his mother. 44 Forty-three years later, in the Medici villa at Careggi, near Florence, he died contemplating a still more precious object. ”45 It is useless to pretend to know precisely what Lorenzo made of this \e Aesthetic Education of Lorenzo < 19 > upbringing, of this almost relentless exposure to some of the most beautiful and precious objects his age knew.
123 The Medici, on the other hand, gave away precious jewels and silver plate, antiquities and rare objects, as gifts to prominent people. Lorenzo’s gift of a bronze horse’s head to Diomede Carafa, of Naples, in 1471 is well known. 125 For the sake of display, he was willing to struggle under the weight of precious metal when going on diplomatic missions. Although he was only one of several Florentine ambassadors to the new pope in September 1471, Lorenzo departed, an awed contemporary witness tells us, “with thirtyﬁve horses and seven mules and carriages, bearing 400 pounds of silver plate .