Apart of this macroeconomic force of which he was a part, was a Europe-wide banking network that facilitated not only international trade, but also state making elsewhere. He financed the Florentine intellectual and artistic breakthroughs we now refer to as "the Renaissance."
Cosimo's power was greatly respected, and by 1434 foreign princes went to Florence to work out international relations. Machiavelli, nearly a century later, still regarded the Medici family as the harbinger of everything good and evil in Florentine life to Cosimo's "deep and ruthless machinations." Despite the influence of Medici, he is portrayed as indecisive and in the background of affairs: "Cosimo was anxious to remain in the background, hiding his great influence, and acting, when need arose, through a deputy. As a result, very little is known of the measures for which he was directly responsible." Cosimo did not expect eternal rule, nor did he ever give a public speech. After 1434, Cosimo appeared increasingly reactive to events around him, seldom offering explanations for his actions. Typically, his actions served his diverse interests.
The Renaissance in Florence was not a period of individualism. Household relationships were typically, but not always, very strong. The turbulent times reinforced defensive cohesion among family units. To define elite in this period is difficult, for this is a large difference between the political and economic elites, partially due to the volatility in international markets. The Medici family in particular had various allegiances based on partisanship and family ties. The central most faction of the Medici party was extraordinarily centralized in a simple, "spoke" network system....
Art History In his painting Flight into Egypt, Battista Dossi took great care to tell the story of the Holy Family at the very moment the painting shows. He evokes the urgency in the life of the traveling Holy Family as they flee for the life of their child. All that needs to be said in the painting is told with color and precision, movement and depth, and the entirely personal
Renaissance Art An Analysis of Love in the Renaissance Art of Sidney, Shakespeare, Hilliard and Holbein If the purpose of art, as Aristotle states in the Poetics, is to imitate an action (whether in poetry or in painting), Renaissance art reflects an obsession with a particular action -- specifically, love and its many manifestations, whether eros, agape or philia. Love as a theme in 16th and 17th century poetry and art
They investigate on the nature of virtue and pleasure but they concentrate on the happiness of man and what it is made up of. They uphold that man's happiness consists mainly in the good type of pleasure. They derive arguments from religious principles, despite its roughness and strictness. Without these principles, all searches on happiness can only be merely conjectural and defective (Philosophy Basics). The need for a real-life utopia
European Enlightenment revolves around the idea of freedom, of liberating people from false beliefs, false religion and from arbitrary authority (Hooker pp). Today the idea of liberation is common to international politics, yet the concept is rooted in Luther's idea of freedom (Hooker pp). By 1616, Cadinal Richelieu had risen through the ranks to become France's Secretary of State of foreign affairs and by 1924, had gone on to head the
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