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Italian family of music patrons. The rulers of Florence for most of the period 1434-1737, they were renowned for their patronage of learning, literature, the arts and science. Musical chapels were maintained at the city's cathedral and baptistry from 1438; especially influential were Lorenzo the Magnificent (ruled 1449-92) and his son Giovanni, who ruled as Pope Leo X from 1513 and patronized many famous musicians. Duke Cosimo I (ruled 1537-74) reorganized and enlarged the chapels and began the practice of retaining musicians and dancers at court. He was also the first to commission musical festivities for family and state occasions. Intermedi were staged between the acts of plays, and in 1600 the first operas were given: Caccini's Il rapimento di Cefalo and Peri's Euridice (the earliest complete extant opera). A later Medici heir apparent, Prince Ferdinando (1663-1713), patronized Alessandro and Domenico Scarlatti, Handel and others.



 
 
('dĭchē, Ital. mā'dēchē) , Italian family that directed the destinies of Florence from the 15th cent. until 1737. Of obscure origin, they rose to immense wealth as merchants and bankers, became affiliated through marriage with the major houses of Europe, and, besides acquiring (1569) the title grand duke of Tuscany, produced three popes (Leo X, Clement VII, and Leo XI), two queens of France (Catherine de' Medici and Marie de' Medici), and several cardinals of the Roman Catholic Church. They also ruled for a brief period (1516–21) the duchy of Urbino.

Influence

The rise of the Medici in Florence coincided with the triumph of the capitalist class over the guild merchants and artisans. Until 1532 the democratic constitution of Florence was outwardly upheld, but the Medici exerted actual control over the government without holding any permanent official position. They were driven from power and expelled from Florence in 1433–34, from 1494 to 1512, and from 1527 to 1530. However, the attempts (such as the Pazzi conspiracy, 1478) of the Florentine republicans to restore the former liberties failed ultimately because of the Medici's wealth and powerful connections.

When their influence began, in the early 15th cent., much of the glorious period of the Renaissance in Florence lay already in the past; however, the magnificence and liberality of many of the members of the house, who were passionate patrons of the arts, literature, and learning, led to Florence's becoming the richest repository of European culture since the Athens of Pericles. Florence as it is today is largely the accomplishment of the Medici. This cultural flowering was accompanied by tremendous economic prosperity and expansion and also by territorial aggrandizement (see Tuscany) that reached its climax in the 16th cent. The rule of the Medici, though denounced by their enemies as tyrannical, was at first generally tolerant and wise, but became stultifying and bigoted in the 17th and 18th cent.

Family Members

The genealogy of the family is complicated by numerous illegitimate offspring and by the tendency of some of the members to dispose of each other by assassination. The first important member was Giovanni di Bicci de' Medici (1360–1429). His elder son, Cosimo, founded the senior line, which included Piero (1416–69); Lorenzo (Lorenzo il Magnifico); Piero (1471–1503); Pope Leo X; Giuliano, duke of Nemours; Lorenzo, duke of Urbino; Catherine de' Medici, queen of France; Ippolito de' Medici; Alessandro de' Medici; and Pope Clement VII. Giovanni di Bicci's younger son, Lorenzo (d.1440), founded the younger line, which included Lorenzino; Giovanni (delle Bande Nere); and the grand dukes of Tuscany—Cosimo I, Francesco (whose daughter was Marie de' Medici), Ferdinand I, Cosimo II, Ferdinand II, Cosimo III, and Gian Gastone, last of the line.

See separate articles on the most important members of the family.

Bibliography

See L. Collison-Morley, The Early Medici (1936); H. M. M. Acton, The Last Medici (rev. ed. 1958, repr. 1980); M. Brion, The Medici (tr. 1969); C. Hibbert, The House of Medici: Its Rise & Fall (1980); T. Parks, Medici Money (2005). See also bibliographies under Florence and Renaissance.


 
Dictionary: Med·i·ci  (mĕd'ə-chē', mĕ'dē-) pronunciation

Italian noble family that produced three popes (Leo X, Clement VII, and Leo XI) and two queens of France (Catherine de Médicis and Marie de Médicis). Cosimo “the Elder” (1389–1464) was the first of the family to rule Florence. Lorenzo “the Magnificent” (1449–1492) was an outstanding patron of learning and the arts, whose clients included Michelangelo and Botticelli.

Medicean Med'i·ce'an (-chē'ən, -sē'-) adj.
 
(med-uh-chee)

A family of skilled politicians and patrons of the arts who lived in Florence, Italy, during the Renaissance. (See Lorenzo de Medici.)

  • The family produced two queens of France: Catherine, in the sixteenth century, and Marie, in the seventeenth.

  •  
    Wikipedia: Medici
    The Medici coat of arms
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    The Medici coat of arms

    The Medici family was a powerful and influential Florentine family from the 13th to 17th century. The family produced three popes (Leo X, Clement VII, and Leo XI), numerous rulers of Florence (notably Lorenzo il Magnifico, patron of some of the most famous works of renaissance art), and later members of the French and English royalty. Like other Signore families they dominated their city's government. They were able to bring Florence under their family's power allowing for an environment where art and humanism could flourish. They led the birth of the Italian Renaissance along with the other great signore families of Italy like the Visconti and Sforza families of Milan, the Este of Ferrara, the Gonzaga of Mantua, and others.

    The Medici Bank was one of the most prosperous and most respected in Europe. There are some estimates that the Medici family was for a period of time the wealthiest family in Europe. From this base, the family acquired political power initially in Florence, and later in wider Italy and Europe. A notable contribution to the profession of accounting was the improvement of the general ledger system through the development of the double-entry bookkeeping system for tracking credits and debits. This system was first used by accountants working for the Medici family in Florence.

    History

    The Medici family came from the agricultural Mugello region, north of Florence, being mentioned for the first time in a document of 1260.

    The origin of the name is uncertain although its Italian meaning is "doctor". Members of the family rose to some prominence in the early 14th century in the wool trade, especially with France and Spain. Despite the presence of some Medicis in the city's government institutions, they were still far less notable than outstanding families such as the Albizzi or the Strozzi. One Salvestro de' Medici was speaker of the woolmakers' guild during the Ciompi revolt, and one Antonio was sentenced to death in 1396. The involvement in another plot in 1400 caused all branches of the family to be banned from Florence's politics for twenty years, with the exception of two: from one of the latter, that of Averardo (Bicci) de' Medici, originated the Medici dynasty.

    15th century

    Averardo's son, Giovanni di Bicci, increased the wealth of the family through his creation of the Medici Bank, and became one of the richest men in the city. Although never holding any political charge, he gained a strong popular support to the family when he supported the introduction of a proportional taxing system.

    His son Cosimo the Elder took over in 1434 as gran maestro, and the Medici became unofficial heads of state of the Florentine republic.

    The "senior" branch of the family — those descended from Cosimo the Elder — ruled until the assassination of Alessandro de' Medici, first Duke of Florence, in 1537. This century-long rule was only interrupted on two occasions (between 1494–1512 and 1527–1530), when popular revolts sent the Medici into exile. Power then passed to the "junior" branch — those descended from Lorenzo the Elder, younger son of Giovanni di Bicci, starting with his great-great-grandson Cosimo I the Great. The Medici's rise to power was chronicled in detail by Benedetto Dei.

    Cosimo and his father started the Medici foundations in banking, manufacturing - including a form of franchises - wealth, art, cultural patronage, and in the Papacy that ensured their success for generations. At least half, probably more, of Florence’s people were employed by them and their foundational branches in business.

    The family of Piero de' Medici portrayed by Sandro Botticelli in the Madonna del Magnificat.
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    The family of Piero de' Medici portrayed by Sandro Botticelli in the Madonna del Magnificat.

    Piero de' Medici (1416-1469), Cosimo’s son, only stayed in power a few years (r. 1464-1469), until his grandson Lorenzo took over. Lorenzo de' Medici “the Magnificent” (1449-1492), was more capable of leading and ruling a city. However, “Magnificent” was a common title and essentially does not mean anything special in itself. He showed his children great love and affection, too. To ensure the continuance of his success, Lorenzo perceived his children’s abilities and planned their futures and careers for them. He predicted, or rather forced, Piero II to be headstrong, Giovanni a scholar, and Giuliano--not to be confused with Lorenzo’s brother who had the same first name--good. Giuliano, Lorenzo’s brother, was assassinated in church on Easter Sunday (1478). Lorenzo adopted Giuliano’s illegitimate son, Giulio de' Medici (1478-1535), the future Clement VII. The incompetent Piero II took over as the head of Florence after his father’s, Lorenzo, death. Piero was responsible for the brief expulsion of the Medici.

    The Medici remained masters of Italy through their two famous 16th century popes, Leo X and Clement VII, who were de facto rulers of both Rome and Florence. They were both patrons of the arts, but in the religious field they proved unable to sustain the advance of Martin Luther's ideas. Two other Medici became pope: Gian-Angelo de' Medici (Pius IV, 1559-1565), and Alessandro Ottaviano de' Medici (Leo XI).

    The most outstanding figure of the 16th century Medici was Cosimo I, who, coming from a retire in the Mugello, rose to supremacy in the whole Tuscany, conquering the Florentine most hated rival Siena and founding the Grand Duchy of Tuscany.

    Members of the Medici family parading in the guise of the youngest king from Three Wise Men through the Tuscan countryside in a Benozzo Gozzoli fresco from c. 1459.
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    Members of the Medici family parading in the guise of the youngest king from Three Wise Men through the Tuscan countryside in a Benozzo Gozzoli fresco from c. 1459.

    Art, architecture, and science

    The most significant accomplishments of the Medici were in the sponsorship of art and architecture, mainly early and High Renaissance art and architecture. The Medici were responsible for the majority of Florentine art during their reign. Their money was significant because during this period, artists generally only made their works when they received commissions and advance payments. Giovanni di Bicci de' Medici, the first patron of the arts in the family, aided Masaccio and ordered the reconstruction of the Church of San Lorenzo. Cosimo the Elder's notable artistic associates were Donatello and Fra Angelico. The most significant addition to the list over the years was Michelangelo, who produced work for a number of Medici, beginning with Lorenzo the Magnificent. Lorenzo commissioned Michelangelo Buonarroti (1475-1564) often, even as a child, and was extremely fond of him. Lorenzo commissioned Leonardo da Vinci (1452-1519) for seven years. Lorenzo also was an artist of poetry and song. Later, Leo X would chiefly commission Raphael (1483-1520)--“the Prince of Painters.” Clement VII commissioned Michelangelo to paint the alter wall of the Sistine Chapel.

    Under Savonarola’s fanatical leadership, many great works were “voluntarily” destroyed in the Bonfire of the Vanities (February 7, 1497). The following year, on May 23, 1498, “…Savonarola and his two young supporters were hanged in the public square….”--the same location as his bonfire. In addition to commissions for art and architecture, the Medici were prolific collectors and today their acquisitions form the core of the Uffizi museum in Florence.

    In architecture, the Medici are responsible for some notable features of Florence; including the Uffizi Gallery, the Pitti Palace, the Boboli Gardens, the Belvedere, and the Palazzo Medici.

    Although none of the Medici themselves were scientists, the family is well known to have been the patrons of the famous Galileo, who tutored multiple generations of Medici children, and was an important figurehead for his patron's quest for power. Galileo's patronage was eventually abandoned by Ferdinando II, when the Inquisition accused Galileo of heresy. However, the Medici family did afford the scientist a safe haven for many years. Galileo named the four largest moons of Jupiter after four Medici children he tutored.

    Notable members

    See also

    Notes

      References

      Text

      • Christopher Hibbert, The House of Medici: Its Rise and Fall (Morrow, 1975) is a highly readable, non-scholarly general history of the family
      • Ferdinand Schevill, History of Florence: From the Founding of the City Through the Renaissance (Frederick Ungar, 1936) is the standard overall history of Florence
      • Paul Strathern, The Medici - Godfathers of the Renaissance (Pimlico, 2005) is an informative and lively account of the Medici family, their finesse and foibles - extremely readable, though very homophobic and full of typographical errors.
      • Lauro Martines, "April Blood - Florence and the Plot Against the Medici" (Oxford University Press 2003) a detailed account of the Pazzi Conspiracy, the players, the politics of the day, and the fallout of the assassination plot . Though accurate in historic details, Martines writes with a definite 'anti-Medici' tone.
      • Accounting in Italy
      • Herbert Millingchamp Vaughan, The Medici Popes. New York: G.P. Putnam’s Sons, 1908.
      • Jonathan Zophy, A Short History of Renaissance and Reformation Europe, Dances over Fire and Water. 1996. 3rd ed. Upper Saddle River, New Jersey: Prentice Hall, 2003.

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      Music Encyclopedia. The Concise Grove Dictionary of Music. Copyright © 1994 by Oxford University Press, Inc.. All rights reserved.  Read more
      Columbia Encyclopedia. The Columbia Electronic Encyclopedia, Sixth Edition Copyright © 2003, Columbia University Press. Licensed from Columbia University Press. All rights reserved. www.cc.columbia.edu/cu/cup/  Read more
      Dictionary. The American Heritage® Dictionary of the English Language, Fourth Edition Copyright © 2007, 2000 by Houghton Mifflin Company. Updated in 2007. Published by Houghton Mifflin Company. All rights reserved.  Read more
      History Dictionary. The New Dictionary of Cultural Literacy, Third Edition Edited by E.D. Hirsch, Jr., Joseph F. Kett, and James Trefil. Copyright © 2002 by Houghton Mifflin Company. Published by Houghton Mifflin. All rights reserved.  Read more
      Wikipedia. This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Medici" Read more

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