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In this book, Irina Chernetsky examines how humanists, patrons, and artists promoted Florence as the reincarnation of the great cities of pagan and Christian antiquity – Athens, Rome, and Jerusalem. The architectural image of an ideal Florence was discussed in chronicles and histories, poetry and prose, and treatises on art and religious sermons. It was also portrayed in paintings, sculpture, and sketches, as well as encoded in buildings erected during the fourteenth and fifteenth centuries. Over time, the concept of an ideal Florence became inseparable from the real city, in both its social and architectural structures. Chernetsky demonstrates how the Renaissance notion of genealogy was applied to Florence, which was considered to be part of a family of illustrious cities of both the past and present. She also explores the concept of the ideal city in its intellectual, political, and aesthetic contexts, while offering new insights into the experience of urban space.
This chapter examines Machiavelli’s view of Girolamo Savonarola – an apocalyptic figure in fifteenth-century Florence – and apocalyptic thought more generally. Though the standard understanding of Machiavelli is that he dismisses Savonarola, a close reading of his writings reveals a respect for Savonarola and his apocalyptic message. Savonarola used his apocalyptic message to help found new orders – the highest human achievement according to Machiavelli. By drawing on the Christian idea of the new Jerusalem and Roman idea of the Eternal City, Savonarola instilled the republican government of Florence with deep religious meaning and political promise. Though Machiavelli sees Savonarola as a failed founder, his failure is not due to his apocalyptic message. Machiavelli recognizes the power of this message, but ultimately rejects apocalyptic hope because he cannot fathom achieving a lasting utopia in a world marked by decay and continual change.
Both lauded and criticized for his pictorial eclecticism, the Florentine artist Jacopo Carrucci, known as Pontormo, created some of the most visually striking religious images of the Renaissance. These paintings, which challenged prevailing illusionistic conventions, mark a unique contribution into the complex relationship between artistic innovation and Christian traditions in the first half of the sixteenth century. Pontormo's sacred works are generally interpreted as objects that reflect either pure aesthetic experimentation, or personal and cultural anxiety. Jessica Maratsos, however, argues that Pontormo employed stylistic change deliberately for novel devotional purposes. As a painter, he was interested in the various modes of expression and communication - direct address, tactile evocation, affective incitement - as deployed in a wide spectrum of devotional culture, from sacri monti, to Michelangelo's marble sculptures, to evangelical lectures delivered at the Accademia Fiorentina. Maratsos shows how Pontormo translated these modes in ways that prompt a critical rethinking of Renaissance devotional art.
The departure of Lorenzo and Giovanni di Pierfrancesco from their villas at Olmo and Cafaggiolo on 13–14 October had been triggered by yet another French deputation that had arrived in Florence ten days earlier. This time the envoy was met by Piero (with a present in hand) and Domenico Bonsi, and after later lengthy discussions with Piero and his secretary Dovizi, he and the French ambassador already in Florence were officially received by the Signoria on 7 October.1 Not awaiting an official reply, they both left on the 11th to join the king in Parma, with permission, however, to talk to Lorenzo and Giovanni di Pierfrancesco en route – who then fled their villas two or three days later.2 On 16 October, ‘having heard of the departure of Pierfrancesco’s sons’, the Otto di Pratica, with ten coopted citizens including Piero – the residual core of the inner elite – were summoned to what turned out to be their last recorded meeting to discuss what to do and what security measures should be taken.3
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