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The Medici were still able to show their wealth on the exterior through their building material choices. The rusticated blocks soon became seen as a status symbol as the materials were costly and rare. They also, later, became a large part of power politics that was believed to have started with the Palazzo Medici Riccardi. [10]
Gozzoli's patron, Piero de' Medici, felt some of the seraphim were unsuitable, and wanted them painted over. Although the artist agreed to do this, it was never actually done. [citation needed] In 1659, the Riccardi family bought the Palazzo Medici and undertook some structural changes. This included, in 1689, the building of an exterior flight ...
the large Hellenistic horse's head (known as the Medici Riccardi head after the first place it was displayed, in the Medici's Riccardi palace), fragment of an equestrian statue, which inspired Donatello and Verrocchio in two famous equestrian monuments in Padua and Venice. two Archaic marble kouroi, displayed in a corridor
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The Biblioteca Riccardiana is an Italian public library under the aegis of the Ministry of Culture, located inside the Palazzo Medici Riccardi at 10 Via de’ Ginori in Florence, in the neighborhood comprising the Mercato Centrale and the Basilica di San Lorenzo.
The first kneeling window is traditionally the one in Palazzo Medici Riccardi in Florence, attributed to Michelangelo [1] It was made to occupy the large arch of a portal that once led to a family loggia. Among the architects who indulged in the creation and decoration of kneeling windows were Bartolomeo Ammannati and Bernardo Buontalenti.
Gozzoli was born Benozzo di Lese, [a] son of a tailor, in the village of Sant'Ilario a Colombano around 1421. His family moved to nearby Florence in 1427. According to the 16th century Italian biographer Giorgio Vasari, Gozzoli was a pupil and assistant of Fra Angelico in the early part of his career.
Born in Florence, the young Foggini was sent to Rome by the Medici Grand Duke of Tuscany to join the so-called Accademia Fiorentina, and apprentice in the Roman sculptural studio of Ercole Ferrata, a pupil of Algardi. He was also tutored in drawing by the Accademia's first director (1673–86), Ciro Ferri, who was a pupil of Cortona.