The view in the background contributed to the meaning and atmosphere of the picture, and might contain local landscapes or significant scenes. Get premium, high resolution news photos at Getty Images I am a graduate in Classics of St John's College Cambridge. by Marco Spallanzani and Giovanni Gaeta Bertelà, Florence, 1992; and Maria Grazia Ciardi Duprè Dal Poggetto, "I dipinti di Palazzo Medici nell'inventario di Simone de Stagio delle Pozze: Problemi di committenza e di arredo," in Toscana al temp di Lorenzo il Magnifico: Politica, economia, cultura, arte. The Sculpture Journal 2 (1998): 1-12. The Medici family need no explanation – the fifteenth century was the time of their rise to power in Florence. which patronised many artists and scholars, including the Neoplatonist Marsilio Ficino. There is nothing Christian about this painting – no fears of Judgement or hopes of Heaven. This was my first experience of Italy, and I was lucky enough to be completely unprepared for the cultural shock. Infolge einer Verschwörung, angeführt von der rivalisierenden Familie Pazzi, wurden Lorenzo und Giuliano während der Ostermesse in der Kathedrale von Florenz angegriffen. This portrait was probably carved after this tragic death, to commemorate Giuliano’s memory. Botticelli's painting may have been the prototype for others, and lent symbolic gravity to Guiliano’s passing, showing him as an icon, almost a saint. He travelled to Rome in 1513 and became Papal Vice-Chancellor in 1517. International Studio 99 (May 1931), pp. With the encouragement of Lorenzo, the people hunted out and exterminated them and their associates  Few made it to formal execution. Giuliano’s soul has clearly left his body. He has no portion in this world anymore, so his lands and his aspirations cannot appear in the window. [1] The emblem of the queen bee surrounded by her subjects, visible on the reverse of the painting, appears also on the reverse of a medal made by Michele Mazzafirri for Grand Duke Ferdinand I de' Medici in 1588; see Karla Langedijk, The Portraits of the Medici, 15th-18th Centuries, Florence, 1983: 2:760-761. The assassins, members and supporters of the Pazzi family, banking rivals of the Medici, awaited their signal. How can our selves, our whole private universe, depend for existence on a body that gives in to 19 stab wounds in a church in Florence. [7] The Wildenstein invoice to the Kress Foundation for 16 items, including the Botticelli painting, is dated 23 June 1949 (copy in NGA curatorial files). Florence, Galleria Degli Uffizi Get premium, high resolution news photos at Getty Images No portrait of him is mentioned, however, in the 1492 inventory of the Medici Palace in Via Larga (see Libro d'inventario dei beni di Lorenzo di Magnifico, ed. 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