Lorenzo resorts to unsavory methods in order to keep the Medici bank afloat. In the meantime, his path crosses with the man who would prove to be his most relentless enemy: Christ’s representative on Earth himself.
A fresco depicting Sixtus IV and some of the della Rovere-Riario family by Melozzo da Forli (c. 1477). Source: Vatican Museum.
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Not long after coming to power, Lorenzo de’ Medici has to fend off enemies at home and abroad. Unfortunately, in the course of protecting Florence from a crisis that could spiral out of control, Lorenzo sets the stage for a humanitarian disaster. But how much was he really to blame?
A contemporaneous portrait of Lorenzo’s brother, Giuliano de’ Medici, by Sandro Botticelli. Circa 1478. Source: Gemäldegalerie Berlin.
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Even as a small child, Lorenzo had been thrust into the role of the public face of the Medici regime. Now an adult, Lorenzo’s own marriage to a Roman noblewoman from a clan claiming the Emperor Augustus and Julius Caesar as ancestors is a chance for the Medici to ascend even higher. Meanwhile, Piero is finally succumbing to his gout, just when both the domestic and foreign situations are starting to fall apart.
“The Counterattack of Michelotto di Cotignola” (c. 1455), one of Paolo di Dono’s three paintings commemorating the Florentine victory over Siena at the Battle of San Romano in 1423, commissioned by Piero de’ Medici. Source: The Louvre, Paris. Boticelli’s Adoration of the Magi (1475 or 1476), which includes a depiction of the 16-year-old Lorenzo de’ Medici on the far left. Source: Uffizi Gallery, Florence. A posthumous terracotta bust of Lorenzo de’ Medici, which was likely based on a 1478 wax sculpture by Andrea del Verrocchio and Orsino Benintendi. Date unknown. Source: National Gallery of Art, Washington DC. Girolamo Machietti’s posthumous portrait of Lorenzo de’ Medici. Date unknown. Source: Palazzo Pitti, Florence. A portrait likely of Clarice Orsini by Domenico Ghirlandaio (1490s). Source: National Gallery of Ireland, Dublin.
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Piero de’ Medici narrowly escaped death or abduction. But did everything happen as Piero and his son Lorenzo said? And just how will the Party of the Hill survive when they apparently bet everything on one scheme?
Piero de’ Medici seems to be enjoying a smooth transition to power, but soon enough a rival political party takes shape on the high ground just across the river from the Palazzo de’ Medici. When legal measures fail to dislodge the Medici, the so-called “Party of the Hill” proves itself more than willing to resort to more drastic measures. Meanwhile we get a better look at Piero, the math professor of the Renaissance, and his wife Lucrezia, wife/mother/patron/businesswoman/writer.
At the height of his political power, Cosimo de’ Medici is being overwhelmed with illness and personal tragedy. Who will succeed him to his invisible, nameless throne? His son Piero, who unfortunately is a middle-aged man so sick no one thinks he will live for much longer.
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Cosimo de’ Medici quickly established a regime that operated within Florence’s constitution but gave Cosimo an almost unchallenged power over the state. Unfortunately, Cosimo’s government was a delicate structure, and the pandemonium of Italian Renaissance politics threatened to bring it all tumbling down.
The exterior of the Palazzo Medici-Riccardi. Source: Yair Haklai, Wikicommons. The interior of the Chapel of the Magi within the Palazzo Medici-Riccardi. Source: theflorentine.net. A portrait of Francesco Sforza, Duke of Milan, former condottieri, and a key ally of Cosimo de’ Medici, by Bonifacio Bembo (c. 1460). He insisted on being painted wearing his battered and worn old campaigning hat.
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With a combination of patience and political maneuvering, Cosimo turns the tables on his enemies and returns to Florence in triumph. His first major act is to host an attempt to reunify the long-divided Greek and Latin churches. It has rather mixed results, but it does make something clear to the rulers of Europe: Cosimo is no longer just a banker.
An image believed to be the Byzantine Emperor John VIII, taken from a cycle of frescoes by Benozzo Gozzoli depicting the Magi’s visit to the infant Jesus Christ but with the likenesses of various participants in the Council of Florence (c. 1459). Source: Magi Chapel, Palazzo Medici Riccardi. Pisanello’s sketches of the Byzantine delegation at the Council of Florence (c. 1439-1449).
As soon as he inherits his father’s place as head of the rich, international Medici Bank, Cosimo gets a target on his back in a Florence where politics are increasingly molded by the sponsorship of the rich and not by the guilds. The minute he steps on the public arena, not only is Cosimo’s political career is in danger, but his very life.
Posthumous portrait of Cosimo de’ Medici by Bronzino (c. 1567). Source: La Galleria degli Uffizi, Florence. Another posthumous portrait of Cosimo (c. 1519) by Jacopo Pontormo. Source: La Galleria degli Uffizi, Florence. Posthumous portrait of Contessina de’ Bardi de’ Medici (c. 1567) by Bronzino. Pitti Palace, Florence.
This first century BCE Roman fresco from the villa of Publius Fannius Synistor in Boscoreale in modern-day Naples, which demonstrates a partial use of vanishing point, a technique that would not be perfected until the Renaissance. Source: Metropolitan Museum of Art. Giotto’s Crucifix (c. 1290-1300). Note the realistic details such as Jesus’ facial expression and the wound in his side. Source: The Tempio Malatestiano in Rimini, Italy.Masaccio, The Expulsion (c. 1426-1428). Note the fig leaves added to the version on the left, before they were removed with the 20th century restoration shown on the right. Source: Santa Maria del Carmine, Florence. Donatello’s David (c. 1440s?), the first freestanding nude sculpture made in Europe since antiquity. Source: Patrick A. Rodgers, the Bargello, Florence.The Monastery of Batalha in the Central Region of Portugal. Source: Waugsberg. The dome of Santa Maria del Fiore, erected by Filippo Brunelleschi. It remains the largest brick dome in the world. An image from I Modi (1524).
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The Medici Podcast 