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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]
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.
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 ...
In addition to their country villas, the Medici also occupied the following buildings in Florence: Palazzo Medici Riccardi (1444–1540, then used by less important members of the family until 1659) Palazzo Vecchio (1540 - c.1560) Palazzo Pitti (1550–1738) Casino di San Marco; and the Villa Medici in Rome.
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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.
The Studiolo is a small painting-encrusted barrel-vaulted room in the Palazzo Vecchio, Florence, Italy. It was commissioned by Francesco I de' Medici, Grand Duke of Tuscany. It was completed for the duke from 1570 to 1572, by teams of artists under the supervision of Giorgio Vasari and the scholars Giovanni Batista Adriani and Vincenzo Borghini.
In the first half of the sixteenth century, the villa became the property of the Salutati, who then sold the villa to Cosimo I de' Medici in 1544, who gave it to his son, Cardinal Ferdinando in 1568. Then from 1588, there was a decade of extensive excavation works which transformed the "stony" nature of the place (hence the name in Petraia ...