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Cardinal Giulio de' Medici as a patr...

Reiss, Sheryl E.

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Cardinal Giulio de' Medici as a patron of art, 1513-1523. (Volumes I-III).

Record Type:	Electronic resources : Monograph/item
Title/Author:	Cardinal Giulio de' Medici as a patron of art, 1513-1523. (Volumes I-III)./
Author:	Reiss, Sheryl E.
Description:	748 p.
Notes:	Source: Dissertation Abstracts International, Volume: 53-06, Section: A, page: 1705.
Contained By:	Dissertation Abstracts International53-06A.
Subject:	Art History. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9230266

Cardinal Giulio de' Medici as a patron of art, 1513-1523. (Volumes I-III).
Reiss, Sheryl E.

Cardinal Giulio de' Medici as a patron of art, 1513-1523. (Volumes I-III). - 748 p.

Source: Dissertation Abstracts International, Volume: 53-06, Section: A, page: 1705.

Thesis (Ph.D.)--Princeton University, 1992.

This dissertation examines the artistic patronage of Cardinal Guilio de' Medici (Pope Clement VII, 1523-1534). Chapter I is a broad overview of Clement's pontificate up to the disastrous Sack of Rome in May 1527. The remainder of the dissertation is more-or-less chronological, following the political and ecclesiastic career of the future pope, who was born in 1478, in both Florence and Rome. Giulio de' Medici was the posthumous and illegitimate son of the assassinated Guiliano de' Medici the Magnificent. Evidence is presented in Chapter II that the young Giulio may have been raised for the first seven years of his life by the architect Antonio da Sangallo the Elder. Chapters III and V consider Giulio de' Medici's political fortunes during the pontificate of his cousin Pope Leo X, and describe his participation in several ephemeral ceremonial events. Chapter IV examines the sources of Giulio de' Medici's wealth, his domiciles, and his interests in literature, science and music. Chapters VI, VII and VIII are detailed accounts of Giulio de' Medici's role in three of the best known artistic undertakings of the Cinquecento: the never-realized facade of San Lorenzo in Florence, the commission for Raphael's Transfiguration and Sebastiano del Piombo's Raising of Lazarus, and the building and decoration of the Villa Madama in Rome. These chapters reveal Giulio de' Medici's temperament and concerns as Maecenas and document his remarkable interest in practical details. The ninth chapter looks at examples of metalwork and illumination produced for Cardinal Giulio. Chapters X and XI are concerned with Cardinal Giulio's activity as a patron in Florence, where, after 1519, he was de facto ruler of the city. Chapter X explores Cardinal Giulio's involvement in artistic disputes and investigates his activity as a patron at Palazzo Medici and the family villa at Poggio a Caiano. Chapter XI details the genesis of the project nearest to Giulio de' Medici's heart, the New Sacristy at San Lorenzo in Florence. The Conclusion analyzes major themes developed in the thesis and underscores the singular importance of Giulio de' Medici as a patron of art.Subjects--Topical Terms:

635474
Art History.

Cardinal Giulio de' Medici as a patron of art, 1513-1523. (Volumes I-III).
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245 1 0 $a Cardinal Giulio de' Medici as a patron of art, 1513-1523. (Volumes I-III).
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502 $a Thesis (Ph.D.)--Princeton University, 1992.
520 $a This dissertation examines the artistic patronage of Cardinal Guilio de' Medici (Pope Clement VII, 1523-1534). Chapter I is a broad overview of Clement's pontificate up to the disastrous Sack of Rome in May 1527. The remainder of the dissertation is more-or-less chronological, following the political and ecclesiastic career of the future pope, who was born in 1478, in both Florence and Rome. Giulio de' Medici was the posthumous and illegitimate son of the assassinated Guiliano de' Medici the Magnificent. Evidence is presented in Chapter II that the young Giulio may have been raised for the first seven years of his life by the architect Antonio da Sangallo the Elder. Chapters III and V consider Giulio de' Medici's political fortunes during the pontificate of his cousin Pope Leo X, and describe his participation in several ephemeral ceremonial events. Chapter IV examines the sources of Giulio de' Medici's wealth, his domiciles, and his interests in literature, science and music. Chapters VI, VII and VIII are detailed accounts of Giulio de' Medici's role in three of the best known artistic undertakings of the Cinquecento: the never-realized facade of San Lorenzo in Florence, the commission for Raphael's Transfiguration and Sebastiano del Piombo's Raising of Lazarus, and the building and decoration of the Villa Madama in Rome. These chapters reveal Giulio de' Medici's temperament and concerns as Maecenas and document his remarkable interest in practical details. The ninth chapter looks at examples of metalwork and illumination produced for Cardinal Giulio. Chapters X and XI are concerned with Cardinal Giulio's activity as a patron in Florence, where, after 1519, he was de facto ruler of the city. Chapter X explores Cardinal Giulio's involvement in artistic disputes and investigates his activity as a patron at Palazzo Medici and the family villa at Poggio a Caiano. Chapter XI details the genesis of the project nearest to Giulio de' Medici's heart, the New Sacristy at San Lorenzo in Florence. The Conclusion analyzes major themes developed in the thesis and underscores the singular importance of Giulio de' Medici as a patron of art.
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