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Thesis (M.A.)--University of Wisconsin--Madison, 1970. / eContent provider-neutral record in process. Description based on print version record. Includes bibliographical references.

Review of Merchant Writers: Florentine Memoirs from the Middle Ages and Renaissance by Vittore Branca

This thesis’ main goal is to answer the question: from where did Peter Paul Rubens’s Life of Marie de Medici Cycle come? Previous literature has focused on the content of the twenty-four canvases of the Medici Cycle and their meanings. However, they have not viewed the Medici Cycle as part of a bigger whole and thus part of a larger agenda that was symbolised through Marie de Medici’s construction and patronage of her own palace in Paris, the Luxembourg Palace. Originally planned to emulate the Palazzo Pitti in Florence in which Marie was raised, the Palace represents the Florentine agenda that was prevalent throughout Marie’s patronage after her first exile at the hands of her son, Louis XIII, in 1617. By viewing the Luxembourg Palace as a whole and exploring the Medici Cycle’s placement there, this thesis will show that Marie was looking back to Florence for guidance when constructing her own image as wife, widow, mother and regent. The first chapter places the Medici Cycle firmly within the Luxembourg Palace and the themes prevalent throughout the decoration there, acknowledging Marie’s dependence on Medici architectural and pictorial projects when developing her own programme of praise. The second chapter looks to how the other Medici queen of France, Catherine de Medici, portrayed herself when faced with the same obstacles as Marie, fifty years prior: motherhood, widowhood, regency, foreignness, gender and power. In this chapter it becomes evident that Marie used many of the same strategies as Catherine, yet far surpassed her in her own aggressive self-promotion, as evidenced by the nature of the Medici Cycle. Chapter three focuses on the similarities between the Medici Cycle and sixteenth and seventeenth century entries and festivals, especially those in Florence staged in celebration of dynastic marriages. The chapter answers the question of whether the Medici Cycle was in fact, finally, Marie’s triumphal entry into Paris. The final chapter looks to Marie and her image following her final exile in 1630. It highlights the importance of the Medici Cycle on Marie’s public image and how it influenced later depictions and laudations of Marie, specifically in her entries into Brussels, Antwerp, Amsterdam and London. This chapter will show that Marie still had the same patronage agenda following her final exile and how the imagery of the Medici Cycle became part of the symbolism and vocabulary in Marie’s patronage and image that shaped opinions of Marie far past her death in 1642 to how her image is perceived today.

Submitted by Sandra Pereira (srpereira@ufrrj.br) on 2017-04-11T14:04:13Z No. of bitstreams: 1 2016 - Flora Alice Lima Rodrigues.pdf: 2277877 bytes, checksum: 6de43bc1d2ed9cb2556882e2b8f63216 (MD5) / Made available in DSpace on 2017-04-11T14:04:13Z (GMT). No. of bitstreams: 1 2016 - Flora Alice Lima Rodrigues.pdf: 2277877 bytes, checksum: 6de43bc1d2ed9cb2556882e2b8f63216 (MD5) Previous issue date: 2016-07-15 / Coordena??o de Aperfei?oamento de Pessoal de N?vel Superior - CAPES / The Florentine Codex was written during the colonial period by Franciscan Bernardino of Sahag?n, aided by native Mexicans from the College of Santa Cruz Tlatelolco, Mexico. Written in two columns of text, the first in Spanish and the other in Nahuatl, the Florentine Codex still contains imagery by native Mexicans from Tlacuilos. The Codex is divided in twelve books, with content ranging from the beginning of the native Mexican world until the conquest of M?xico-Tenochtitl?n. When analyzing the last book of the Codex, which tells the conquest of M?xico-Tenochtitl?n, we realize that there are many discrepancies between the nahuatl narratives and castilian. The two columns, as well as the images, form three distinct narratives about the conquest. These narratives form a blend of indigenous and European traditions. / O C?dice Florentino, escrito no per?odo colonial, foi elaborado pelo franciscano Bernardino de Sahag?n com o aux?lio dos alunos ind?genas do Col?gio de Santa Cruz de Tlatelolco, no M?xico. Escrita em duas colunas de textos, a primeira em castelhano e a segunda em nahuatl, a obra ainda cont?m imagens confeccionadas pelos tlacuilos ind?genas. O C?dice est? dividido em doze Livros, cujo conte?do abarca desde a origem do mundo ind?gena at? a conquista da cidade de M?xico-Tenochtitl?n. Ao analisarmos o ?ltimo Livro do C?dice, que narra a conquista de M?xico-Tenochtitl?n, percebemos que h? muitas diverg?ncias entre a narrativa nahuatl e a castelhana. As duas colunas, assim como as imagens, formam tr?s narrativas distintas sobre a conquista. Essas narrativas formam uma mescla entre as tradi??es ind?genas e europeias

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