Relevant bibliographies by topics / Cosimo II de' Medici

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Academic literature on the topic 'Cosimo II de' Medici'

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Published: 10 March 2023

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Journal articles on the topic "Cosimo II de' Medici"

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Farneti, Fauzia. "Il quadraturismo in Pallazzo Pitti da Cosimo II a Cosimo III de' Medici." Varia Historia 24, no. 40 (December 2008): 369–86. http://dx.doi.org/10.1590/s0104-87752008000200002.

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Nei primi decenni del Seicento la pittura decorativa a Firenze risulta ancora legata all'ornamentazione tradizionale tardomanierista attuata nei modi di Alessandro Allori o di Bernardino Barbatelli detto il Poccetti. L'interesse per le novità e per l'aggiornamento dell'ambiente artistico fiorentino portarono il granduca Ferdinando II a chiamare a Firenze tra il 1636 ed il 1637 Pietro da Cortona, Angelo Michele Colonna e Agostino Mitelli. I due bolognesi completarono il ciclo pittorico celebrativo del governo di Ferdinando cui aveva dato inizio Giovanni da San Giovanni, con la decorazione delle tre sale di rappresentanza del quartiere estivo di palazzo Pitti realizzata tra il 1637 ed il 1641. L'intervento, condotto secondo il più moderno linguaggio barocco che vede la perfetta integrazione dell'illusionismo architettonico, che supera i limiti dello spazio reale, con le scene figurative, verrà a costituire nell'ambiente fiorentino un ineludibile modello di riferimento nella decorazione d'interni, soluzioni di grande modernità su cui si formerà Jacopo Chiavistelli e i giovani della sua scuola. Anche Giovan Carlo, fratello del granduca, nel 1637 diede inizio ad una serie di trasformazioni che si protrassero per oltre un ventennio, trasformando gli ambienti a lui assegnati in Pitti in veri e propri luoghi di delizie, decorati dagli artisti più significativi del momento quali ad esempio Angelo Michele Colonna, Agostino Mitelli, Pietro da Cortona, Jacopo Chiavistelli. Fu quest'ultimo frescante che con i suoi 'scolari', fin dagli anni Cinquanta fu attivo in palazzo Pitti, decorando a quadratura gli ambienti dei quartieri dei membri della famiglia granducale, ambienti che in gran parte sono andati perduti in quanto interessati dalle ristrutturazioni lorenesi e sabaude. Con i lavori commissionati dal gran principe Ferdinando si chiude in palazzo Pitti la grande stagione del quadraturismo barocco fiorentino.
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MORONEY, DAVITT. "Alessandro Striggio's Mass in Forty and Sixty Parts." Journal of the American Musicological Society 60, no. 1 (2007): 1–70. http://dx.doi.org/10.1525/jams.2007.60.1.1.

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Abstract It has been known for twenty-five years that Alessandro Striggio the elder, the most important composer at the Medici court in Florence in the 1560s and 1570s, wrote a setting of the Ordinary of the Mass in forty parts, with an Agnus Dei in sixty parts, but the piece has always been thought lost. This major artwork from the high Florentine Renaissance does in fact survive (F-Pn, Rés. Vmd. ms 52). Entitled Missa sopra Ecco sìì beato giorno, it is Striggio's most imposing composition, and underlines the early eminence of Florence in the art of massive polychoral writing. The last movement is indeed in sixty real parts. The Mass also appears to have been used by the Medici as a political tool in the art of cultural diplomacy. Offered in January 1567 to Holy Roman Emperor Maximilian II at exactly the moment when Cosimo de' Medici was seeking approval from Maximilian of a royal title (granted finally as “Grand Duke” by Pope Pius V in 1569), the Mass was also performed by Lassus's colleagues in Munich and under Striggio's direction at court in France, a few weeks before he visited the court of Queen Elizabeth I in London in June 1567. The links with Striggio's forty-part motet Ecce beatam lucem and with Thomas Tallis's Spem in alium, are discussed, as are the reasons why the source of the Mass remained unknown throughout the twentieth century.
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Bevilacqua, M. G., G. Caroti, A. Piemonte, and D. Ulivieri. "RECONSTRUCTION OF LOST ARCHITECTURAL VOLUMES BY INTEGRATION OF PHOTOGRAMMETRY FROM ARCHIVE IMAGERY WITH 3-D MODELS OF THE STATUS QUO." ISPRS - International Archives of the Photogrammetry, Remote Sensing and Spatial Information Sciences XLII-2/W9 (January 31, 2019): 119–25. http://dx.doi.org/10.5194/isprs-archives-xlii-2-w9-119-2019.

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<p><strong>Abstract.</strong> Cultural heritage includes several cases of missing architectural element or entire buildings, due to destruction, replacement or radical changes caused over time by other structures. The investigation of these lost elements aimed at their virtual reconstruction, for both scientific and cultural-leisure applications, is therefore a topic of great interest. To this purpose, methodologies for surveying and photogrammetric processing provide a very powerful tool, extracting descriptive and geometric information, both 2-and 3-D, using diverse archive images. This paper presents the issues related to the use of archive images in photogrammetry, pointing out the need for an integrated approach to operations of virtual reconstruction of lost volumes. This approach provides a multidisciplinary effort, in order to evaluate all iconographic sources, of which images processed by geomatics techniques are a component. The paper also presents the early results of a reconstruction project of the <i>Palazzo di Cosimo de’ Medici</i>, in the <i>Fortezza Vecchia</i> site (Livorno, Italy), heavily damaged by World War II bombings and subsequently razed.</p>
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Domínguez, Frank A. "Philip IV's Fiesta de Aranjuez, Part I: The Marriage of Cosimo II de Medici to María Magdalena De Austria and Leonor Pimentel." Hispanófila 157, no. 1 (2009): 39–62. http://dx.doi.org/10.1353/hsf.2009.0029.

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Van Sasse Van Ysselt, Dorine. "Johannes Stradanus: de decoraties voor intochten en uitvaarten aan het hof van de Medici te Florence." Oud Holland - Quarterly for Dutch Art History 104, no. 3-4 (1990): 149–79. http://dx.doi.org/10.1163/187501790x00075.

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AbstractSources show that the Flemish artist Johannes Stradanus, whose career flourished from about 1555 in Florence, collaborated on several occasions on large-scale, temporary decorations, most of them commissioned by the grand dukes de'Medici, for important dynastic events such as baptisms, entries into cities and funerals. A multitude of artists and craftsmen carried out these decorations on the basis of often complicated iconographic programmes. In 1564, for instance, on the occasion of Michelangelo's funeral in S. Lorenzo, Stradanus painted the grisaille Michelangelo in 1529 in his dwelling in the Giudecca being received by the nobles of Venice by order of the Doge Andrea Gritti and the Signoria. In 1565, for the triumphal entry into the city of Johanna of Austria, he painted all the pictures decorating the triumphal arch erected on the Canto de' Tornaquinci. These consisted of five scenes glorifying the following exploits of rulers of the House of Austria: Rudolf conferring the Archdukedom of Austria on Albrecht I, Maximilian II being crowned emperor, Ferdinand I defending Vienna against the Turks, Albrecht slaing Adolf of Nassau in a battle, Philip II of Spain receiving the corona obsidionalis from Malta and two large trompe-l'oeil street views. In 1574, for the funeral of Cosimo I de'Medici in S. Lorenzo, Stradanus was probably involved in the painting of the skeletons and coats of arms. Furthermore, on the occasion of Francesco I de' Medici's funeral in S. Lorenzo in 1587, he painted the grisaille Francesco visiting his betrothed, Johanna of Austria, in Innsbruck; in 1588, for the entry of Ferdinando I de' Medici into Pisa, the canvas The burial of Pope Stephen I in the catacomb of Callixtus for the decoration of S. Stefano dei Cavalieri; in 1589, for the entry of Christina of Lorraine, the painting The retreat of the Turks after the siege of Vienna, as part of the decorations on the Canto de' Bischeri. Finally, in 1598, for the obsequies in memory of Philip II of Spain in S. Lorenzo, the grisaillc The siege and capture of Antwerp; for the same occasion he also provided the design for the grisaille The conquest of the Philippine islands, painted by his son Scipione. Stradanus' first commissions date from the start of his career in Florence, when he was working in Vasari's studio. As one of the master's assistants in decorating the Palazzo Vecchio, he had already gained ample experience in large-scale painting for the Medici. After leaving Vasari's studio in about 157 and setting up as an independent artist, Stradanus remained one of the leading Florentine artists who received commissions for official large-scale decors. He retained this status up to a venerable age, a sign of the appreciation he continued to enjoy in this field. Unfortunately none of Stradanus' decorative work has survived, with the exception of the canvas in Pisa. An impression of his skill in this field in conveyed by contemporary sources and the sketches, drawings, etchings and engravings presented in this article. This material clearly shows that in his long and productive life Stradanus was not only active as a painter of frescos and altarpieces and a designer of tapestries and engravings, but also played a prominent role at the court of the Medici as a painter of decorations.
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Hudon, William V., and Bernard Toscani. "Cosimo de' Medici, Laude." Sixteenth Century Journal 22, no. 4 (1991): 906. http://dx.doi.org/10.2307/2542479.

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van Vugt, Ingeborg, and Gloria Moorman. "Medici Rule Reimagined: Cosimo iii, the Dutch Republic, and Grand Ducal Aspirations for Seventeenth-Century Tuscany (c. 1667–1723)." Erudition and the Republic of Letters 7, no. 4 (December 1, 2022): 385–433. http://dx.doi.org/10.1163/24055069-07040001.

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Abstract The enticingly modern strain of republicanism that young Prince Cosimo iii de’ Medici (1642–1723) encountered during his two sojourns in the Dutch Republic (1667–1669) proved a forceful means to reimagine Tuscany’s own, administrative past and present. Through comparative analysis of the unpublished travel journal of Medici secretary Apollonio Bassetti (1631–1699) and the diary in verse by court physician Giovanni Andrea Moniglia (1624–1700), we argue that Cosimo iii’s ambitious agenda abroad was influenced predominantly by his desire to implement environmental reform and portray a contrasting socio-political model at home. Cosimo’s own journeys were followed by ongoing transnational exchange, as testified by the court’s efforts to conceptualize a Medici town atlas and cultivate exotic pineapple plants on the Tuscan soil. By importing artefacts and ideas, then, Cosimo iii – just prior to his succession by Gian Gastone (1671–1737), last of the Medici grand dukes – sought to consciously craft the Medici dynasty’s lasting legacy.
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Eisenbichler, Konrad. "Fils de la louve: Blaise de Monluc et les femmes de Sienne." Renaissance and Reformation 37, no. 2 (September 8, 2014): 5–18. http://dx.doi.org/10.33137/rr.v37i2.21808.

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In July 1552 the city of Siena rebelled against its Spanish overlords that had either influenced or directed the Republic’s government for several years, threw out the Spanish garrison that controlled the city, and open its doors to a French army sent by King Henri II to protect the city and bring it into the French sphere of influence. The man in charge of this army was the French marshal Blaise de Monluc (1500–1577), who arrived shortly after the anti-Spanish insurrection and remained until the end of the siege when the city, exhausted and depleted, finally surrendered to a mercenary army hired by the duke of Florence, Cosimo I de’ Medici, on behalf of Emperor Charles V von Habsburg. In his memoires of his military campaigns, Blaise de Monluc recalls his Sienese years and especially the valour of the women of Siena who contributed in no small way to the defence of their city. This article outlines the events before and during the siege and Monluc’s comments about the women of Siena. It then analyses these comments in order to gain a better understanding of what, exactly, the women did for their city and who these women were. En juillet 1552, la ville de Sienne se rebella contre ses suzerains espagnols qui avaient soit influencé ou dirigé le gouvernement de la république pendant plusieurs années ; elle mit en fuite la garnison espagnole qui contrôlait la ville et ouvrit ses portes à une armée française envoyée par le roi Henri II pour la protéger et l’intégrer dans la sphère d’influence française. L’homme chargé de cette armée était le maréchal français Blaise de Monluc (1500–1577), qui arriva peu de temps après l’insurrection anti-espagnole et resta jusqu’à la fin du siège lorsque la ville, épuisée, finit par se rendre à une armée mercenaire embauchée par le duc de Florence, Côsme Ier de Médicis, au nom de l’empereur Charles V de Habsbourg. Dans les mémoires de ses campagnes militaires, Blaise de Monluc se rappelle de ses années à Sienne et surtout du courage des femmes siennoises qui contribuèrent de manière non négligeable à la défense de leur ville. Cet article donne un aperçu des événements avant et pendant le siège ainsi que des commentaires de Monluc sur les femmes de Sienne. Ensuite, il analyse ces commentaires afin d’acquérir une meilleure compréhension de ce que les femmes ont fait pour leur ville et qui elles étaient.
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Simon, Robert B. "Bronzino's "Cosimo I de' Medici as Orpheus"." Philadelphia Museum of Art Bulletin 81, no. 348 (1985): 16. http://dx.doi.org/10.2307/3795339.

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Hankins, James. "Cosimo de' Medici and the 'Platonic Academy'." Journal of the Warburg and Courtauld Institutes 53 (1990): 144. http://dx.doi.org/10.2307/751344.

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Dissertations / Theses on the topic "Cosimo II de' Medici"

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Thieryung, Lisa Morgan. "The Palazzo Medici and its Polyvalent Message: Cosimo de Medici Navigates the Shifting Meaning of Pride." Scholar Commons, 2017. http://scholarcommons.usf.edu/etd/7099.

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This thesis investigates the Medicean ability to present divergent messages to different audiences through the manipulation of art and architecture of the Palazzo Medici. I examine several works of art commissioned and authored by the Medici. First, Donatello’s bronze David, located in the Medici Courtyard, is interpreted through the traditional Christian perspective as seen by the vicini, making the Medici appear pious, reverent, and religiously devout. This work is also interpreted from the amici point of view using ancient and contemporary authors to trace the development of ideas amongst the circle of Classically educated friends of the Medici. Second, Donatello’s bronze Judith and Holofernes, located in the adjacent Medici Garden, is examined in the same way to highlight the divergent message of humility juxtaposed with pride. This exercise shows the Medici had the ability to use one piece of art to set the stage for several different messages. Each type of visitor would view the same piece of art and come away with a different message specifically tailored to them, which allowed the family to increase support for their political faction and maintain their status as de facto rulers of Florence. The Medici family’s success is undisputed amongst scholars, but Cosimo’s use of the Augustan model and his use of the palace as propaganda is a subject that has been left scarcely examined. Much research has been conducted on the exterior due to what is extant, but how those in the Medici faction viewed it is non-existent. This work builds upon F.W. Kent’s position that Renaissance palace were built with several groups in mind. Through this examination of the Medici’s use of polyvalent messaging, a new understanding of the Medici emerges, which shows they were masters of propaganda and can explain why the Palazzo Medici became the model for palaces through Florence, the Italian Peninsula, and eventually greater Europe.
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Kitchen, Stacie Lauren. "Preferences of Patronage in the Portraits of Cosimo I de' Medici." Kent State University / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=kent1310853430.

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Danford, Mark J. "THE EVOLUTION OF THE MEDICI PORTRAIT:FROM BUSINESS TO POLITICS." John Carroll University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=jcu1383660296.

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Betz, Susanne Helene. "Von Innerösterreich in die Toskana Erzherzogin Maria Magdalena und ihre Heirat mit Cosimo de' Medici." Frankfurt, M. Berlin Bern Bruxelles New York, NY Oxford Wien Lang, 2000. http://d-nb.info/989790800/04.

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Blomström, André. "Renässansens "Power Couple" : Det äktenskapliga mecenatskapet mellan Piero di Cosimo de’ Medici och Lucrezia Tornabuoni." Thesis, Uppsala universitet, Konstvetenskapliga institutionen, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-387417.

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The purpose of this study is to investigate the patronage of Piero de’ Medici and Lucrezia Tornabuoni. My aim is to discuss and place the patronage in the complex field of the renaissance as an active conjugal partnership between the two. The study is divided in three main chapters, the introduction part where an overview of the main issues in the field of renaissance patronage and a background of the people involved; one chapter where the two religious rooms are introduced and the specific patronage described; and finally a chapter where the different procedures are discussed, compared and combined into one joint conjugal patronage for the both of them. The evidence uncovered supporting the conjugal patronage is partly the similarities between the altar paintings in the rooms. They are both made of Fra Filipo Lippi and both are portraying the Adoration of Infant Jesus. The presence of the coat of arms of both the noble houses at the Camaldoli adoration and a series of lettres between Piero and one of his painters, Benezzo Gozzoli.
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Bonaventura, Elena <1996&gt. "La Guardaroba sotto Cosimo I de' Medici. Con l’appoggio di un inventario inedito del 1538." Master's Degree Thesis, Università Ca' Foscari Venezia, 2022. http://hdl.handle.net/10579/21162.

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Fin dalle sue origini negli anni Ottanta del XV secolo, era l’ufficio incaricato all’amministrazione di beni mobili - che comprendeva mobilia, porcellane, corni, abiti da maschera, fornimenti da cavalli, armi, gioielli, medaglie e anticaglie di più sorte - della famiglia Medici a Firenze e in Toscana. Il Giornale di entrata e uscita della Guardaroba Medici (1482-1561), il più antico registro dei beni in entrata e in uscita conservati nella Guardaroba, risale a quando i Medici abitavano ancora nel palazzo di via Larga, prima dell’assassinio del duca Alessandro de’ Medici. Successivamente, nel primo periodo del suo governo, Cosimo I operò a livello politico e istituzionale delle trasformazioni atte al rafforzamento dello Stato centrale che coinvolsero anche una più sistematica gestione dei beni mobili della Guardaroba.
 Documenti che riconducono alla complessa eterogeneità tipologica dei beni amministrati sono gli inventari.

L’obiettivo di questo studio è quello di rispondere — attraverso una parziale trascrizione dell’inedito Inventario della Guardaroba del Duca Cosimo alla consegna di Giovanni Ricci da Prato (1538) e il vaglio di altri documenti dell'Archivio di Stato di Firenze — ai seguenti quesiti aperti: a cosa serve questo elenco? Cosa compare e cosa non compare? I beni elencati sono stati dati in carico o venduti? Come vengono distinti gli oggetti?
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Scorza, Richard Anthony. "Vincenzo Borghini (1515-1580) as iconographic advisor." Thesis, University of London, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.319731.

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Lang, Heinrich. "Cosimo de' Medici (1389-1464) und seine condottieri. Zur Außenpolitik der Republik Florenz im 15. Jahrhundert. (Dissertationsprojekt)." Universität Potsdam, 2005. http://opus.kobv.de/ubp/volltexte/2008/2061/.

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Obergruber-Boerner, Carlos. "Herren und Heilige." Doctoral thesis, Humboldt-Universität zu Berlin, Philosophische Fakultät III, 2005. http://dx.doi.org/10.18452/15382.

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Gegenstand der Arbeit sind Darstellungen, die dem Umfeld zweier Heiligenkulte in Florenz angehören und auf Bestellungen der Medici, ihrer Freunde und Verbündeten zurückzuführen sind. Den ursprünglich römischen Kult seiner Namenspatrone, der hll. Cosmas und Damian hat erst Cosimo de’ Medici in Florenz bekannt gemacht. Dabei erwies sich das Fehlen einer nennenswerten Florentinischen Tradition als maßgeblicher Faktor seiner Wirkkraft. Fra’ Angelico, Filippo Lippi und andere Künstler konnten formal neuartige Bildlösungen entwickeln, deren Inhalte sich als Projektionsflächen der politischen und geistigen Florentiner Eliten eigneten. Cosimo etablierte auf diese Weise ein Netzwerk persönlicher Repräsentation, das nicht allein die Barriere zwischen privatem und öffentlichem Raum zu durchdringen vermochte, sondern auch demonstrativ über die in Florenz herkömmliche Beschränkung auf das eigene Stadtviertel hinausgriff. Mit dem Generationswechsel nach Cosimos Tod erforderten die veränderten Machtverhältnisse auch einen Wechsel in der Strategie des Kults. In der zweiten Hälfte des 15. Jahrhunderts tritt ein anderer Kult, jener der hll. Drei Könige in den Vordergrund. Dieser besaß im Gegensatz zur Verehrung von Cosmas und Damian in Florenz eine eigenständige, spezifisch republikanische Tradition. Unter deren Schutz konnte eine kontinuierliche Politisierung althergebrachter Rituale und die Übernahme der Kontrolle durch die Medici stattfinden. Auch in diesem Fall zeigt die Analyse der erhaltenen Darstellungen, dass sie den Auftraggebern als Loyalitätsnachweis dienten und die Zugehörigkeit zum Klientel der Medici und damit der städtischen Eliten markierten. Noch in der Mitte des 16. Jahrhunderts griff Herzog Cosimo I. auf strategische Elemente und Motive des Kults zurück, nun zunehmend aus dem sakralen Kontext gelöst und Bestandteil höfischer Panegyrik.
The Images observed here are mainly of two religious cults commissioned by members, friends and allies of the Medici family. In the early 15th century Cosimo de’ Medici following the example of his father introduced his patron saints, Cosmas and Damian into his native city of Florence. Prior to this the cult of these saints was of no vital importance outside Rome. Thus there was no eminent pictorial tradition of their images which proved an important factor in the cult’s success. Fra’ Angelico, Filippo Lippi and other artists were able to develop a new imagery that allowed members of Florence’s political and humanistic circles to identify with. Cosimo established a network of personal representation which did not only penetrate the barriers between private and public space but ostentatiously reached beyond the customary boundaries of a family’s home quarter. After Cosimo’s death in 1464 political instability resulted in a change of strategy. In the second half of the 15th century a different cult, that of the Three Magi, moves into the center of medicean interest. Contrary to Saints Cosmas and Damian the cult of the Magi had an ancient and marked republican tradition in Florence. Under cover of this tradition the Medici party managed to take over control of the confraternity of the Magi and wield its influential instruments to their own benefit. As with images of Saints Cosmas and Damian those depicting the Adoration of the Magi were used as a confirmation of loyalty to the Medici and their faction. Even in the 16th century Duke Cosimo I. went back to elements and motifs of his predecessors’ strategy. Rather than reviving the cult of Saints Cosmas and Damian however they are used to give evidence of political and dynastical continuity.
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Nilsson, Amanda. "Imitation & Sprezzatura : En komparativ studie av Machiavellis furstespegel och Castigliones hovmannaideal speglade i fyra porträtt av Cosimo I de' Medici och Eleonora di Toledo." Thesis, Stockholms universitet, Institutionen för kultur och estetik, 2018. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-157540.

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Följande uppsats behandlar fyra hovporträtt av konstnären Bronzino föreställande fursteparet Cosimo I de’ Medici och Eleonora di Toledo speglade mot de litterära källorna Machiavellis Fursten och Castigliones Boken om hovmannen. Uppsatsen empiriska material kommer således att bestå av ovanstående material placeras framför varandra för att belysa dess beröringspunkter, både i fråga om likheter och olikheter. Analysens teoriangrepp kommer med avstamp i Roland Barthes semiotiska bildanalys att närma sig porträttens denotativa men främst konnotativa uttryck. Vidare har Shearer Wests bok Portraiture använts för förståelsen kring porträttet som genre i dess historiska kontext. Undersökningens disposition består av två huvudrubriker varav den första behandlar den historiska kontexten och den sista delen själva bildanalyserna. Resultatet visar på att samtliga porträtt av Cosimo och Eleonora finner flera beröringspunkter i Machiavellis furstespegel som Castigliones hovmannaideal, men skiljer sig delvis beroende på porträtt. Vidare har undersökningen visat på att Cosimo i sina två utvalda statsporträtt – valde att i det senare gestalta sig själv i en måttfullare stil – inte helt olik den måttfullhet som skildras i såväl Castigliones litterära verk som visuella porträtt. Cosimos tidigare porträtt svarar dock bättre mot Machiavellis idé om imitering. De två porträtten av Eleonora finner även dom olika samband med textmaterial och där Eleonoras senare statsporträtt tycks besitta flera av hertiginnans drag – något som inte med samma tydlighet framträder i det tidigare porträttet. Gemensamt för alla porträtt är deras avsaknad av sprezzatura som den allra viktigaste egenskapen för en person vid hovet.
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Books on the topic "Cosimo II de' Medici"

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1577-1640, Tacca Pietro, ed. Pietro Tacca, Hofbildhauer der Medici (1577-1640): Politische Funktion und Ikonographie des frühabsolutistischen Herrscherdenkmals unter den Grossherzögen Ferdinando I., Cosimo II. und Ferdinando II. Weimar: VDG, Verlag und Datenbank für Geisteswissenschaften, 2005.

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Cosimo de' Medici. Roma: Salerno editrice, 2022.

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I segreti di Cosimo I de' Medici. Firenze: Angelo Pontecorboli editore, 2019.

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Cosimo I de' Medici granduca di Toscana. Milano: Mursia, 1985.

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Držić, Marin. Lettere a Cosimo I de' Medici 1566. Zagreb: Centro Croate del P.E.N., 1993.

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Konrad, Eisenbichler, ed. The cultural politics of Duke Cosimo I de' Medici. Aldershot: Ashgate, 2001.

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Archivio di Stato di Firenze, ed. Cosimo I de' Medici e l'invenzione del Granducato: Mostra per il 500o anniversario della nascita di Cosimo I de' Medici (1519 - 2019). Firenze: Edizioni Polistampa, 2019.

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Moda a Firenze 1540-1580: Lo stile di Cosimo de' Medici = Cosimo I de' Medici's style. Firenze: M. Pagliai, 2011.

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Cosimo de' Medici and the Florentine Renaissance: The patron's oeuvre. New Haven: Yale University Press, 2000.

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Kent, D. V. Cosimo de' Medici and the Florentine Renaissance: The patron's oeuvre. New Haven: Yale University Press, 2000.

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Book chapters on the topic "Cosimo II de' Medici"

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Musillo, Marco. "The Fata Morgana of Cosimo III de’ Medici." In Art, Mobility, and Exchange in Early Modern Tuscany and Eurasia, 167–86. New York : Routledge, 2020.: Routledge, 2020. http://dx.doi.org/10.4324/9781003030690-13.

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Williams, Kim. "Verrocchio’s Tombslab for Cosimo de’ Medici: Designing with a Mathematical Vocabulary." In Architecture and Mathematics from Antiquity to the Future, 675–85. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-00137-1_45.

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Leonelli, Lisa. "Per un profilo di Francesco Soderini, pittore «assai ragionevole nella storia e nei paesi, in grande e più in piccolo»." In Studi e saggi, 165–86. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.10.

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Francesco Soderini (1671-1736), father of Mauro Soderini (1703-1751), was a Florentine painter who worked for the last members of the Medici dynasty, expecially for the Electress of the Palatinate Anna Maria Luisa, the only daughter of the granduke Cosimo III de’ Medici. Among the artist’s works, only the paintings for Villa La Quiete, the place where Anna Maria Luisa stayed during her last years, are well studied. This paper proposes new attributions to Soderini by recognising his style in some canvases presented on the art market and attributed to anonymous artists. These paintings contribute to a more accurate acknowledgement of the artist and of his style, which was very appreciated by his contemporaries.
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Cipriani, Giovanni. "Alcune note su San Miniato in età medicea." In La Basilica di San Miniato al Monte di Firenze (1018-2018), 233–44. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-295-9.12.

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The link between San Miniato and the Medici, started in 1448 with the financing of the aedicule destined to host the miraculous crucifix of St. John Gualberto, continued with the artistic commissions of Pope Leo X. The contribution goes in particular into the transformations that the monastic complex underwent, at the behest of the family, during the siege of Florence in 1529-30 and in the following centuries, becoming first a vast fortress, then a lazaret; until the sacred value of the site was recovered from the early eighteenth century, with the creation of the Via Crucis and through the research of the bodies of the martyrs promoted by Grand Duke Cosimo III.
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Tomas, Natalie. "Commemorating a Mortal Goddess: Maria Salviati de’ Medici and the Cultural Politics of Duke Cosimo I." In Practices of Gender in Late Medieval and Early Modern Europe, 261–78. Turnhout: Brepols Publishers, 2008. http://dx.doi.org/10.1484/m.lmems-eb.3.760.

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Leonelli, Lisa. "Ancora su Giulio Pignatti ritrattista. Il mondo dei Grand Tourists e degli eruditi a Firenze." In Studi e saggi, 205–39. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.12.

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Giulio Pignatti or Pignatta (1679-1751), a painter from Modena who specialized in portraiture, arrived in Florence in 1705 and remained there until his death. During the fourty-six years spent in the Tuscan capital, he made contact with the last members of the Medici dynasty and with Grand Tourists as attested by the Portrait of Sir Andrew Fountaine with four friends in the Tribuna of the Uffizi, dated 1715. Pignatti’s oeuvre can now be expanded by another conversation piece commissioned in 1721 by Giuseppe Aversani’s pupils in the University of Pisa on the occasion of the gift of a gold medal, and by the portraits of Ludovico Tempi and Cosimo Del Sera which testifies that Pignatti worked for numerous Florentine noble families. By focusing on these paintings, the paper intends to provide a better understanding of the artist's career and patrons.
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Morelli, Laura. "I ritratti di uomini illustri degli Uffizi dipinti da Carlo Ventura Sacconi, Giovanni Pietro Pollini e Giovanni Berti." In Studi e saggi, 241–67. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.13.

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Documentary investigations conducted at the Florence State Archives contributed to shed light on eighteenth-century efforts to develop the collection of the Uomini Illustri portraits, exhibited along the walls of the Uffizi Gallery. While the original body of works had been commissioned by granduke Cosimo I to Cristofano di Papi dell’Altissimo, who had copied the series held by Paolo Giovio in his villa in Como, the Florentine collection was later enriched by a massive supply of portraits between 1719 and 1733. The desire to complete the Uffizi ‘gioviana’ series was probably due to Anna Maria Luisa de’ Medici and the artist who followed in Cristofano dell’Altissimo’s footsteps should be identified in Carlo Ventura Sacconi (1676-1762), who painted 159 portraits of illustrious men. Between 1721 and 1727 the painter also completed the so-called ‘serie Aulica’, which was displayed – just like the ‘gioviana’ series – in the corridors of the Florentine Gallery.
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Benvenuti, Anna. "Eziologia di una leggenda. Ipotesi sul culto fiorentino di san Cresci compagno di san Miniato." In La Basilica di San Miniato al Monte di Firenze (1018-2018), 61–84. Florence: Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-295-9.05.

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The essay analyses the cult of St. Cresci and its origins. St. Cresci is considered to be one of the companions of St. Miniato, and it is believed he was martyred ‘sub Decio’ in the 3rd century. St. Cresci’s legend must be interpreted in the context of the Florentine hagiographic production of the 11th century, when the local clergy tried to resuscitate old and long forgotten cults of saints whose relics they possessed. The paper argues that the legend of St. Cresci was ‘invented’ to be opposed to that of St. Miniato. Indeed in the 11th century Ildebrando, bishop of Florence, strongly promoted the cult of Minias in order to support his claims on the lands of the newly founded monastery. It was after this that cathedral’s canons, in opposition with their bishop, proposed the martyrial figure of St. Cresci; the cult of which got a great importance under the Medici, and especially during the reign of Cosimo III.
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Tomas, Natalie. "‘With his authority she used to manage much business’: The Career of Signora Maria Salviati and Duke Cosimo I de’ Medici." In Europa Sacra, 133–48. Turnhout: Brepols Publishers, 2016. http://dx.doi.org/10.1484/m.es-eb.5.109702.

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Brovadan, Carlotta Paola. "La «gita di Fiandra»: globi, libri e carte geografiche per Ferdinando II de’ Medici nella corrispondenza diplomatica di Giovan Battista Gondi." In Studi e saggi, 69–95. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-181-5.06.

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In the summer of 1634 the grand-ducal ambassador resident in France Giovan Battista Gondi made an undercover journey to Spanish Netherlands to meet Maria de’ Medici and tried to persuade her to leave the Habsburg territories for Florence. Despite the failure of the negotiations, a series of unpublished letters exchanged between Gondi and the first secretary of the Grand Duchy Andrea Cioli will serve as an opportunity to analyze which cultural and artistic affairs involved the Tuscan agent alongside the political events he primarily dealt with. In his letters Gondi described different artefacts that could have been acquired for the Medici collection, and publications that could have contributed to the reputation of the Grand Duke or, on the contrary, jeopardized it.
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Conference papers on the topic "Cosimo II de' Medici"

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Boido, Cristina. "Il disegno della città ideale: Cosmopolis." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11465.

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The representations of the ideal town: CosmopolisIn 1548, under the Florentine lordship of the Medici, Charles V gave Cosimo I de 'Medici the task of defending the territories of Elba and the commercial traffic of the Tyrrhenian Sea. The Duke, who strongly believed in the potential of the island and wanted to transform it into the center of Florentine rule over the Tyrrhenian, decided to fortify the ancient city of Ferraia, the current Portoferraio. A real jewel of military town planning that took the name of Cosmopolis was born by the architect Giovanni Battista Bellucci and by the engineer Giovanni Camerini. Thanks to its natural conformation, the gulf of Portoferraio protected on one side a strip of land that closes the port like a spiral, and on the other hand protected by two rocky headlands overlooking the sea, was extremely strategic and suitable for defense. Fort Stella and Fort Falcone were built in the upper part of the promontory and the Linguella tower, near the dock, all connected by a bastion wall. Later the defense was further strengthened by walls and ramparts also on the land front side according to the project of the architect Bernardo Buontalenti, transforming the city into an impregnable fortress, as well as a safe naval base. The study of urban representations of the city testifies to how the foundation of Cosmopolis for the Medici duchy was an event of extraordinary value, symbol of the strength of the Duke and his expansive abilities, symbol of an ideal city not only conceived and designed in contemporary treatises, but actually made.
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Conti, Alessandro, Grazia Tucci, Valentina Bonora, and Lidia Fiorini. "HOW WERE THE TAPESTRIES IN THE SALA DI SATURNO OF PITTI PALACE ARRANGED? GEOMATICS AND VIRTUAL REALITY FOR ART CURATORS." In ARQUEOLÓGICA 2.0 - 9th International Congress & 3rd GEORES - GEOmatics and pREServation. Editorial Universitat Politécnica de Valéncia: Editorial Universitat Politécnica de Valéncia, 2021. http://dx.doi.org/10.4995/arqueologica9.2021.12175.

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Three-dimensional acquisition techniques, reality-based modelling and virtual reality are tools used in Digital Humanities prevalently for displaying the results of a study, but they can also suggest new methods of investigation to humanities scholars. In a case study regarding art history, these techniques made it possible to recreate the layout of the Sala di Saturno in Pitti Palace (Florence) in the 17th century, based on information obtained from archive documents on the tapestries designed for that hall and a 3D model expressly elaborated with geomatic techniques. The results were summarised in a video showed in 2019 during the exhibition on tapestries dedicated to Cosimo I de' Medici. A tool was also developed to assist exhibition and museum curators in their work. Through virtual reality, they can design temporary exhibitions or modify the display of the works of art in a museum in a realistic way, using visually and metrically accurate models of the pieces and exhibition rooms.
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Chan, Kelby K. "Implementation Of Fast Cosine Transforms With Digital Signal Processors For Image Compression." In Medical Imaging II, edited by Roger H. Schneider and Samuel J. Dwyer III. SPIE, 1988. http://dx.doi.org/10.1117/12.968713.

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Jiménez Alvernia, Diego, Juan Manuel Rey López, and Leidy Johanna Ribero Amado. "Demostradores experimentales de bajo costo para prácticas en el aula de la asignatura de circuitos eléctricos." In Nuevas realidades para la educación en ingeniería: currículo, tecnología, medio ambiente y desarrollo. Asociación Colombiana de Facultades de Ingeniería - ACOFI, 2022. http://dx.doi.org/10.26507/paper.2557.

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Este trabajo describe la experiencia de diseño y uso de demostradores portátiles de bajo costo para prácticas experimentales en el aula en los cursos de pregrado de Circuitos Eléctricos I y II de la Escuela de Ingenierías Eléctrica, Electrónica y de Telecomunicaciones (E3T) de la Universidad Industrial de Santander (UIS). Las prácticas en aula son usadas como estrategia pedagógica con el fin de reforzar y contrastar conceptos teóricos de forma inmediata, sin necesidad de desplazarse hasta los laboratorios, generando ambientes de aprendizaje significativos que motivan a los estudiantes a profundizar conceptos y fenómenos físicos estudiados.
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Ovalle Córdoba, Laura Fernanda, Anny Astrid Espitia Cubillos, and Óscar Palacio León. "Evaluación económica del uso de biocombustibles." In Nuevas realidades para la educación en ingeniería: currículo, tecnología, medio ambiente y desarrollo. Asociacion Colombiana de Facultades de Ingeniería - ACOFI, 2022. http://dx.doi.org/10.26507/paper.2450.

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La eficiencia energética es un fenómeno bastante estudiado, que con el transcurrir del tiempo ha sido un tema de relevancia entre sus interesados, con el propósito de mejorar el consumo de energía. Temática, en donde, se han logrado alcanzar resultados prometedores, gracias al uso de sustancias, como los biocombustibles, los cuales se elaboran a partir de material tanto vegetal como de origen animal. Sustancia que ha sido categorizada como amigable con la naturaleza, por un lado, y como, una energía renovable, por el otro. Así mismo, es considerada la energía del futuro, razón por la cual, este trabajo se orientó a la revisión de la valoración económica de estos proyectos, incluyendo un punto de vista financiero, abarcando desde su ciclo de estructuración la medición de impactos desde la óptica de la sostenibilidad. Por consiguiente, el objetivo general del estudio fue el de determinar e identificar en la literatura los métodos, herramientas y técnicas empleadas para la evaluación económica de proyectos relacionados con biocombustibles. Siendo sus objetivos específicos: i) Identificar los modelos de evaluación económica usados en este tipo de proyectos; ii) Reconocer los criterios utilizados en la evaluación económica; y iii) Estructurar una metodología para la evaluación económica del proyecto de biocombustibles sostenible. Por su parte, la metodología empleada en este estudio se fundamentó en las tres macrooperaciones que se citan a continuación: primera macroperación, construcción de la bitácora de investigación sobre la evaluación económica de proyectos de biocombustibles, usando las bases de datos de la Universidad Militar Nueva Granada. Segunda macroperación, desarrollo del metaanálisis a la bitácora de investigación construida en el paso anterior. Última macroperación, elaboración del estado actual de la evaluación económica de proyectos de biocombustibles. En síntesis, las metodologías usadas para la toma de decisiones económicas tanto estratégicas como operacionales de proyectos de biocombustibles, en términos generales, están fundamentadas en la valoración de la materia prima con soporte en procesos de simulación, siendo el aplicativo más popular: “Aspen Plus”, el cual, al adquirir determinada información presenta como resultado una serie de diseños, gráficos, estimaciones, cronogramas, análisis de inversión, costos de compra, correlación de costos, información que como conjunto, facilita la interpretación de la evaluación económica de proyectos. De igual manera, este estudio se aúna al conocimiento factico de la evaluación económica de proyectos de biocombustibles, frente al manejo que se le debe dar a los costos unitarios con base en su proceso productivo, ya sea, por costeo ABC o por órdenes de producción, como también, se pone de lado de los expertos en esta materia, en relación al conocimiento general, al ser administrado por el gestor de proyectos, con respecto al manejo de los diferentes costos modulares en que están inmersas estas alternativas de inversión, a fin de que sean sostenibles.
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Reports on the topic "Cosimo II de' Medici"

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Zoido, Pablo, Iván Flores, Felipe Hevia, Miguel Székely, and Eleno Castro. Tutorías remotas con medios de baja tecnología para acelerar los aprendizajes: evidencia para El Salvador. Inter-American Development Bank, January 2023. http://dx.doi.org/10.18235/0004690.

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Este documento presenta los resultados de una evaluación de impacto, con diseño experimental, que estima el efecto sobre aprendizajes de matemáticas de un programa de tutorías remotas ofrecido a niñas y niños de 9 a 14 años en tres departamentos de El Salvador. El programa utilizó medios de baja tecnología como mensajes de texto y llamadas telefónicas de 20 minutos, durante ocho semanas. Se estima que las tutorías remotas tuvieron un efecto positivo y significativo de 0.23desviaciones estándar, lo cual equivale a una aceleración de 33.2 por ciento en los aprendizajes en matemáticas, en comparación con los cambios observados en el grupo de control. La evidencia indica que los aprendizajes aumentan significativamente a medida que el número de tutorías recibidas es mayor. Al comparar con otros estudios relacionados, se concluye que la intervención es costo-efectiva. Los principales elementos innovadores son: (i) la generación de evidencia mediante instrumentos aplicados de manera presencial que garantiza una alta calidad y precisión en las mediciones de nivel de aprendizaje; (ii) a nuestro saber, este es el primer programa con evaluación experimental en su tipo en América Latina implementado durante la pandemia, con escuelas abiertas parcialmente,lo que permite verificar si la intervención es igual de efectiva que intervenciones similares en otros contextos y regiones del mundo; (iii) la utilización de dos tipos de pruebas de nivel de aprendizaje para validar la robustez de los resultados.
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