History of the Medici in Florence. Lorenzo de' Medici (The Magnificent), ruler of Florence (1449–1492). Medici - rulers of Florence

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During the early Middle Ages, the Medici had small plots of land in the Mugello Valley (along the Sieva River) near Florence. In the 12th and 13th centuries. several of their representatives moved to Florence, and by 1300 the Medici were part of the government and the guild of money changers. In the 14th century There were many Medici in Florence: in 1373, one of the representatives of the family lamented the fact that, as a result of the plague epidemic, only 50 adult men remained in the family. It is not surprising that there were noticeable differences in property between them: some prospered and moved into leading roles in the city, others were shopkeepers and artisans. However, even the wealthiest Medici, although they sometimes married members of the social and economic elite, did not rise in wealth or status to the level of famous banking and trading houses of the time, such as Bardi or Peruzzi. At the opposite end of the social ladder, there were criminals and bandits among the Medici. Thus, in 1343–1360, five Medici were sentenced to death for various crimes (from robbery to murder). This gave the entire family a bad reputation, which, of course, was not improved by the fact that its representatives often started litigation with each other.

This reputation and lack of unity did not allow the Medici family to play any significant role in the governance of Florence during this period. The only exception was Salvestro de' Medici (1331–1388). The fact that the Medici still belonged to the urban “outsiders” can be concluded from the fact that Salvestro, who was part of the successful elite of the older guilds, identified himself with the younger ones, such as the Ciompi (wool carders). His election as gonfalonier (head of the magistrate) in 1378, which was a victory for representatives of the lower classes, provoked the so-called. the “chompie uprising,” an attempt to ensure greater grassroots participation in governance. However, the movement was soon suppressed, and over the next three years the senior guilds regained their positions and Salvestro was forced into exile.

Distrust of the Medici family, only intensified as a result of Salvestro's actions, indirectly influenced the rise of that branch of the family, which subsequently gained European fame. Since the Medici were under suspicion of political unreliability and were prohibited from holding public office, they turned all their energies to entrepreneurship. The Medici, famous in history, are the descendants of Averardo de' Medici (nicknamed Bicci), a distant relative of Salvestro. In the second half of the 14th century. Averardo's business flourished, and under the leadership of his son Giovanni di Bicci (1360–1429), the family enterprise included banking operations, along with the production of silk and textiles, and had branches throughout Europe. In 1421 Giovanni was elected Gonfaloniere.

Medici - rulers of Florence.

Giovanni di Bicci had two sons - Cosimo (1389–1464) and Lorenzo (1394–1440); It was with Cosimo that the family's political career began. Of his two sons, Giovanni (1424–1463) was considered the more talented, but he died before his father. After Cosimo's death, Piero (1416–1469) became the head of the family, who, despite severe gout, showed unexpected energy in the fight against attempts to deprive the family of political weight. Of Piero's two sons, the younger, Giuliano (1453–1478), was killed as a result of the Pazzi conspiracy, and the elder, Lorenzo (1449–1492), nicknamed il Magnifico (Magnificent), retained the family's leading position in Florence. He can be considered the most brilliant of all the Medici.

Lorenzo's eldest son, Piero (1471–1503), succeeded him after his death, but with his arrogance he alienated most of the Florentine patriciate. When Italy was threatened by a French invasion, Piero sided with the enemies of France, and therefore, after French troops actually entered Italy in 1494, the entire Medici family had to flee Florence. Pierrot was declared a tyrant, and a reward was placed on his head.

The Medici regained their position in Florence mainly thanks to the political talents of Giovanni (1475–1521), the second son of Lorenzo. Lorenzo managed to make Giovanni a cardinal, and he, despite his youth, managed to gain the trust of Pope Julius II. In 1511, a conflict broke out between the Republic of Florence, on the one hand, and the Pope and the Spaniards, on the other. The struggle ended in the defeat and capitulation of Florence, and one of the conditions set by the victors, thanks to the influence of Giovanni (1512), was the return to the Medici city. Subsequently, Medici control over Florence strengthened, since in 1513, after the death of Julius II, Giovanni was elected pope under the name of Leo X.

When the Medici returned to Florence as its rulers, only four of Cosimo's descendants remained alive. Two of them belonged to the ecclesiastical rank - Pope Leo X and Cardinal Giulio (1478-1534), son of Giuliano, brother of Lorenzo the Magnificent (later to become Pope Clement VII). So all hopes for continuation of the family were pinned on the youngest son of Lorenzo the Magnificent Giuliano (1478–1516) and the only son of Lorenzo’s eldest son Piero, who also bore the name Lorenzo (1492–1512). Giuliano, Duke of Nemours, a sickly man who did not show any noticeable political ambitions or abilities, soon died (1516). Lorenzo, whom Leo X had already made Duke of Urbino, died unexpectedly in 1519, leaving his only daughter Catherine. The famous Medici tombs by Michelangelo were erected in memory of these two representatives of the family who died untimely.

The two remaining representatives of this branch of the Medici, Leo X and Cardinal Giulio, could not accept the idea that the descendants of Cosimo the Elder would not rule Florence. Therefore, they settled two young men, Ippolito and Alessandro, in the Medici palace and raised them as heirs of the family. Ippolito (1511–1535) is the illegitimate son of Giuliano, Duke of Nemours, while Alessandro (1510–1537) was declared the illegitimate son of Lorenzo, Duke of Urbino. However, the assumption always seemed plausible that Alessandro, to whom Cardinal Giulio gave clear preference, was his illegitimate son. When he became Pope Clement VII, he made Hippolytus a cardinal against his will, thereby ending his hopes of coming to power in Florence.

When the last republican uprising in Florence failed, the city surrendered to the pope, after which Clement VII installed Alessandro in Florence as hereditary duke (1532) and abolished the previous constitution. This was made possible by the alliance of the pope with Emperor Charles V; Alessandro's marriage to Margaret, the illegitimate daughter of Charles V, sealed their union. Supported by the forces of the empire, Alessandro relied on brute force; cruel and vicious, he aroused universal hatred. But in 1537 he was killed by his own friend, who invariably participated in his disgusting antics, and by a distant relative, Lorenzino de' Medici, who may have considered himself a second Brutus, destined to free the city from the tyrant. (This story formed the basis of the drama Lorenzaccio(Lorenzaccio) Alfred Musset.)

Grand Dukes of Tuscany.

The most prominent citizens of Florence considered that after the death of Alessandro it was impossible to restore the republic, since this would make the emperor a sworn enemy of the city. Therefore, a representative of the younger branch of the Medici family, a descendant of Lorenzo, the younger brother of Cosimo the Elder, became Duke of Florence under the name Cosimo I (1519–1574). He founded a dynasty whose representatives ruled Tuscany as grand dukes back in the 18th century. and were married to almost all the august houses of Europe.

As during the Renaissance, the Medici court continued to be renowned as a center of art, science and learning. In 1574, Cosimo I was succeeded by his eldest son Francesco I (1541–1587). The new Grand Duke's interest in chemistry led to the founding of a porcelain manufacturing company. He also founded the Accademia della Crusca with the aim of purifying the Italian language and creating its grammar. Francesco's favorite artist was Giambologna, who created some of his most famous sculptures for him. However, the Grand Duke owes his greatest fame to the scandal associated with his passion for the Venetian lady Bianca Capello, whom he married after the death of his first wife. Mary, one of Francesco's daughters, became Queen of France - as the wife of Henry IV. Francesco died in 1587 without leaving any sons, so his younger brother Cardinal Ferdinando (1549–1609) was forced to renounce his ecclesiastical title and become Grand Duke. Ferdinando was a brilliant administrator; he turned Livorno into a free port, which soon became one of the most important trading centers in the Mediterranean. Under his leadership, Tuscany achieved a significant level of economic development, and Ferdinando himself became one of the richest rulers in Europe.

Ferdinando's son Cosimo II (1590–1620) became most famous for the fact that, at his invitation, Galileo settled in Florence, where he was able to engage in science. The other Medici who ruled in Tuscany - Ferdinando II (1610-1670), Cosimo III (1642-1723) and Gian Gastone (1671-1737) - did not show themselves in any way.

The most powerful personality in the last generation of Medici was Anna Maria Ludovica (1667–1743), sister of Gian Gastone. She married the Elector of the Palatinate, but in 1716, after the death of her husband, she returned to Florence. When her brother died, Anna Maria Ludovica showed clear opposition to the agreement of the European powers, according to which Tuscany was to come under the rule of the Dukes of Lorraine and the Habsburgs. She dedicated herself to completing the colossal mausoleum of the Medici Grand Dukes. By inheritance, all the art collections collected by the Medici over three centuries passed to her, and she left them in full to Tuscany - on the condition that no part of them could be taken out of Florence and that they should be open for inspection to representatives of all nations countries

Cosimo de' Medici (1389–1464).

Cosimo, nicknamed the Elder (Cosimo il Vecchio), was born in Florence on September 27, 1389. It was he who laid the foundation for the political power of the Medici in Florence. An intelligent and far-sighted entrepreneur, he very successfully expanded the banking house founded by his father. By the age of 40, Cosimo was already one of the richest people in Florence: he owned wool spinning factories, monopolized the production of tanning alum, which is indispensable in the textile industry, and conducted multifaceted commercial activities. The close interdependence that existed in Florence between politics and economics, between the taxes that a given individual had to pay and his position in the ruling group, forced Cosimo to become actively involved in politics. He became a member of the ruling oligarchy, but his enormous wealth aroused fears among one of the leaders of this oligarchy, Rinaldo degli Albizzi. In the 1420s, personal rivalry flared up between them. Cosimo opposed the war with Lucca, while Rinaldo was its supporter. And when the clash not only ended in failure, but also involved Florence in a war with Milan, Rinaldo insisted on the expulsion of Cosimo and his family.

The exile lasted one year. In 1434 Cosimo's friends won a majority in the government, and the Medici were invited back, while the Albizzi and their followers went into exile. From 1434 until his death in 1464, Cosimo managed to exert a strong influence on almost all spheres of life in Florence; to his successors he left a firmly entrenched position of political leadership. This was achieved by a variety of means.

Achieving supremacy.

Cosimo's first goal was to maintain the unity of his party in order to avoid the hostility that led to the overthrow of Rinaldo. For this reason, Cosimo did not outwardly emphasize his leading role, but remained, as it were, an ordinary citizen. His friends and supporters occupied the highest places in city government no more than himself. Cosimo became a Gonfaloniere only three times, each time for two months: other Florentine patricians were in the public eye much more often. However, Cosimo was a member of the commission in charge of public debts, a position that allowed him to provide financial benefits to his supporters. Banking also made it possible to cement political alliances with money. In addition, Cosimo married his sons and grandsons to noble Florentine women.

The vigorous activity of the Medici Bank, which had branches in major European cities, gave Cosimo access to unique information regarding events in the political life of other countries, which made him an invaluable consultant on international affairs. Cosimo influenced the foreign policy of Florence during the great crisis that erupted in northern Italy after the death in 1447 of Filippo Maria Visconti, the last ruler of Milan from this family. He pushed Florence to support Francesco Sforza in his claim to the Visconti legacy - despite the opposition of Venice. This marked a turn in the policy of Florence, since Venice was its traditional ally, and Milan its traditional enemy. In the ensuing war, Florence thus found itself alongside Milan against Venice and Naples. But when peace was concluded in Lodi in 1454 and Sforza’s opponents were forced to recognize the legitimacy of his rule, the benefits went mainly to Florence and Cosimo. The authority of Florence in Italy increased thanks to the alliance with Milan, and the Sforzas considered the initiator of this alliance, Cosimo, their close friend. He became an intermediary through whom the Sforzas negotiated with Florence, and soon the heads of other states began to follow their example. Thanks to such close connections with foreign rulers, Cosimo became an indispensable person in the Florentine government. He had a good understanding of when to capture people's imagination and when to show decisiveness and ruthlessness. However, his favorite methods, both in domestic and foreign policy, were negotiation and persuasion.

Although all the commanding heights in Florence were monopolized by Medici supporters led by the leader Cosimo, he was well aware of how unreliable such an oligarchic regime could prove to be if the citizens were dissatisfied. Therefore, Cosimo took every possible care to increase the splendor of the city, and began extensive construction. He contributed to the completion of public buildings begun by the government or the guilds, and with his own money he commissioned Michelozzo to build the enormous Medici palace, which still stands on the Via Larga. He erected or renovated many church buildings: the monastery of St. Mark, the dormitory of the monastery of Santa Croce, the church of San Lorenzo in Florence and in Badia near Fiesole, where he had a villa. The Medici coat of arms appeared on their facades - 5 red circles (or cores).

Cosimo loved spending time with the monks of the monastery of St. Mark or for the books that he collected and which formed the basis of the first public library since antiquity. Close friendship connected him with the humanists Leonardo Bruni and Poggio Bracciolini; He was especially proud that through his efforts the young Marsilio Ficino gained financial independence, which allowed him to begin translating Plato from Greek into Latin. The inscription Pater Patriae (Father of the Fatherland), emblazoned on Cosimo’s tomb (he died in Carreggi near Florence on August 1, 1464), is an expression of the gratitude of the citizens that he gained during his lifetime.

Lorenzo the Magnificent (1449–1492).

Lorenzo, grandson of Cosimo, was born in Florence on January 1, 1449. The nickname “Magnificent” refers both to his merits as a patron of the arts and poet, and as a statesman. When his father Piero died in 1469, Lorenzo was only 20 years old. Nevertheless, it was he, together with his younger brother Giuliano, who had the task of defending the conquests of the Medici. Lorenzo began to be initiated into the intricacies of the internal politics of Florence during Piero’s lifetime, and during a number of diplomatic missions to foreign courts he became acquainted with the basic principles of foreign policy. However, it would have been difficult for Lorenzo and his brother to maintain the positions held by their father and grandfather if the wealthy townspeople who supported the Medici regime during the time of Cosimo and Piero had not believed that their interests would be best protected only if the Medici remained in the role of recognized leader of the state.

Everyone expected that the two brothers would become just a facade, under the cover of which patricians from among the Medici supporters would determine and control the course of political life. Although Lorenzo took an active part in the decision-making of the ruling elite from the very beginning, it was several years before his nominal leadership became a reality, and this happened only after the events associated with the Pazzi conspiracy (1478).

The reason for the conspiracy was dissatisfaction with the leading role of the Medici party among some wealthy Florentines who did not belong to it. The Pazzi family, which was not inferior in wealth to the Medici, but came from a more ancient and noble family, was especially indignant. They intrigued against the Medici at the papal court, as a result of which Pope Sixtus IV transferred very significant curia funds from the Medici bank to the Pazzi bank. Lorenzo, for his part, used his influence in Florence to prevent the Pazzi from receiving a significant inheritance. The Pope's nephew Girolamo Riario also shared hostility towards the Medici, who saw them as an obstacle to his plans to establish himself here as a ruler. The conspirators planned to kill both Medici brothers right in the cathedral, during mass. Giuliano was killed, and Lorenzo jumped over the railing of the choir and disappeared into the sacristy. The Pazzi tried to arouse the indignation of the Florentines by calling for the restoration of republican freedoms, but they only incurred anger by murdering Giuliano, beloved by the people.

Foreign policy.

Although Lorenzo had the upper hand, he became embroiled in serious external complications. Girolamo Riario and the pope were aware of the Pazzi's attempt to overthrow the Medici, and their troops approached Florence to support the conspirators. A war ensued between Florence and the pope, during which the king of Naples Ferdinand I came to the aid of the pope. The pope and Ferdinand convinced the Florentines that they were not fighting with them, but only with Lorenzo. The citizens of Florence remained loyal to the Medici, but militarily the pope and Naples were far superior to them. Over the course of two years of war, the enemies advanced far into Florentine territory, and the city found itself economically depleted. It was then, in 1480, that Lorenzo undertook the famous trip to Naples to make peace with Ferdinand, which modern chroniclers, and subsequently historians, described as a complete surprise for the king. In fact, the trip was carefully prepared during diplomatic negotiations, although a certain amount of risk still remained; Lorenzo's charm and intelligence played an important role in achieving peace with Ferdinand. Left without a Neapolitan ally, the pope was forced to make peace that same year.

In the last 12 years of his life, Lorenzo's successes became increasingly significant. In foreign policy, he was most concerned about preserving peace. However, Lorenzo did not hesitate at all when - at the right moment and without special costs - it was possible to increase the territory of Florence with the help of military force. He could not avoid participating in wars in which the major powers of the Apennine Peninsula were involved. In 1482 it was a struggle for Ferrara, and in 1485 - a conflict between the pope and Naples, in which Florence took the side of Naples. After 1480, Lorenzo's foreign policy was based on an alliance with Naples and Milan. However, while maintaining good relations with the pope, Lorenzo managed to maintain close relations also with the alliance of the papal throne and Venice, which opposed Naples and Milan. Perhaps Lorenzo did not pursue a conscious policy of balance of power; but the fact that he turned out to be a decisive figure in both one and the other alliance allowed him to constantly influence the situation in order to restore peace in Italy.

Positions in Florence.

Lorenzo used the popularity he gained after the Pazzi conspiracy, as well as the successful outcome of the ensuing war, to strengthen the position of his party in Florence. Thus, through his efforts, the Council of Seventy was established, composed of the closest supporters of the Medici. The council formed the government and formed two executive committees - for foreign policy and for finance. Although the previous councils continued to exist, the need for approval of all political activities by the Council of Seventy made it the axis around which the entire system of government revolved. Lorenzo probably also thought about further measures to strengthen the rule of the Medici. He planned to turn the post of gonfaloniere, which was alternately filled by the heads of the guilds for two months, into a lifelong position for himself, but he died before the corresponding amendments to the constitution were made.

Contemporaries often wondered: who is greater - Lorenzo or his grandfather Cosimo? Cosimo was more circumspect and probably wiser, but Lorenzo had a brighter mind and personal attractiveness. The traditions laid down by his grandfather shaped the position that Lorenzo occupied and determined the direction of his policies. As in the case of Cosimo, the main guarantee of Lorenzo's indispensability in the life of Florence was his unsurpassed sophistication in foreign policy. Lorenzo's wife came from the Orsini family; he married his eldest son Piero to a representative of the same princely family, and married one of his daughters to Francesco Cibo, nephew of Pope Innocent VIII. These connections elevated the Medici above the Florentine patriciate, making them one of the ruling families in Italy. The consecration of Lorenzo's second son Giovanni (later elected pope under the name Leo X), who was only 14 years old, as a cardinal in 1489, indicated the promotion of the Medici to the level of European princes.

To strengthen his power, Lorenzo, to a much lesser extent than Cosimo, could rely on seemingly inexhaustible financial resources. Lorenzo had very little entrepreneurial ability. Under him, the Medici Bank suffered huge losses, so its importance decreased significantly. This happened both because of the mistakes of managers and because of the rise in business activity in France, England and Germany, which ended the monopoly of Italian bankers and merchants. The Medici Bank was forced to make risky investments, such as lending money to princes. It is also true that Lorenzo (as his contemporaries assumed) used public funds to support his own business. By creating the Council of Seventy, Lorenzo achieved what was an absolute necessity for him: complete dominance in state affairs and the elimination of all unreliable elements from the government apparatus.

Patron of science and art.

However, Lorenzo's construction program was not as extensive as that of his grandfather Cosimo. Perhaps he was stopped by financial difficulties. Lorenzo was commissioned only a few works by the great contemporary artists. Nevertheless, he was a passionate lover of painting: he enjoyed the company of artists, discussed their plans with them and gave advice to fellow citizens and rulers of other states on which artist to place an order for. Lorenzo collected gems and manuscripts; he preserved for posterity some of the most valuable texts of the Greek tragedians, Homer, Thucydides and Polybius. He made friends with the most prominent humanists and writers of his time. The humanist Poliziano and the poet Luigi Pulci lived in his house as friends and mentors to his sons. He showed affection to the philosopher Marsilio Ficino and the composer Francesco Landino, and was a friend of Pico della Mirandola.

Such relationships were based on common interests and genuine mutual understanding, since Lorenzo himself was a writer and poet. Although his work shows traces of the influence of Dante and Petrarch, his poetic descriptions of the landscapes of Florence and its classical myths, his glorification of love and pleasure, have a personal touch. Lorenzo will forever retain his place as a minor classic of Italian literature. Poets and humanists of the time thanked Lorenzo for his support, singing him in poems and dedications, and thereby spreading his fame throughout Italy and Europe. They portrayed him as a philosopher on the throne, the embodiment of the ideal of the Italian Renaissance. Lorenzo died in Carreggi near Florence on April 9, 1492.

Cosimo I, Grand Duke of Tuscany (1519–1574).

Cosimo I is the first Grand Duke and a prominent Italian sovereign of the 16th century. The great-great-grandson of Lorenzo the Elder, the younger brother of Cosimo the Elder, Cosimo was born in Florence on June 12, 1519. Thanks to his mother Maria Salviati, granddaughter of Lorenzo the Magnificent, Cosimo I was also closely associated with the senior branch of the Medici family. After Duke Alessandro was killed in 1537, Cosimo had more rights than anyone else to inherit power over Florence. Since he was not yet 18 years old, the Florentine patricians saw in his candidacy the additional advantage that he could be easily controlled. But once the patrician-dominated Council of Forty-Eight confirmed him in office, Cosimo forged close ties with the ambassador of Emperor Charles V. With the support of imperial troops stationed in Italy, Cosimo quickly abolished the Council of Forty-Eight and ended the influence of the patricians. The attack on the rights of the patriciate was immediately followed by an attempt at revenge, led by political exiles and prominent patricians. In 1537, at the Battle of Montemurlo near Florence, they were defeated, and their leaders were captured, many of them were executed.

In international affairs, Cosimo steadfastly adhered to the alliance with the emperor and benefited greatly from the success of the imperial forces in driving the French out of Italy. His most important acquisition was Siena, which he captured in 1555: he now brought almost all of Tuscany under his rule. In 1569, Cosimo’s strengthened position also found external expression - his title changed: the pope made Cosimo Grand Duke of Tuscany (before that he was Duke of Florence), which was soon recognized by other powers.

Cosimo's reign was characterized by many features typical of all European absolutism. His power was based on a powerful and disciplined mercenary army. Cosimo's taxes were high, but he imposed strict order, severely punished criminals and supported the development of new industries, such as tapestry making, which flourished in Florence until the 18th century.

Despite the fact that Cosimo differed from the representatives of the older branch of the Medici in cruelty and formalism, he largely followed the traditional policy of the family, supporting literature and art. During his reign, significant works in the poetic and historical genres were created in Florence. Cosimo decorated the city on the Arno with several of the most famous monuments: during his time the Santa Trinita bridge was built and the construction of the Pitti Palace was completed, in which he himself lived and which remained the residence of the rulers of Tuscany until the end of the grand duchy.

Literature:

Rolova A.D. Personal involvement of the Tuscan Grand Dukes in business life. – In the book: Medieval city, vol. 8. Saratov, 1987
Rolova A.D. The emergence of the Medici lordship and the culture of the Renaissance. – In the book: Culture and society of Italy on the eve of modern times. M., 1993
Experience of millennia. Middle Ages and Renaissance: life, morals, ideals. M., 1996

in 1434-1743 (with changes in 1494-1512, 1527-1530).

According to legend, the Medici moved to Florencia from the Toscan city of Mudzhel-lo. The first mention of the Medici in the Florentine documents dates back to 1221. Once upon a time there is trade and growth in the world. The games played an active role in the political life of Florence from the 2nd half of the 14th century, relying on the support of the grassroots [Sal -ve-st-ro Medici (about 1331-1388) was related to the uprising of Chom-pi, 1378]. Os-no-va-te-lem di-na-stii Medici considers Jo-van-ni di Bich-chi (1360-1429), who, having become fi-nan-si -stom of the Roman court, sign-but uk-re-drank the economic power and influence of his family. He sub-si-di-ro-val built-tel-st-vo Os-pe-da-le-de-li-In-no-chen-ti and the church of San Lo-ren-tso, po-lo- alive on-cha-lo shi-ro-koy me-tse-nat-skaya-tel-no-sti Me-di-chi.

The son of Jo-van-ni di Bich-chi - Ko-zi-mo, called Star-rym (Old-shim; Cosimo il Vecchio, 1389-1464), won the fight -be for power with the oli-gar-khic group of pi-rov-koy Al-bits-tsi - Uts-tsa-but also in 1434, after a year of persecution in Ve -no-tion, returned with triumph to Florence. From that time until the end of his days, he was the de facto head of the state government, without accepting without changing the re-public-li-kan forms of government. Maintaining his power ensures tight control over you, not allowing pre-ob-la-da -institutions in state institutions of his political opposition. The character of the devil-like rule of Ko-zi-mo Star-go and the Medici who followed him appeared as a blood-thirsty art of gu-ma-ni-stam and people of art. He collected artistic works and books. Provided support to the famous gu-ma-ni-stam N. Nik-ko-li, L. Bru-ni, P. Brach-cho-li-ni, L. B. Al-ber-ti, K. Lan-di-no, provide-pe-chi-val for-ka-zy hu-dozh-ni-ku Fi-lip-po Lip-pi, ar-hi-tek-to- ru Mi-ke-lots-tso di Bar-to-lo-meo, po-mo-gal sculpture-to-ram Do-na-tel-lo, L. Gi-ber-ti, L. del-la Rob- Bia. Encouraged M. Fi-chi-but to the study of the ancient divine-word-philosophical thought, the method of a warehouse shaft around a certain gu-ma-ni-stic circle, having received a wide-spread of news called “Pla-to -novskaya Aka-de-miya.” In death, he was awarded the honorary ti-tu-la “father of the father” by his co-gra-dan.

With the name of the grandson of Ko-zi-mo Star-ro-go - Lo-ren-tso, called Vel-ko-lep-ny (1449-1492, ruled from 1469; see Lo-ren-tso Me-di-chi), associated with the pe-ri-od of the highest race-color of the re-ness-sens-culture of Flora ren-tions. Son and successor of L. Me-di-chi - Pierro (1472-1503, reigned from 1492; in 1494 expelled from the house, not allowed to free usi-le-ni-em fi-nan-so-vo-gne-ta). Medici power in Florence was finally restored in 1530. In 1532, Emperor Charles V granted the Duke's title to the grandson of Pierrot - Ales-san-dro (1510-1537). After the assassination of the next one in 1537, Duke Ko-zi-mo I (1519-1574) stood at the head of the state-su-dar-st-va (1519-1574), Sta-vi-tel of another line of Medici, who traced their origins to Lo-ren-tso (1394-1440), younger brother Ko-zi-mo Sta-ro-go.

In 1569, Ko-zi-mo I received from papa ti-tul ve-li-ko-go duke Tos-kan-sko-go. Pro-vo-dil mer-kan-ti-li-st-skaya on-li-ti-ku, on-kro-vi-tel-st-vo-val trade-gov-le, development of ma- well-fak-tour and agriculture. Through fiscal measures, he collected significant funds for the construction of the fleet and the waging of the war of war. In the re-zul-ta-te military campaign of 1554-1555, he joined Siena to his authorities. Po-kro-vi-tel-st-vo-val of science and art. Supported by Ko-zi-mo I pol-zo-va-lis of the Floren-tiy aka-de-mia, the university in Pi-za, hu-dozh-ni-ki, architect, gu -ma-ni-sty (J. Va-za-ri, A. Bron-zi-no, B. Var-ki, etc.). Po-li-ti-ku Ko-zi-mo I how long did his son-no-vya Fran-che-sko I (1574-1587), in-encouragement for-nya- tiya natural sciences and os-no-vav-shiy Kru-ska aka-de-miyu del-la, and Fer-nan-do I (Fer-di-nand I; 1587-1609), with the name of someone is connected the establishment of the Uf-fi-tsi museum, the construction of the port in Li-vor-no and about -conducting large-scale reclamation works in Tos-ka-ne.

In the 17th century, the head of the Medici state began to decline (despite this, the Medici still mu support people of science and art, in part G. Ga-li-leya). The last representative of the ruling di-na-stiya on the male line - Dzhan Gas-to-ne (1723-1737) was without de-ten, with With the death of his sister Anna Marie Louise in 1743, the line of power of the Medici house was cut short.

Two representatives of the Flor-ren-Ti family of Medici from the bi-ra-lis pa-pa-mi: the son of Lo-ren-tso Ve-li-ko-lep-no- go - Jo-van-ni, under the name of Leo X, and ple-myan-nickname Lo-ren-tso Ve-li-ko-lep-no-go - Ju-lio, under the name Kli-men- ta VII. To the Medici family, there are also French ko-ro-le-you Eka-te-ri-na Me-di-chi and Ma-ria Me-di-chi.

The main pre-sta-vi-te-li houses of Me-di-chi

Jo-wan-ni di Bich-chi (1360-1429); Ko-zi-mo Stary (Elder; 1389-1464), son of the previous one, ruled from 1434; Pierrot Po-dag-rik (1416-1469), son of the previous one, reigned from 1464; Lo-ren-tso Vel-li-ko-lep-ny (1449-1492), son of the previous one, ruled since 1469; Pierrot (1472-1503), son of the previous one, reigned from 1492, in 1494 he was expelled from his family; Jo-van-ni (1475-1521), brother of Pierrot, since 1513 Pope of Rome (Leo X); Ju-lia-no (1479-1516), brother of Jo-van-ni, reigned in 1512-1513; Lo-ren-tso (1492-1519), son of Pierrot, reigned from 1513; Eka-te-ri-na (1519-1589), daughter of Lo-ren-tso, became a French queen in 1547 (bu-du-chi-wife of Gen-ri-ha II ); Ju-lio (1478-1534), nephew of Lo-ren-tso Ve-li-ko-lep-no-go, from 1523 Pope of Rome (Clement VII); Ip-po-li-to (1511-1535), son of Ju-lia-no, ruled from 1524, expelled from the city in 1527; Ales-san-d-ro (1510-1537), reigned from 1530.

The main representatives of the bo-ko-voy lines. Co-zi-mo I (1519-1574), Duke of Florence from 1537, Grand Duke of Toscania from 1569; his sons France I (1541-1587), Grand Duke of Toscan since 1574, and Fernando I (Ferdi-nand I ) (1549-1609), Grand Duke of Toskan since 1587; Ko-zi-mo II (1590-1621), son of Fernando I, Great Duke of Toskan since 1609; Dzhan-Ga-sto-ne (1723-1737), great-grandson of Ko-zi-mo II. To the front line of the Medici under the ko-ro-le-va of France (wife of Gen-ri-kha IV) Maria (1575-1642), grandson Ko-zi-mo I.

Family Me-di-chi and hu-dozh-e-st-ven-naya kul-tu-ra of Italy

The pre-sta-vi-te-li di-nasty of Me-di-chi had a strong influence on the development of art and culture in Italy on the pro-tya - about 3 hundred years old; The medical pa-tro-press allows us to trace the evolution of the forms of medicine in Europe in the 15th-17th centuries.

The first representatives of the Me-di-chi family in the first half of the 15th century acted within the framework of the later century-old traditions. Driven by the good-honor and civic duty, they fi-nan-si-ro-va-li public works according to the uk-ra-she-niiu-importance memorials that are significant for communities, as well as churches and monasteries, while displaying exceptional indi- vidence -vi-du-al-ny taste in you-bo-re hu-dozh-ni-kov and pro-ek-tov. Jo-van-ni di Beach-chi entered the jury of the know-me-ni-go-kon-kur-sa of 1401 for the creation of the bronze gates of Flor-ren-tiy- skogo bap-ti-steriya, fi-nan-si-ro-val construction-tel-st-vo Vos-pi-ta-tel-no-go house (architect F. Bru-nel-le -ski), in the church of San Lo-ren-tso os-no-val there is a family-style cha-pel-lu (Old Paradise sak-ristia, architect Bru-nel- le-ski, sculptural de-cor Do-na-tel-lo), followed the rise-ve-de-ni-em over-gro-biya Bal-das-sa-re Kos-sy ( an-ti-pa-py Io-an-na XXIII) in the Flor-ren-tiy bap-ti-ster-riy (authors - Do-na-tel-lo and Mi-ke-lots- tso di Bar-to-lo-meo).

For his son Ko-zi-mo Star-ro-go (Elder-she-go), this kind of activity was one of the ways to get rid of sin the growth of the di-na-stity of Me-di-chi. Ko-zi-mo gave the me-ce-nat-st-vu a new, is-not-re-nes-sans-ny scale-headquarters. He spent huge amounts of money on large architectural projects, among them: in Florence - the re-construction of the monastery of San Mar -ko (for someone I also collected a valuable bib-lio-te-ku), Pa-lats-tso Me-di-chi, sculptural de-cor Sta- swarm of sak-ri-stii in the church of San Lo-ren-tso, villa in Ka-red-ji, mon. Ba-dia in Fie-zo-le. Guma-ni-sti-che-ski about-ra-zo-van-ny man, Ko-zi-mo ho-ro-sho raz-bi-ral-sya in ar-hi-tek-tu- re and art, in-te-re-so-val-xia an-tich-no-styu and turned to the best Florentine artists of his his time-me-ni: Mi-ke-lots-tso di Bar-to-lo-meo, Do-na-tel-lo, P. Uch-che-lo, Fi-lip-po Lip-pi, A. del Cas-ta-no, De-zi-de-rio da Set-tin-ya-no.

Sy-no-vya Ko-zi-mo Sta-ro-go - Jo-van-ni and Pierro, not having the means to finance large-scale architectural projects . -du-al-nyh at-stra-sti-yah (their portrait busts-you in anti-ti-ch-clothes-would you-be-half-not Mi-no da Fie- zo-le in the 1450s). Jo-van-ni so-bi-ral mo-not-you, sta-tui and ma-well-sk-rip-you, built according to his order Villa-la Me-di -chi in Fye-zo-le with-ot-vet-st-vu-et describes-sa-ni-yam of the ancient Tos-kan villa at Pliny the Younger. De-zi-de-rio yes Set-tin-ya-but would-be-for-ka-za-ny 12 relief-e-fov with iso-bra-zhe-niya-mi tse-za-ray for uk-ra -she-niya Pa-lats-tso Me-di-chi. Through-de-le-nie medi-whose-s-bank in Bruges Joe-van-ni for-called Dutch painting and spa-le -ry. Piero, under the influence of the courts of Northern Italy (primarily d'Este in Ferrara), showed a taste for bo-ga-de-co-ri ro-van-nym and po-li-chrome-on-top-no-st, in-te-re-so-val-xia ger-di-koy.

In his studio (not preserved) the floor and vault were covered with may-o-li-koy, on the floor they were the same on May 12 -li-ko-vyh medals-o-news with the-bra-zhe-mi “Trud-dov Me-sy-tsev” (work-you L. del-la Rob-bia). He collected anti-tich-gems, so-so ma-well-sk-rip-you, spa-le-ry, objects you have and about-sta-nov-ki, de-co-ra-tiv-but-with-treasure-no-art, se-re-ro, jewelry-uk-ra-she-nia, tour-nir -nye do-pe-khi, etc. Ros-pi-si B. Gots-tso-li (1459-1462) in the chapel-le Me-di-chi in the Florentine palace how could it be better to deal with his artistic passions? In the last third of the 15th century from the pa-tro-novs and hu-doj-kovs became more personal, more cramped and not in the middle of the veins.

An example of a different-sided and distant-view of the me-ce-na-ta is Lo-ren-tso Ve-li-ko- molded. Representative of the younger branch of the family Lorenzo di Pierre-franche-sko po-kro-vi-tel-st-vo-val A. Po-li- Tsia-no and S. Bot-ti-chel-li, ko-ro-mu for-ka-hall of car-ti-ny on mi-fo-log-gical sy-the-you (“Pal-la- yes and ken-tavr", "Ves-na", etc.), work on villas in Treb-bio and Kafad-jo-lo, il-lu-st-ra-tion to from-da -niyu of the “God-st-ve-no-ko-media” Dan-te. He co-vell mo-lo-do-mu Mi-ke-land-zhe-lo to give away the statue he created “Sleeping Ku-pi-don” for an -tichnoe pro-iz-ve-de-nie; with his re-co-men-da-tel-ny letter, Mi-ke-land-je-lo went to Rome (1496). He founded the ceramic production, which was later moved to Ka-fa-jo-lo.

Popes Leo X and Clement VII, who came from the Medici family, made a significant contribution to the development of the style of You. -de-tion in Rome and its approval in Florence. The new status allowed them to turn to large-scale public projects, including ar-hi-tech-tour. nym and urban construction. Lev X po-kro-vi-tel-st-vo-val li-te-ra-to-ram P. Bem-bo, F. Gwich-char-di-ni, B. Kas-til-o-ne, Y. San-nad-za-ro, M. J. Vi-da. For-long-lived on-cha-toe pa-sing Yuli-em II uk-ra-she-nie Va-ti-ka-na: fi-nan-si-ro-val ra-bo-you Ra-fa- ale and its mas-ter-skaya (ros-pi-si Va-ti-kan-skih stations and lodges, car-tons for the tapestries of the Sistine cha-pel-ly, port-re -You); in 1515 he created the post of guardianship of Roman antiquities (Romanarum Antiquitatum Praes) to monitor the excavations and co-preserve knowledge of ancient antiquities, to which Ra-fa-el was named.

Both pa-pas initiate-ro-va-li gr-do-construction pre-o-ra-zo-va-nia in Rome: expansion of streets, construction-tel-st -in the new churches and palaces, with them the famous “trident” of the streets of Kor-so, Ri-pet-ta and Ba-was formed buoy-but, converging on Piazza-del-Po-po-lo, the construction of St. Peter's continued . Clement VII you-stepped behind the Kas-chi-kom fresco “The Last Judgment” by Mi-ke-land-zhe-lo (in the Sistine Chapel), Roman Vil. -ly Ma-da-ma Ra-fa-el, many statues of B. Ban-di-nel-li. In Florence, dad paid attention to the object there, tra-di-tsi-he-but-ho-div-shim-under-the-blood-vi- tel-st-vom Medici: by order of Leo X, Mi-ke-land-zhe-lo began in 1519 the erection of the mustache-fingers of the Medici (ka-pel- la Me-di-chi) in the New Sac-ri-stia of the Church of San Lo-ren-tso and created a project for the fa-sa-da of this church (not implementing the st-v- linen); for him, the villa was re-built in Pod-jo-a-Kai-a-but, in the in-ter-e-rahs in which the swarm appeared pi-si A. del Sar-to, Ya. Pon-tor-mo, Fran-cha-bid-jo. Under Kli-men VII, the construction of the Lau-ren-tsian library was underway.

At the court of Ko-zi-mo I, ve-li-ko-go duke Tos-kan-sko-go, art and art-hi-tek-tu-ra became effective -ny-mi in-st-ru-men-ta-mi real-li-za-tion of di-na-stic ambitions. To emphasize the continuity with his ancestors of the 15th century, Co-zi-mo I founded the Medici palace, under -kept the library of Lau-ren-tsia-na, behind the hall of J. Va-za-ri portrait of Lau-ren-tso Ve-li-ko-lep-no-go. In the re-stro-en-nom Ban-di-nel-li Pa-lats-tso del-la-Sin-o-ria (Pa-lats-tso Vec-kyo), on some time became re-zi-den-tsi-ey ve-li-ko-go duke-tso-ga, Va-za-ri and F. Sal-via-ti created fre-ski, glorifying the Medici family, and in part of the same Ko-zi-mo I. On the 2nd floor, the same building for him -ka-zu buildings Uf-fi-tsi Ko-zi-mo raz-placed the artistic collections-lectures of the Medici, thereby laying the foundation for-but-you will-du- another museum.

To decorate Florence, which should reflect its own greatness, Co-zi-mo I ordered a whole row sculptural works: “Fon-tan Nep-tu-na” by B. Am-ma-na-ti, “Per-seus with the head of Me-du-zy "B. Chel-li-ni and others. Ko-zi-mo I was considered the head and po-kro-vi-te-lem of Aka-de-mii del-Di-ze-no, included marveled at her hu-dozh-ni-ki ra-bo-ta-li for the sake of the Duke. Court hu-dozh-ni-ki J. Va-za-ri, A. Bron-zi-no, B. Chel-li-ni, Pierre-franc-che-sko (Pier-ri-no) yes Vin-chi created the pa-rad-port-re-you; I would especially like to use Ya. Pon-tor-mo. In the studio in Pa-laz-tso Vek-chio (Skrit-toyo-di-Kal-lio-pe, not preserved) Ko-zi-mo I once-placed the private collection -tion of bronze and marble st-tu-ethoks, rare-co-sties, do-ku-men-tov, me-da-lei and mini-nia-tyur.

Soup-ru-ga Ko-zi-mo Ele-o-no-ra To-led-skaya at-re-la the former Pa-lats-tso Pit-ti, which was-re-re -built-but in the style of man-e-riz-ma B. Am-ma-nat-ti and the st-lo re-zi-den-tsi-ey of the duke-tsog-family, next to Bo-bo-li gardens (architect and sculptor N. Tri-bo-lo). “Ko-ri-dor Va-za-ri”, passing over the Pont-te-Vek-kyo bridge, uniting the ga-le-rei Uf-fi-tsi with the do- my church San-ta-Fe-li-chi-ta and Pa-lats-tso Pit-ti. The great dukes of you not only stood for the Kaz-chi-kami pro-iz-ve-de-of art, they aspired to the center -to create and develop artistic life in the city: under Co-zi-mo I, Florence became a major center for the creation of gems and materials -yes, he is the main one of the tapestries production (Arazzeria Medicea). Under his auspices, the excavations of these Russian antiquities were carried out.

Fran-che-sko I uv-le-kal-sya science-ka-mi, es-te-st-vo-is-py-ta-ni-em, from-yes-val pre-preference de -to-ra-tiv-but-applied-to-the-art-to-you, many of which practically-to-valid-but-personally. His frequent apartments in Pa-laz-tso Vek-chio include, among other things, co-creations and studios. lo, uk-ra-shen-noe in collaboration with the program of V. Bor-gi-ni (sacred to the state of man -ka over the pri-ro-doy blah-da-rya science-kam and is-kus-st-you) fre-ska-mi, kar-ti-na-mi, mo-zai-ka-mi and hundred -tu-et-ka-mi. For his second wife Bian-ki Ka-pel-lo built a villa in Pra-to-li-no (architect B. Bu-on-ta-len-ti) with sa -a house full of terraces, grottoes, backgrounds, statues and mechanical works.

Re-led the city's workshops of de-ko-ra-tiv-no-pri-treasury arts in Ka-si-no-dei-Me-di-chi, in-built-en- noe Bu-on-ta-len-ti to San Marco Square, paying special attention to mo-zai-kam and in-kru-sta-tsi-yam from po-lu-dra -th-valuable stones (Flor-ren-Ti-mo-zai-ka), for work with whom-ry-mi you invited mas-te-rov from Mi -la-na. On the basis of the or-ga-ni-zo-van-their workshops, the brother of France-sco I - Fer-nan-do I (Fer-di-nand I) os-no-val in 1588 Opi-fich-cho di Piet-re Du-re (central-tra-li-zo-van-noe production of art-work-ke at-lu-dra-go-tsen - stones). Fer-nan-do, when he was a kar-di-na-lom in Rome, kol-lek-tsio-ni-ro-val an-ti-ki, when he found a villa on the hill Mon-te-Pin-cho (now not Villa-la Me-di-chi), fa-sad ko-roy uk-ra-sil an-tich-ny-mi frag-men-ta-mi in a knock - which about-frame-le-ni-yah; at the villa there is a collection of anti-tich plastics (including “Ve-ne-ra Me-di” -chi", "Bor-tsy", "Nio-bi-dy" and "Sleep-on-rio").

Having become the Great Duke of Toskan, he turned the equestrian mo-nu-ment into the most widespread type of urban memory -ka, having installed his statues (the sculptor Jam-bo-lo-nya and his master-skaya) in Florence and beyond -ro-dah Pi-za, Li-vor-no and Aretz-tso, the statue of Ko-zi-mo I - in Florence. He began the construction of the Mav-zo-ley of the Great Dukes (attached to the Church of San Lorenzo) - the chapel-ly dei-Prin-chi-pi (1604, architect M. Ni-get -ti according to the design of Do-na Jo-van-ni Medichi), bo-ha-uk-ra-she-noy internal ob-face-coy from the-lu-dra- valuable stones.

At the court of his son Ko-zi-mo II, J. Kal-lo worked. The representative of the Medici family in the 17th century, according to tradition, -whether we support the Flor-ren-Tiy hu-dozh-ni-kam, the collection of lecture-tsio-ni-ro-va-whether modern painting, both Italian and -ve-ro-ev-ro-pay-skaya. At the Florentine court, the work of A. Man-ya-sko, S. Roza and other hu-dozh-ni-ki. Tra-di-tions of the Medici family (me-tse-nat-st-vo, collection-lection-ni-ro-va-nie) pro-long-lived Eka-te-ri-na Me- di-chi, bu-du-chi ko-ro-le-voy France.

MEDICI, a Florentine family that played an important role in medieval Italy. At the end of the 12th century. The Medici moved to Florence from the Tuscan town of Mugelo and became rich by engaging in trade and usury. They founded a trading and banking company, one of the largest in the 15th century. in Europe; in 1434-1737 (with breaks in 1494-1512, 1527-30) they ruled Florence. Main representatives: Cosimo the Elder Medici, ruled from 1434; Lorenzo the Magnificent de' Medici, reigned from 1469.

The Medici ruled the Grand Duchy of Tuscany from 1569 to 1737. Popes Leo X and Clement VII, French queens Catherine de Medici and Marie de Medici, and several cardinals belonged to the Medici family.

MEDICI Cosimo Elder (Old) (September 27, 1389, Florence - August 1, 1464, Careggi, Florence district), merchant and banker, owner of the largest fortune in Europe. He laid the foundation for the power of the Medici family, which transformed the Florentine state from a republic into a signory.

He actively participated in city affairs, gained people's trust and favor with large donations for public needs and culture, gifts and loans to citizens and the state, and distribution of bread during famine years. In 1433, Cosimo, who headed the popular party in opposition to the ruling oligarchy, was arrested and then expelled from Florence. But already in November 1434 he returned to Florence in triumph. From that moment until the end of his days, he was the de facto ruler of the state, remaining a simple citizen, without accepting any title or changing republican forms. Under him, the signoria (government) of eight people, all commune councils, courts, colleges of good men and gonfaloniers of companies remained, but he controlled elections in them and used tax policy in the fight against opponents.

Cosimo was a zealous owner, he himself conducted the trading and banking affairs of his house, and supervised the cultivation of the land that belonged to him. As a statesman, he took care of the development of agriculture in the Florence area and encouraged silk spinning, trade, and shipping. The basis of Cosimo's political power was his personal fortune, which allowed him to act as a creditor to the King of England, the Duke of Burgundy, the Duke of Sforza, the Pope and other sovereigns of Italy and Europe. He expanded the possessions of Florence, annexing several neighboring territories. During the period of his actual reign, Florence did not experience any significant state and social upheavals, becoming one of the most important centers of international politics.

A characteristic feature of the power of Cosimo (and the Medici who succeeded him) was his widespread patronage of humanists and people of art, which brought him pan-European fame as a philanthropist. He collected works of art and books, assisted Leonardo Bruni, Poggio Bracciolini, Leon Battista Alberti, Cristoforo Landino, Ioann Argyropoulou, Marsilio Ficino and the circle of humanists that formed around him (Platonov Academy), and provided orders for the artist Filippo Lippi and the architect Michelozzi. He was posthumously awarded by his fellow citizens the honorary title “Father of the Fatherland.”

O. F. Kudryavtsev

MEDICI Lorenzo the Magnificent(January 1, 1449, Florence - April 8, 1492, Careggi, district of Florence), grandson of Cosimo de' Medici the elder, after the death of his father Piero Gout in 1469, became the de facto ruler of the Florentine state. The name of Lorenzo the Magnificent is associated with the period of the highest flowering of the Renaissance culture of Florence.

As a child, Lorenzo was raised by his mother Lucrezia Tornabuoni, then his mentors were the famous humanists John Argyropoul, Cristoforo Landino, Marsilio Ficino, who taught him classical languages, philosophical sciences, and poetry. From his early youth he carried out responsible diplomatic missions and participated in government affairs. In July 1469 he married Clarice Orsini, a representative of a noble Roman family.

Like his grandfather, Lorenzo remained a private man and did not hold any key official positions. The republican façade of Florentine statehood changed little under him. The very nickname of Lorenzo “The Magnificent” indicates that his power rested to a large extent on the popularity that he acquired by extensive spending from his own and public pockets on luxurious buildings, works of art, and brilliant festivities. During his reign, endless carnivals, masquerades, knightly tournaments, theatrical and other performances took place. No stranger to literary studies, the author of poetic works and learned treatises that made him famous, Lorenzo proved himself to be a generous philanthropist, like his grandfather, supported Ficino, the head of the Platonic Academy, of which he himself was a member, the poets Angelo Poliziano and Luigi Pulci, hosted Landino, Argiropoula , Francesco Filelfo, Bernardo Bembo, Ermolao Barbaro, Giovanni Pico della Mirandola, Johann Reuchlin and other famous humanists. Artists enjoyed his patronage: Sandro Botticelli, Filippino Lippi, Andrea Verrocchio, Pollaiuolo, Ghirlandaio, Giuliano da San Gallo, young Michelangelo. According to family tradition, Lorenzo replenished the library (later named after him - Laurentiana), purchasing books for it throughout Europe, collecting ancient and new sculptures, cameos, coins, paintings.

He ensured the preservation of his power in various ways, in particular, through an extensive system of personal connections in Florence and beyond, and well-developed techniques for weeding out political opponents during elections to government bodies. In 1478, opponents of the Medici from the influential Florentine families of the Pazzi and Salviati attacked Lorenzo and his brother Giuliano in the church during mass, but only Giuliano was able to kill: the people did not support the conspirators and brutally dealt with them.

Lorenzo discovered an extraordinary diplomatic talent and became one of the creators of the Italian balance, skillfully playing on the contradictions between Venice, Milan, the Kingdom of Naples and the Pope. In 1479, having made a bold visit to his sworn enemy Ferdinand of Naples, he achieved an end to the war with him and the pope on favorable terms, which sharply increased his authority in Florence. Expanded Florentine possessions by annexing the fortresses of Pietrosanta, Sarzana and Piancaldoni.

Lorenzo's commercial activities were unsuccessful. In order to cover the growing expenses of the commune, including for public festivals and entertainment, he established new taxes, carried out forced government loans, and resorted to damaging coins. Popular discontent caused by increasing financial oppression affected Lorenzo's son and successor, Piero, who was expelled by the Florentines in November 1494.

O. F. Kudryavtsev

CATHERINE Medici(Catherine de Medicis) (April 13, 1519, Florence - January 5, 1589, Blois), French queen, wife of Henry II of Valois, mother of the French kings Francis II (1559-1560), Charles IX (1560-1574), Henry III (1574 -1589) and Queen Margot (from 1589). Comes from the line of the Medici Dukes of Florence.

In 1533, Catherine de' Medici became the wife of the French prince Henry of Valois, and in 1547 the couple ascended the French throne. Since 1559, during the reign of her sons, Catherine de Medici largely determined state policy and sought to prevent nobles from participating in public administration. In the initial period of the Huguenot Wars, the Queen Mother sought to maneuver between the warring parties. In 1570, she insisted on concluding the Treaty of Saint-Germain with the Huguenots. But in 1572, fearing the strengthening of the position of the Huguenot leader Gaspard Coligny at the royal court and his influence on Charles IX, she became one of the main organizers of the Bartholomew's Night.

MARIA MEDICI(Marie de Medicis) (1573-1642), Queen of France, wife of Henry IV, mother of Louis XIII, was regent in 1610-14. After Louis reached adulthood, she continued to rule on his behalf together with her favorite, Marshal d'Ancre. In 1617 d'Ancre was killed, Maria fled. She twice tried to rebel against Cardinal Richelieu, organized conspiracies and in the end was forced to leave France forever.

For her, the Luxembourg Palace was built in Paris, for whose galleries Rubens painted 21 canvases, “The Triumph of Marie de Medici.”

Renaissance, Florence, Medici - three words inextricably linked. The Renaissance is a time of brilliant flowering of culture that came in Europe after the long bloody unrest of the early Middle Ages. Florence is a city-republic that became one of the centers of the Renaissance. The Medici family is a famous Florentine family, many of whose members were typical people of modern times - talented, enterprising, cruel, inspired, like all true Florentines, by the ideas of freedom and devotion to their homeland.

In the 15th century Florence is one of the richest, most populous and beautiful cities not only in Italy, but also in Europe. Its residents Bardi and Peruzzi are at the head of the largest banks of that time, financing not only merchants and various types of entrepreneurs, but also entire states, for example, the governments of the English kings Edward II and Edward III.

Woolen fabrics made in Florentine factories are sold in many cities in Europe, Asia and Africa. Enterprising urban merchants establish shopping centers around the world. No wonder Pope Boniface VIII ironically said that the Florentines, like earth, water, air and fire, represent the basis of the universe.

In the distant past there are battles between townspeople and hated feudal lords, when the men of the Medici clan inspired their fellow citizens with cries of “Palle!”, “Palle!” (“Balls!”, “Balls!”), pelting enemies with plumb balls from looms. The Medici, together with the rest of the Florentines, achieved a complete victory over the knights-nobles, enshrined in a special document called “Established Justice.” Signed by the citizens of Florence in 1293, it deprived the knights of all political rights, and the title of nobleman was now awarded as a punishment to criminals.

The city fathers elected one of the Medici, Giovanni, to the highest position in the state - Gonfalonier of Justice. He had to almost single-handedly lead the political and economic life of the city-republic. Everyone else completely relied on his decisions and could calmly go about their business.

Giovanni Medici by that time was already one of the richest citizens, and he was not very attracted to the position assigned to him. His main interests lay in acquiring even greater wealth and strengthening the financial power of his family. In 1409, he became a banker at the papal court, with whose support he founded branches of his bank in Bruges and London.

Giovanni Medici's gold paved the way for his son Cosimo to unlimited political power in Florence, which he did not let go of until his death and passed on to his children. Cosimo was an educated man, a keen connoisseur of the sciences and arts. In 1438, he met Gemistius Pleto, who came to Florence. The Greek philosopher was a staunch adherent of Plato's teachings and dreamed, based on ancient philosophy, of creating a common religion for all mankind. Pleto managed to introduce Cosimo de Medici to his teachings. Since then, the name of the great sage of antiquity has not left his lips. He firmly believed that without knowledge of the teachings of Plato, no one could be either a good citizen or a good Christian, and he convinced everyone around him of this. The veneration of Plato among educated Florentines became almost a religious cult, rivaling the worship of Christ himself. In many houses, lit lamps were placed in front of the bust of the philosopher.

Old Cosimo loved to spend warm spring days at his Villa Careggi. Pruning the vines with his own hands, he listened as his favorite, young Marsilio Ficino, read him passages from the works of Plato and recited ancient odes, accompanying himself on the lyre. It was during one of these readings that this uncrowned ruler of Florence died. Grateful fellow citizens wrote on his tombstone: “Here lies Cosimo de’ Medici, by decision of the state - “father of the fatherland.”

Cosimo's heir was his grandson Lorenzo. And again at Villa Careggi, among the oak forests that surrounded it, poetry and music were heard, philosophical conversations were held, in which the grandchildren of Cosimo, Lorenzo and Giuliano, their friends - poets, painters, architects, secular and clergy took part. They called themselves the “Platonov Family”, or members of the Platonov Academy - a free society of people of different ranks and property status who loved ancient culture.

Unanimously elected head of the Academy, the favorite of the late Cosimo de' Medici, the matured Marsilio Ficino called himself a "Platonic philosopher, theologian and physician." Taking his time, he translated into Latin all the famous works of Plato and other ancient philosophers and historians.

Lorenzo, nicknamed the Magnificent, and his friends sought to imitate not only their studies in the fine arts, philosophy and literature, but also adopted their manner of dressing, talking, and behaving in society. Baldassare Castiglione's treatise "The Courtier" listed all the qualities of an educated person: the ability to fight well with swords, ride gracefully, dance exquisitely, always express himself pleasantly and politely, speak eloquently, be fluent in any musical instrument, always behave simply and naturally, be secular to the core and a believer at heart.

Lorenzo de' Medici listened carefully to Ficino's words when the conversation turned to God and man. Ficino had by that time become the rector of the cathedral in Florence, and all people who considered themselves well-mannered gathered at his sermons. He told his listeners that man stands at the pinnacle of creation not because he can comprehend the laws of divine creation, but because he himself is capable of creative creation. The great divine work that culminated in the creation of man is repeated in the work of man himself, who imitates God with precision and unites with him in this. Man can be called a divine artist.

Ficino argued that human power is almost like divine power; what God created in the world with his thought, the human mind conceives in itself through an intellectual act, expresses through language, depicts, creating buildings and works of art.

Ficino's contemporary Nicholas of Cusa argued that God is creativity, and man is created in the image and likeness of God; therefore, man is also a creator.

Member of "Plato's Family" Pico della Mirandola goes even further. He argues that if God is the creator of himself, and man is created in the image and likeness of God, then man must also create himself.

Lorenzo Medici listened to his friends, invited prominent people of his time to Florence, commissioned the best artists to build palaces, temples, public buildings and decorate them with frescoes and paintings, royally bestowing gifts on the creators. He agreed with his friend Ficino, who argued that a golden age had come, giving rise to golden minds and talents, reviving the liberal arts that had almost died in the past - grammar, poetry, rhetoric, painting, architecture and the ancient singing of the lyre of Orpheus. And all this happened in Florence.

It seemed that these people, who were talking about divine universal love and creativity, did not see what was happening around them. They wanted life to be a constant celebration, a series of successive carnivals, theatrical performances, military shows at which citizens showed off their manners, beautiful wives and lovers, and the wealth acquired by their fathers and grandfathers.

For one of the carnivals, Lorenzo composed a song that was loved by the residents of Florence. It contained these words:

Oh, how beautiful youth is
But instantly. Sing and laugh!
Be happy who wants happiness
And don't hope for tomorrow.

The sad “tomorrow” came in 1478. Some influential Florentines, led by representatives of the hostile Medici house of Pazzi, who did not want to come to terms with the rise and unlimited power of their rivals, planned to overthrow the Medici and seize power in Florence. On April 26, during a solemn service in the city cathedral, the conspirators surrounded the unsuspecting Medici brothers. Giuliano fell, struck by the assassin's dagger. Lorenzo, wounded, took refuge in the sacristy of the cathedral.

The conspirators hoped that they would be supported by the rest of the citizens of Florence. But that did not happen. And then the Medici began to take revenge: almost all the conspirators were captured and hanged on the streets of the city. Only Giuliano's killer, Bernardo Bandini, a dissolute and unscrupulous man, managed to escape. A year later he showed up in Constantinople, hoping that he had escaped Lorenzo's revenge. The same, having learned about this, turned to the Turkish Sultan himself with a request to extradite the killer. Bandini was brought to Florence, chained and promptly hanged where the bodies of his accomplices hung a year before. The city fathers adopted a resolution according to which every attempt on the life and well-being of Lorenzo was henceforth considered as “lese majeste” and was to be punished in the most severe manner.

It turned out that preaching universal love is easier than following this sermon. A merciless political struggle broke out in Florence. Executions, murders, expulsions, pogroms, torture, arson and robbery followed each other. When a famous person died, rumors about his poisoning spread throughout the city. Lorenzo's family did not escape suspicion of murder and other crimes, of which his heirs were also accused. For example, contemporaries claimed that Cosimo I de' Medici (1519-1574) killed his son Garzia in a fit of anger, and Pietro, Cosimo's son, struck his wife Eleanor to death with a dagger.

The permissiveness and impunity of those in power led to a decline in the morals of the rest of the townspeople. To harm their enemies, the Florentines made magic potions and summoned demons. Many believed in ghosts, the evil eye, corruption and black horsemen who intended to destroy Florence. Instead of holy water, as Christians should, they used potions made from crushed hair, bones and clothes of the dead. Marsilio Ficino himself, for example, studied alchemy and astrology, compiling horoscopes for the children of Lorenzo the Magnificent. Who was to condemn the inhabitants of Florence if even the highest clergy - the Pope - behaved in a similar way?

And then a man appeared in the city who publicly began to denounce the vice. His name was Girolamo Savonarola. He was born in Ferrara, into a family of famous doctors. His parents wanted him to inherit the family profession. But the young man wanted to become a priest. In his sermons, he argued that without moral virtues, both an individual and an entire society would inevitably find themselves on the brink of death.

In 1491, Savonarola was elected rector of the cathedral in Florence. That's when Lorenzo Medici heard about him. It was strange for him to see a man, even a clergyman, who dared to reproach him for despotism, robbery of fellow citizens, and various malicious intents. Lorenzo tried to tame the brave preacher. He often went to the cathedral, made rich contributions, and invited Savonarola to his palace. It was all in vain. Savonarola openly announced that great changes must be expected, since the time of life allotted to Lorenzo by God was expiring and the Last Judgment and fiery Gehenna awaited him.

By that time, Lorenzo was actually seriously ill, and his soul longed for peace, remission of sins. He did not trust his confessors, knowing their cowardice and corruption. Lorenzo wanted to confess to a man whom he had come to respect for his courage and integrity. Savonarola came to the dying Lorenzo, but agreed to confess him under certain conditions: he must trust in the infinite mercy of God, correct the consequences of the crimes committed or bequeath this to his sons and, last but most importantly, return freedom to the Florentine people. This last condition infuriated Lorenzo, and Savonarola left without giving him absolution. On April 8, 1492, Lorenzo the Magnificent died.

His heir Piero - a handsome and frivolous man - in a short time, with his stupidity and arrogance, achieved universal self-hatred and an increase in the number of Savonarola's like-minded people. While Piero squandered the wealth of the Medici house, Savonarola stubbornly built his home - a monastic community. In the monastery, he introduced a strict vow of poverty, prohibiting all sorts of excesses and luxury. Monks had to do useful work. Savonarola organized schools where fine arts, philosophy, morality, law, Holy Scripture, languages ​​- Greek, Hebrew, etc. were studied.

Not without his influence, on November 19, 1494, Piero de' Medici was deposed by the inhabitants of Florence and fled first to Venice and then to Rome, where he began to weave intrigues against Savonarola.

After the escape of the Medici, Savonarola proposed his program of action to the city fathers. A Grand Council was established in the city, in which all residents could take part upon reaching 29 years of age. The Council had full power, and executive power was vested in the Small Council, where the most worthy were elected.

Savonarola proposed judicial reform and a general amnesty. The rector of the cathedral carried out all these events without coercion or violence, using only his authority and ability to persuade.

Preaching repentance and moral revival, he was not a persecutor of art and science. When it became known about the sale of the huge library of the Medici house, which had been collected for more than one generation, Savonarola did everything possible to preserve it. He ordered the sale of part of the monastery lands, made a large loan in his own name, bought the library and opened it for public use.

Savonarola had strong enemies, and they were not idle. Accusations of heresy and various provocations followed each other. On the initiative of Pope Alexander VI, he was arrested and tortured, but the executioners did not force him to renounce his previous views and deeds.

On May 23, 1498, Savonarola was hanged, and then his body was burned and his ashes were scattered. He was only 45 years old. Piero de' Medici could triumph: his enemy was defeated. But the Medici did not return to Florence until 1512. They left too evil a memory of themselves. And when they returned, it turned out that history had taught them nothing. Again, they are indispensable participants in coups, executions, and violence. In 1527, the Medici family again had to flee Florence from the retribution of their fellow citizens. After this, when they returned again, they became more careful, trying to avoid aggravating relations with the Florentines, who still remembered the taste of freedom.

In 1569, the Medici received the title of Grand Dukes of Tuscany from the Pope. Their power was absolute, based on their own, albeit small, army.

The history of the Medici family is still waiting for its researcher. Its members included heroes and criminals; people capable of high, noble deeds and low betrayal; free farmers, artisans, townspeople, merchants, financiers, crowned and uncrowned rulers, but they were all people of their extraordinary time. And each of them could say about themselves in the words of the Renaissance poet Francois Villon:

I know how flies land on honey,
I know Death, who prowls, destroying everything,
I know books, truths and rumors,
I know everything, but not myself!