Cosimo De Medici

Giovanni De Bicci De Medici: Giovanni established political and financial power of the Medicis and was one of the richest bankers in Italy because he was also the Medici bank founder. Giovanni was the first Medici to really like the looks of art and decorate his house with it and support

Filippo Brunelleschi was a genius at not only architecture, but at sculpture, woodcarving, drawing, and clock making. When the priests in Florence, Italy in 1418 were deciding on what they were going to do with the big hole they had in the roof of their cathedral, Brunelleschi volunteered to be the architect (King, 2013). His motivation was to help the church, however, he also knew that this would allow him to have never ending fame and a big salary once the job was complete. Even though he would not reveal his plan on how he would accomplish this extraordinary task, they accepted his as the supervisor of this great project.

The structure, approved and paid for by the city council, was a feat of amazing architecture on the part of Fillippo Brunelleschi. This was the largest dome created in that time and it was Brunelleschi’s ingenious design that won the commission against Ghiberti and other artists. The Church’s possession of grand cathedrals like this one served to demonstrate to the people the greatness of the faith and the power of God. There was a religious aspect to the construction of the immense cathedrals and basilicas; the people were paying homage to their god and constructing churches they felt were worthy for him. However, it was also somewhat political, as the grandeur of the churches was displayed to all the people in the city. No one could question the Catholic church’s might and colossal influence after viewing a cathedral such as the

Lorenzo de Medici was born on January 1, 1449 in Florence, Italy. "Lorenzo The Magnificent” as he was called by the people of the place he resided was a statesman, ruler, and patron of the arts. "The Magnificent" was truly a common title of respect in Italy at the time, but it was Medici who raised it to special status. The merchant prince Lorenzo de' Medici, came to be the baron of florence at a young age tragically his father Piero died on Dec. 5, 1469, and 2 days later the 20-year-old Lorenzo was asked to become the newest authority figure in Florence. And In 1472 he won the hearts of all Florentines by saving the city from a famine that was imminently deadly. When there was also a bad harvest of that year, it threatened the population

Cosimo de’Medici filled his libraries with over seventy volumes and made sure to only include text worthy of reading with “the collection reflect[ing] his literary taste and consist[ing] of classical texts as well as a mix of secular and sacred works typical of collections at the time” (Meehann 15). Cosimo’s first library was constructed in 1433 outside of Florence as a gift for Venetian hospitality and good will. He built and furnished the library for the San Giorgio Maggiore monastery in Venice (Meehan 16). Cosimo’s behavior illustrates that not all members of the Medici family used art for gaining power. The parts of Cosimo’s library that did not go to the San Marco collection went to two of his sons, Piero and Giovanni. As the two boys grew up, they collected more books in competition, but unlike their father’s simple manuscript style, they collected miniatures that were created by leading

Cosimo de’ Medici was born on September 27, 1389 in Florence, Italy at the time his family was middle class bankers. At a young age his father Giovanni, introduced his son to the family business of banking. As Cosimo grew older, he took on more duties in the family business and eventually became the head of the bank the family owned. When he was a young man he had an important relationship with the Catholic Church, at this time the Church was the dominant religious faith of Europe, the one most powerful men in Europe was the Pope. Cosimo recognized the important role of the Catholic Church and made a friendship with the Pope. After this relationship the Medici banks were handling most of the Church’s financial accounts. Some

Brunelleschi’s Dome is the story of Fillipo Brunelleschi - or Pippo, as he was often known - and the ingenious methods he employed in raising the famous duomo over Santa Maria del Fiore. On August 19th in the summer of 1418, all the citizens of Florence, Italy were called upon to devise a solution for what was to be one of the greatest conundrums of the Renaissance - the vaulting of the cupola over the city’s new church. Santa Maria del Fiore, built upon the ruins of Santa Reparata, was to be the grandest and most lauded accomplishment in renaissance architecture. The vaulting of the dome was truly a daunting endeavor for any that toed up to the challenge. When Neri di Fiorivanti, the original Capo Maestri - or head architect for the project -

With Giovanni’s death in 1429, there were those who tried to capitalize on the opportunity to displace the Medici family from its place in the social and political landscape of the time. One such opportunity was taken with the help of a wealthy rival, the Albizzi family, who put in motion a plot to have Giovanni’s son, Cosimo de Medici, arrested on accusations of treason and banished to Venice. This did not happen without consequences. With Cosimo’s exile he took with him a large source of Florentine capital, the Medici Bank. The Pope intervened and restored the Medici’s to power. Thus began Cosimo’s restoration of Florentine pride and the support of great artists that many admire today.

In the year of 1475 in december 11 was born Giovanni di Lorenzo de' Medici, but was called Pope leo X. Pope was a title very sacred to the community and right after two older Popes died it was Giovanni's turn to rule. Giovanni ruled and his first action as a Pope was to lead the costly war, that succeeded after rescuing his nephew and securing him as duke of Urbino, but which also damage the papal finances. Later on The pope escaped on some cardinal finances of poisoning him Pope Leo was best remembered for granting indulgences of those who donated to reconstruct st. Peters basilica. Pope did not take the reconstruction of the church seriously, so the reformation became a protestant reformation. His papal bull of 1520 simply condemned Luther

The Medici Family was only responsible for the beginning of the Renaissance but they generated an impact that carried on as seen throughout the late 1200's when Florence established a republican form of government, leading the Medici family to become a powerful banking family. A family born in Florence who rose themselves to political power and influenced the Renaissance in a cultural and artistic way. They were recognized and famous but the 13th century because of their success with banking.

“Lorenzo de' Medici, byname Lorenzo the Magnificent, Italian Lorenzo il Magnifico (born January 1, 1449, Florence [Italy] died April 9, 1492, Careggi, near Florence), Florentine statesman, ruler, and patron of the arts and letters, the most brilliant of the Medici. He ruled Florence with his younger brother, Giuliano, (1453-78), from 1469 to 1478 and, after the latter's assassination, was sole ruler from 1478 to 1492” (Encyclopedia Britannica).

Completed in 1660, eighteen years after the initial planning stages, Francesco Borromini’s Saint Ivo alla Sapienza came to be known as an archetypal example of High Roman Baroque architecture. Its idiosyncratic floor plan and spiraling tower that sits atop the church’s dome became a topic of much speculation and debate but also an iconic fixture in Rome’s skyline. The controversy over S. Ivo usually ranged over interpretations of Borromini’s intentions in the planning of the church all the way to the minute details on ornamentations and the mantic or spiritual or theoretical meanings they might have had, if any. But to understand the Saint Ivo Alla Sapienza, one needs to understand the political and economic and en vogue culture and climate of 17th century Rome and the fact that the construction took places over three papal reigns, that of Urban VIII Barberini, Innocent X, and Alexander VII. The S. Ivo was actually an addition to a centuries old school of learning, the Archiginnasio - later known as the University of Rome or Sapienza [wisdom,] founded by Boniface VIII in the late 13th century but had remained without a proper chapel or library since. Borromini, was then still an apprentice to Bernini but through papal connections became the appointed architect charged with

Pope Leo kept Michelangelo as the Medici family and now Catholic Church’s “main artist” of the time. He also had commissioned Brunelleschi for the reconstruction of the San Lorenzo Basilica. Pope Leo X was known for his lavish out of control spending and just over all failure in helping the church in every aspect except art. The next Medici Pope, Giulio de Medici known as Pope Clement VII, was very similar. Clement VII had also commissioned many artists such as; Michelangelo to paint the altar of the Sistine Chapel and Italian artist, Sebastiano del Piombo to paint the very famous portrait of himself on both stone and canvas. The Medici’s never really did make very good popes considering they were rather spoiled and not the holiest of people although they did bring some great historic works of art into the church. Both of their art patronages were very good for the papacy and bring a greater element of art into the church seemingly allowed the church to expand and welcome more people due to people wanting to be part of the works of those great

Gian Lorenzo Bernini and Francesco Borromini spent their professional lives locked in a complex rivalry that spans the duration of the seventeenth century. The profound differences between the lives and personalities of these two, reflected in work still evident in Rome today, have been a hotbed for debate and praise. Always a competition, Bernini and Borromini have produced some of the most beautiful staples in Roman architecture, sculpture and space. The stark contrast in fundamental design principle, shown most prominently in the sites of Borromini’s San Carlo alle Quattro Fontane, and

The focus of this investigation will be “The Medici family supported the artists of the Renaissance era by providing them financial support, throughout mentorship and because of the prevailing philosophy and humanism.” This investigation will focus on the background of the Medici family and how they supported artists of the Renaissances era. This investigation will use a primary source from an artist's work and a secondary source relating to the Medici family uprising.San Lorenzo (church). Medici chapel. Tomb of Lorenzo de' Medici which held Sculptures by Michelangelo and Adrien, De Roover Raymond. The Rise and Decline of the Medici Bank, 1397-1494. Norton Library, 2012.Both sources provide background to the Renaissance time period and how the Medic family treated artists with their power. The two sources are examples of how the Medicis changed the renaissance era through their money and power to pursue artists for their own benefit and for the time periods.