Episode 35: The Florentine Golden Age

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I Take History With My Coffee Podcast
Episode 35
Title: The Florentine Golden Age

“At the same time with the elder Lorenzo de Medici, the Magnificent, which was truly a golden age for men of intellect, there also flourished one Alessandro, called Sandro after our custom…his father, who, recognizing the inclination of his brain, took him to Fra Filippo of the Carmine, a most excellent painter of that time, with whom he placed him to learn the art, according to Sandro's own desire. Thereupon, devoting himself heart and soul to that art, Sandro followed and imitated his master so well that Fra Filippo, growing to love him, taught him very thoroughly, so that he soon rose to such a rank as none would have expected for him.”
Giorgio Vasari, Lives of the Most Eminent Painters, Sculptors and Architects, 1550

Welcome back to the I Take History With My Coffee podcast and thank you for continuing our exploration of the Early Modern period.

It will be my intention for this episode to provide a broad overview of the artistic and cultural environment during the two decades of Lorenzo de Medici’s rule in Florence.  I will discuss Lorenzo’s role in fostering this creative climate, artistic patronage in general, and the artist workshop. I will then conclude by talking a little about the two artists favored by the Medici, Andrea del Verrochio and Sandro Botticelli.


In his writings, Florentine Giovanni Rucellai expressed gratitude for being born in Florence, a city renowned as the most worthy and beautiful not only in Christendom but in the entire world.  This statement highlights the significance of Florence as a hub of intellectual and artistic activity.  

Florence's distinctive cultural environment thrived on diversity and complexity, welcoming various ideas, even contradictory ones. The city had a strong tradition of teaching law, medicine, and theology before the university moved to Pisa in 1473. Rhetoric, Latin poetry, and the study of Greek philosophy also flourished. Marsilio Ficino translated Platonic texts and attracted students from across Europe. Natural science found its place with figures like Paolo Toscanelli, who suggested a westward voyage to the Orient in 1474, inspiring Columbus.  Leonardo da Vinci's immersion in the natural world produced groundbreaking studies of anatomy and landscapes. He emphasized direct observation and experience in his scientific approach, setting him apart from his contemporaries. 

Lorenzo de' Medici played a significant role in patronizing both letters and art during his time. From an early age, he demonstrated an awareness of the role of imagery in conveying authority. Lorenzo had a remarkable appreciation for visual forms that could express and validate his power. His upbringing exposed him to art and decoration, symbolizing the family's dominant position. His father, Piero, was passionate about collecting precious gems and manuscripts, contributing to Lorenzo's unique cultural and material inheritance.  

He had a wide range of cultural interests. The Medici palace, under his stewardship, became a showcase of contemporary furniture, bronzes, and a collection of gems, cameos, and medals, both ancient and modern, which gained fame throughout Italy. Guests visiting the palace often inquired about these treasures, and Lorenzo took great pride in his museum of casts and fragments of ancient sculptures. He made this collection accessible to the public and young aspiring artists in a garden near the palace.

While the specifics of his patronage are not always precise, his support for scholars and writers is well-documented. He associated closely with the intellectual luminaries of his era.  He was actively involved in selecting and sponsoring artists, earning their gratitude.  His involvement in boards supervising building and decorative projects began well before the legal age of holding office. He actively participated in various civic projects and tribunals.  Lorenzo played a crucial role in resolving disputes over artistic commissions. His judgment was highly regarded, and he often had the final say in artistic decisions.  His support for artists, such as Verrocchio, is noteworthy, as he not only directly commissioned works but also provided recommendations for other projects.

Lorenzo used art for foreign diplomacy, expanding the market for artists locally and abroad.  He was dedicated to advancing not only his position but also that of Florence itself. While Florence might not have rivaled the absolute power of the Kingdom of Naples or the Papal State, Lorenzo was a skilled power broker. He had a keen understanding of how to leverage Florence's intellectual and artistic achievements internationally. The very beauty of Florence served as an asset in this endeavor.

Lorenzo's financial circumstances likely limited his ability to commission artists on the same lavish scale as his grandfather. Nevertheless, he collaborated with notable figures of his time, demonstrating his refined artistic discrimination. Among the sculptors, he favored Verrocchio, and among the painters, Botticelli.  One significant episode in Lorenzo's patronage involved encountering the young Michelangelo. Impressed by the lad's talent, Lorenzo invited him to live under his roof and even offered him a place at his table. This princely hospitality allowed Michelangelo to pursue his studies as his family struggled financially. Even in later years, when Michelangelo, like many Florentines, distanced himself from the Medici as tyrants, he couldn't erase the debt he owed to Lorenzo, his earliest generous patron.

The intersection of politics, patronage, and artistic innovation influenced the art of this period.  In the final third of the Quattrocento, a significant transformation occurred in Florentine Renaissance art. By this time, many pioneering artists who had laid the foundation for this artistic movement were no longer alive or actively creating. However, despite the economic challenges of the era, a new generation of artists found themselves benefiting from substantial patronage, particularly from prominent Florentine families. Additionally, the introduction of Flemish oil painting techniques made a notable impact on the artistic scene.

This period was chiefly shaped by the artistic contributions of five prominent figures: Antonio del Pollaiuolo, Andrea del Verrocchio, Alessandro Botticelli, Filippino Lippi, and Domenico del Ghirlandaio. Each of these artists was well-versed in the techniques and principles of space, form, and light pioneered by their predecessors. Yet, they embarked on their explorations of new artistic directions.  According to art historian Frederick Hartt, their work can be broadly categorized into three stylistic directions: "Science, Poetry, and Prose.”

The first trend was rooted in the belief that all aspects of nature, including plants, animals, and human physiology, were worthy subjects for artistic study. Artists in this category were captivated by the dynamics of motion, growth, decay, and dissolution, which they saw as more representative of the world than enduring mathematical principles.

The second artistic current, "Poetry," delved into the realm of the spirit and placed a greater emphasis on the inner world. Artists in this category favored abstract values of line and sought to express emotional yearnings through their work. Alessandro Botticelli was the undisputed leader of this movement, and his creations embodied lyrical, poetic, and romantic qualities. This style resonated with specific circles, such as the Neoplatonic philosophers.

The third trend, "Prose," was more rooted in the here and now. Works often featured contemporary Florentine figures in the foreground, offering a glimpse into the everyday life of the city. At the same time, the backgrounds provided a vision of Florence as it was or as the artist envisioned it. This style prioritized description, balance, order, and clarity. It appealed to well-to-do citizens without intellectual pretenses, such as successful merchants and bankers.

These three broad stylistic directions—Science, Poetry, and Prose—illustrate the rich diversity of artistic expression during the later third of the 15th century in Florence, reflecting the varied tastes and preferences of Florentine patrons and their evolving relationships with the art of their time.

One aspect to consider is the dual nature of artistic creations. On one hand, they can be viewed as the products of the talented individuals who designed and crafted them. On the other hand, they also reflect the needs and interests of the people who commissioned these works. While some prestigious pieces, like altarpieces, were ordered by Florentines of various social statuses, the most spectacular and innovative works were typically commissioned by influential families, particularly the merchants and bankers who held top positions in Florentine society and politics.  Many objects and images commissioned by Florentines were celebrated for their intellectual investment and technical finesse. Citizens of Florence emphasized the importance of works that were both worthy and beautiful. Even private panel paintings served social representation through their beauty.  The production of these works required careful consideration and significant expense.  Collecting art and antiquities was a practice reserved for the wealthiest and most cultured individuals, particularly those interested in preserving the heritage of antiquity.

This artistic environment in Florence during the 1470s laid the foundation for the export of ideas and talents to other regions, such as Venice and Milan. Artists like Verrocchio sought new opportunities for patronage and artistic challenges, while others, including Botticelli, became cultural ambassadors of Florence in papal Rome.  The Florentine art of the 1470s  and 1480s can be understood as the culmination of the work of numerous skilled masters and their workshops. These artists were responsible for creating not only paintings and figurines but also magnificent palaces and parade armor that were admired throughout Italy during their lifetimes. Young aspirants, often as young as ten to fourteen years old, flocked to Florence from towns all over Italy, aspiring to study under the master artists of the city.

In contrast to the modern image of artists working in studios, the term "studio," meaning "study" in Italian, only came into use in the seventeenth century when artists became members of academies. During the late Middle Ages and much of the Renaissance, artists functioned within a bottega, which was essentially a workshop. The bottega encompassed not just the master artist but also apprentices and paid assistants who worked under the master's guidance.

The apprentices entering this system could be as young as seven or eight years old, and their families covered the cost of their training. Becoming an apprentice in a master's bottega was a dream for young artists. Initially, their tasks were quite basic, such as grinding colors for paints, preparing painting panels, and practicing "correct drawing on tablets." As they progressed, they learned the intricate art of color mixing and the technique of creating frescoes, which involved blending colors with wet plaster and working swiftly before the mixture dried. After six or seven years of dedication, an apprentice would finally be allowed to contribute to one of the master's projects, often starting with background elements or, if exceptionally skilled, even delicate details like painting robes or gilded feathers.  The typical journey of an apprentice artist lasted around twelve years. After this rigorous training period, they could leave their master's teaching, join the artists' guild, and establish their own bottega.

However, the training of Renaissance artists wasn't limited to painting alone. They were required to acquire a diverse set of skills, including carving in wood and stone, decorating textiles like velvet cloaks and carnival masks, glazing pottery, crafting crests for helmets, gilding jewel boxes, and inlaying furniture. An artist was not just a painter but also a versatile craftsman, almost akin to a shopkeeper, as they had to be prepared to fulfill a wide range of requests from patrons. 
 
Drawing and design were crucial aspects of these artistic endeavors. Surviving designs from the period reveal the thought processes and patterns behind finished works. Drawing also served as a means of communication. Artists used designs to perfect compositions and display their inventive skills. These drawings not only possessed intrinsic beauty but also served as records of commissions.

Andrea del Verrocchio, born Andrea di Michele di Francesco de' Cioni in 1435 in Florence, Italy, was a prominent artist skilled in sculpture, painting, and metalwork. He hailed from a diverse family background, as his father initially worked as a tile and brick maker and later as a tax collector. Despite never marrying, Verrocchio supported some family members financially.

Like most artists, Verrocchio's early apprenticeship was in goldsmithing. While there's been speculation about his training under renowned artists like Donatello or Fra Filippo Lippi, there's no conclusive evidence to support these claims. His artistic career thrived during his last two decades, mainly due to the patronage of Lorenzo de' Medici and his son Piero. He succeeded Donatello as the Medici’s favorite sculptor.  He operated his workshop in Florence and was a member of the Guild of St Luke. Towards the end of his life, he established a new workshop in Venice while working on the statue of the condottiere Bartolomeo Colleoni. He left his Florentine workshop under the supervision of Lorenzo di Credi and passed away in Venice in 1488.

Verrocchio's multifaceted artistic talents and innovative approach to various art forms, including silver, bronze, marble, terracotta, stucco, wood, tempera, and oil, set him apart as a versatile artist. He demonstrated a strong command of spatial design and narrative expression.

One of the defining characteristics of Verrocchio's work was his inventiveness. He created sculptures that succeeded as sculptures in the round, such as the "David" and the "Putto with a Dolphin," and the first three-quarter-length sculpted portrait in modern times, the "Lady with Flowers." His keen sensitivity to materials allowed him to work in novel ways, particularly with bronze, combining sculpture and metal craftsmanship to great effect.

Verrocchio was not just a sculptor but also an accomplished painter. His most famous work, the "Baptism of Christ," was a collaborative effort with Leonardo da Vinci. In this painting, Verrocchio painted the young angel, while Leonardo contributed the serene figure of Jesus, showcasing the synergy of talent in Florence's Renaissance art community.

In addition to his artistic talents, Verrocchio had a deep interest in geometry and the sciences, reflected in his meticulous attention to perspective and spatial elements in his compositions. His studies of the human body and antique statues, combined with his knowledge of geometry, contributed to the depth and precision of his art.

Verrocchio's creative process remains elusive due to the lack of comprehensive records. Still, he left a legacy of detailed studies and models showcasing his creativity and mastery of light and form. He was known for transitioning between different projects in various media to avoid boredom and meet different patrons' demands. He frequently delegated the completion of his paintings to trusted assistants. Notably, one of his pupils was the brilliant Leonardo da Vinci, who studied under his guidance, underscoring Verrocchio's influence as a teacher.

Alessandro Botticelli, also known as Sandro Botticelli, emerged as a prominent figure in the artistic landscape of Florentine art during the late 15th century. While his given name was Alessandro di Mariano Filipepi, he became known as "Botticelli" due to his older brother's nickname, "il Botticello" or "the Keg," who cared for him. This nickname eventually led to his artistic moniker.

Notably, Botticelli's artistic style differed from the prevailing trends of his time. Instead of focusing on spheres and scientific precision, he emphasized contour and line in his art. He was also a master of perspective and could infuse dramatic intensity into his works.

Botticelli's art was influenced by his training with Fra Filippo Lippi, characterized by long torsos and intricate fabrics. His association with Verrocchio's studio contributed to his appreciation for idealized female figures and emotional intensity.

His patrons included members of the Medici family, and he was commissioned to paint mythological subjects that were in vogue, often drawing from Florentine Neo-Platonists like Marsilio Ficino for inspiration. Interpretations of these mythological works vary due to the complexity of Neo-Platonic writings and humanists' different perspectives.

In discussions surrounding Botticelli's mythological works, scholars have attempted to distill persuasive elements from still-controversial interpretations and introduce new insights. The true intent and communication of these images remain a subject of ongoing exploration in the art world. 

One of his most celebrated works is "The Birth of Venus," which beautifully captures the classical ideal of beauty and grace. The ethereal and almost dreamlike quality of his paintings, along with his use of soft colors and flowing lines, set him apart from many of his contemporaries.  His famous painting "Primavera"  continues to intrigue scholars and art enthusiasts, and its symbolism is open to various interpretations. The painting carries multiple layers of meaning, both metaphorical and contextual.


"Primavera" (commonly referred to as "Spring") is set in a grove of dark orange trees, with intertwining branches and golden fruit dominating the upper portion of the painting. Amidst this backdrop, there is the central figure of Venus, somewhat modest in stature and appearing to bless the scene. To the right, the wind god Zephyrus pursues the virgin nymph Chloris, and flowers seem to emerge from her mouth. In the myth, Zephyrus marries Chloris, who then transforms into Flora, the goddess of Spring, scattering blossoms from her flower-embroidered gown. This painting represents the eternal spring in Venus' garden, with Flora playing a pivotal role in its interpretation.  Venus, the Graces, Cupid, and other figures all play unique roles in the painting's interpretation, reflecting the ideals of the time.

The "Primavera" is believed to correspond to a painting documented in the townhouse of Lorenzo di Pierfrancesco de' Medici in 1498, cousin to Lorenzo de Medici. This context is significant because, in approximately 1478, Marsilio Ficino wrote a letter to Lorenzo. To Ficino, Venus represented moral qualities that a cultured Florentine patrician woman should possess, qualities aligned with humanist writings emphasizing the ideal attributes for women and wives.

Interpretations of "Primavera" draw from classical writings and elements tied to Florence, creating a rich tapestry of meaning in Botticelli's masterpiece.  For a comprehensive understanding of Botticelli's art, one must study his entire body of work, exploring the various phases of his exceptional talent.

Despite his considerable success during his lifetime, Botticelli's later years saw a decline in popularity as the Renaissance art world shifted towards more naturalistic and mannerist styles. He passed away in 1510, leaving behind a legacy of art that would be rediscovered and admired centuries later during the 19th-century revival of interest in the Italian Renaissance.

To see the artwork mentioned in this episode, follow the links in the episode description.

Florence, during the time of Lorenzo de’ Medici, was indeed a dynamic and diverse cultural center, nurturing a wide array of intellectual pursuits and artistic endeavors. The city's ability to embrace classical traditions and the vernacular shaped the Renaissance and the broader development of Italian culture.

Yet the “Golden Age” was not to last beyond Lorenzo de Medici’s lifetime.  In the next episode, we will begin looking at the downfall of the Medici dynasty in Florence and the crisis at the end of the 15th century that impacted not only the history of Florence but also the entire Italian peninsula.  

As always, maps and other supporting resources for all episodes are listed in the episode description. In the meantime, for more historical content, please visit the “I Take History With My Coffee” blog at itakehistory.com and also consider liking the I Take History With My Coffee Facebook page.  Feedback and comments are welcome at itakehistory@gmail.com.  Or you can leave a review on Apple Podcasts or on Spotify.  You can also help support this podcast by buying me a coffee at buymeacoffee.com/itakehistory.  If you know anyone else who would enjoy this podcast, please let them know.  And thanks for listening.