Some of the most powerful Medici of the early sixteenth century had been directly schooled in Lorenzo's methods; as boys both Giuliano and Giulio (
Clement VII) had been members in the Company of Sant'Agnese, a Florentine religious company monitored by Lorenzo that staged an elaborate Ascension play, as overt a symbol of Medici magnificence as that society would tolerate.
To her astonishment and joy Dr Fletcher found documents dating back more than 400 years which detailed some of the political intrigue which took place after Henry informed Pope
Clement VII he wanted a divorce from the first of his six wives so he could marry his mistress Anne Boleyn.
Among some of the more amazing artefacts are love letters from Henry VIII to Anne Boleyn which were used as evidence by Pope
Clement VII to eventually excommunicate the English king in 1533.
For example personifications of sculpture and painting as `Liberal Arts' were, by and large, represented first in a courtly context: by Michelangelo for Julius II; by Giulio Romano for
Clement VII; by Cellini and Philibert de l'Orme for Francois I; and then by Vasari for the Medici.
Yet the city's resilience is underscored by the title of Robertson's chapter, "Phoenix Romanus." As Pope Paul III, Alessandro Farnese married his own family ambitions to a celebration of the visual arts, as can be seen in the breadth of commissions Robertson presents, from Michelangelo's Last Judgment (begun under
Clement VII) to the Pauline Chapel, the Palazzo Farnese, and the renovation of the Campidoglio.
The other cardinal in Raphael's painting is Giulio de' Medici, the future
Clement VII (1523-34).
The conversations of Bembo's Prose take place in Carlo Bembo's dining room in Venice, with Giuliano de' Medici, cousin of Giulio, the future Pope
Clement VII and dedicatee of Bembo's work, participating as a family representative.
Baronio's influence also led to the important commission for the Fall of Simon Magus for
Clement VII's so-called Navi Piccole project in St.
From Francesco Giamberti (1404-80), a woodworker and tutor to the future Pope
Clement VII de' Medici, descended two generations of variously gifted and exceptionally productive artists who adopted their name from Francesco's Florentine property by the San Gallo gate.
Banker, "Lay Male Identity in the Institutions of a Tuscan Provincial Town"; Alison Brown, "Insiders and Outsiders: The Changing Boundaries of Exile"; Paula Clarke, "The Identity of the Expatriate: Florentines in Venice in the Late Fourteenth and Early Fifteenth Centuries"; and Paul Flemer, "
Clement VII and the Crisis of the Sack of Rome."
