INSERT INTO `wp_posts` VALUES (1627,41,'2011-09-20 15:45:10','2011-09-20 21:45:10','<h3><span style=\"color: #605f00\">Citizens revolt against plans to demolish the embodiment of Renaissance Civil Architecture.</span></h3>\r\n<p align=\"left\">By Jill Brockmann<strong>,</strong> ONN Contributor, Italy, Florence -- (ONN Bureau)</p>\r\n<p align=\"left\">September 19, 2011 12:05 p.m. EDT</p>\r\n\r\n\r\n[caption id=\"attachment_1604\" align=\"alignleft\" width=\"290\" caption=\"The Medici Palazzo - Image found: http://otherworldmystery.com/tag/rosicrucianism\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\"><img class=\"size-full wp-image-1604\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\" alt=\"The Medici Palazzo\" width=\"290\" height=\"117\" /></a>[/caption]\r\n<p align=\"left\">Riots broke out in Tuscany\'s capital today, as the polizia tried to hold back protesters in front of the Palazzo Medici Riccardi, the epitome and gold standard of Renaissance Civil Architecture. Hundreds of protesters congregated in front of the strong, yet grim, exterior of the cube-shaped building that was once the most persuasive symbol of the political and cultural authority of the Medici banking family in Florence.<sup>2 </sup> Protesters believe that the building should be preserved because of its long history of provoking ardent political discourse, its owners promoted the preservation of priceless art and they shared their priceless pieces in an effort to enhance the community\'s love of the arts. The City Council is attempting to exert their power <!--more-->of emminent domain and destroy the building, replacing it with a high-rise apartment complex that would include tax-generating commercial space on the first floor. The building was built by the Italian architect and sculptor, Michelozzo di Bartolomeo Michelozzi (1396–1472) and was commissioned by the head of the Medici banking family, Cosimo de\' Medici, between the years of 1445-1460. Today, the building is known as the Palazzo Medici Riccardi, after Gabbriello Riccardi purchased it and expanded its footprint in 1659.<sup>1</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1609\" align=\"alignright\" width=\"198\" caption=\"Courtyard at the Medici Palazzo  Image found: http://www.goingthroughitaly.com/500/medici-riccardi-palace/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\"><img class=\"size-full wp-image-1609\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\" alt=\"Courtyard at the Medici Palazzo\" width=\"198\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">Florentine citizens are protesting the demolition of the building, which they consider the foremost example of the classic theory of magnificence, touted by Aristotle in his famed literary work, <em>Nicomachean Ethics</em>. Aristotle\'s theory held that \"men of means had a moral duty to live in magnificent palaces for the benefit of themselves, their family and society.\"<sup>2 </sup>Florentinians of today agree with this theory and see the building as an ideal model of political order, civic harmony, and pride.<sup>1</sup> At one time, the Medici Palazzo (palace) was said to be \"one of the noblest specimens of Italian fifteenth-century architecture, in which the great taste and skill of the architect has combined with the delicate lightness of earlier Italian Gothic style and with the massive stateliness of the classical style.\" <sup>2</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1606\" align=\"alignleft\" width=\"482\" caption=\"                                                 Example of biforal and triforal windows                                               Images found: http://www.florence-gallery.com/monuments/  and http://santatatiana.wordpress.com/2011/07/06/the-magnificent-palace-of-priors-in-perugia\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\"><img class=\"size-full wp-image-1606 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\" alt=\"Medici Palazzo (left) and Prior\'s Palace (right) window examples \" width=\"482\" height=\"151\" /></a>[/caption]\r\n<p align=\"left\"> When compared to the Prior\'s Palace, in Perugia, the Medici Palace offers many considerations of similarity and contrast.<sup> 2</sup> The Prior\'s Palace was constructed during the same time period and held fast to the custom of resting double-arch (biforal) windows on classic cornices, which echoed ecclesiastical architecture.<sup>2</sup></p>\r\n<p align=\"left\">Medici Palazzo is designed with double-arch windows on the second and third floors. However, the rounded-arches of the windows in the Medici Palazzo deviate from the Prior\'s Palace windows in that they do not have the classic Gothic point at the top.<sup>2</sup> This rounded-style arch was first seen in a residence when Michelozzo designed the Medici Palazzo to look more secular.<sup>2</sup></p>\r\n<p align=\"left\">An additional architectural differentiation from buildings of its time, including the Prior\'s Palace, was the optical illusion created when the building is viewed from street level.<sup>2</sup> The stone surfaces from bottom-to-top change in texture from rough to smooth, and the stories are scaled from taller on the bottom level to shorter on the upper levels.<sup>2</sup> This transition of surfaces and story height creates the illusion that the structure looms even taller than it actually is. The cornice along the top of the building, projecting out six feet past the façade, serves as a type of crown for the building and its ornate moldings, coffers, rosettes and flutes further speak to the Medici\'s preoccupation with social and political status.<sup>2,4</sup></p>\r\n<p align=\"left\">Spokesperson for the uprising, Leona Battista Alberti, (descendent of author Leon Battista Alberti, who penned <em>On the Art of Building in Ten Books</em>) stated that the Medici family monopolized Florentine politics and all things cultural from 1434 to 1494.<sup>5</sup>  Alberti claims that Cosimo Medici was a humanist, had amassed a large fortune, and had successfully managed to outwit his political enemies to become the <em>de facto</em> ruler of Florence.<sup>3</sup> Under his rule, Medici took advantage of the open trade routes, throughout much of the world, to bring precious objects to Florence and this enhanced honor and pride within the community. She further stated that the objects he imported  included priceless paintings, rare books, elaborate sculptures, fine tapestries, unusual plants, splendid inlaid marble floor tiles and much more.<sup>3</sup> Alberti clearly prayed that the Medici Palace remain standing as a respectful tribute to the illustrious Medici family and all of the rare treasures they brought to the Florentine citizens.</p>\r\n\r\n\r\n[caption id=\"attachment_1611\" align=\"alignright\" width=\"245\" caption=\"Statue of Cosimo de&#039; Medici - Image found: http://www.flickr.com/photos/19178753@N04/5093773149/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\"><img class=\"size-full wp-image-1611 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\" alt=\"Statue of Cosimo de Medici\" width=\"245\" height=\"194\" /></a>[/caption]\r\n<p align=\"left\">Opponent of the protest, Frank Pazzi, (descendant of Francesco de\' Pazzi) spoke of the political unrest that swirled around the Medici family during the time immediately before and after the construction of the Medici Palazzo. The rising wealth among the merchant class was infringing upon the authority of the Papacy and creating tension within the Church. He spoke of the fact that Medici purposefully chose the unusual design and appearance of the building\'s façade because he had just returned from exile and was conscientious about upsetting the delicate political climate of the time and arousing envy among the citizens of Florence. Pazzi\'s family had been political rivals of the Medici family in the 1400s and he noted that one of his ancestors had been hanged at the Palace.<sup>3</sup> Pazzi viewed the Palace as a place of great heartache, political unrest, and the reminded him of the social manipulation running rampant at the time. He stated that he wished the building \"had been flattened years ago.\"</p>\r\n<p align=\"left\">Since the Medici vs. Pazzi family rivalry ended with the Medici\'s prevailing, the construction of the Medici Palace represented a celebration or re-birth of sorts, and therefor, the building was in a brand-new style.<sup>3</sup>  According to the Curator of the present-day Medici Museum, the Medici Palace was the first private residence in Florence to have an all-stone exterior, elements such as moldings, round-headed arches, elegant wedge-shaped stones in the arches, (called \"voussoirs\") and the prominent display of the family coat-of-arms.<sup>2  </sup>The Curator further explained that although there were some characteristics of this building that were classically Roman in nature, the predominant reason to preserve this structure was that it was the first time a residence included a gracious nod to civic harmony and lower-class inclusiveness among the wealthy. For example, he stated that Medici placed stone benches, wrought-iron hitching rings for horses, and torch holders on the exterior as a means of welcoming visitors.</p>\r\n<p align=\"left\">Perhaps the welcoming ambience of the Palace was the seed of change and now, present day architects use it in their designs. The Medici were the first to incorporate these community-related elements in to their design and nowadays nearly every building in existence has some sort of bench, railing, fountain, garden, or welcoming landscape. Saying that a building is \"inviting\" is considered a great accomplishment among commercial architects today. Is it possible that the Medici were the first example of this community-minded trend? If so, this fact alone may be reason enough to preserve the building.</p>\r\n\r\n\r\n[caption id=\"attachment_1614\" align=\"alignleft\" width=\"230\" caption=\"Alterpiece in the Chapel of the Medici Palazzo ~ Image found: http://hoocher.com/Agnolo_Bronzino/Agnolo_Bronzino.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\"><img class=\"size-full wp-image-1614\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\" alt=\"Alterpiece in the chapel of The Medici Palazzo\" width=\"230\" height=\"320\" /></a>[/caption]\r\n<p align=\"left\">When interviewed, present-day Florentine Architect, Phillip Brunelleschi, (descendant of architect, Filippo Brunelleschi) noted that at the time Medici Palazzo was constructed, building façades had a distinct asymmetry to the placement of the center courtyard and the doors. This created a lack of alignment between the doors and the upper windows.<sup>2</sup> He went on to speak of the misalignment of the doors and upper-story windows of the Medici Palazzo. Despite this similarity to buildings of the day, it was Brunelleschi\'s opinion that the center courtyard of Medici Palazzo is designed to \"evoke a cloister-like sacred space\"<sup>2</sup> and this tranquil element was non-existent in other palaces of that time. The Medici incorporated their own chapel within the walls of the Palace. What did having their own church say about their connection to God? Most people in Florence had to walk to church. The Medici could have simply walked into their chapel and hire their own priest. Their social and religious stature must have irritated the Church and that would have further inflamed their political standing in town.</p>\r\n<p align=\"left\">Protest organizer, Loren Vecchio, (descendant of Cosimo Medici) advocates the preservation of the building due to the historic accomplishments of the Medici family in relation to education. Vecchio stressed that under the patronage of the Medici family, the Platonic Academy in Florence was founded in 1462. In 1480, The Medici opened the Garden of Lorenzo de’ Medici. Vecchio noted that the library of St. Lorenzo (Bibliotheca Laurenziana) made</p>\r\n\r\n\r\n[caption id=\"attachment_1616\" align=\"alignright\" width=\"190\" caption=\"Laurentian Library inside The Medici Palazzo - Image found: http://www.museumsinflorence.com/musei/Laurentian_Library.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\"><img class=\"size-full wp-image-1616\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\" alt=\"Laurentian Library inside The Medici Palazzo\" width=\"190\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">available to the public the immense Medici collection of books and manuscripts, and that this one act proved that the Medici\'s had devoted their lives to the colossal undertaking of educating and promoting the appreciation of the arts for generations to come.<sup>4</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1615\" align=\"alignleft\" width=\"194\" caption=\"Medici Palazzo Ceremonial Hall  Image found: http://www.museumsinflorence.com/musei/medici_riccardi_palace.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\"><img class=\"size-full wp-image-1615\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\" alt=\"Medici Palazzo Ceremonial Hall\" width=\"194\" height=\"259\" /></a>[/caption]\r\n<p align=\"left\">One of the protesters, Marisa Ficino, (descendent of Marsilio Ficino), mentioned that one of her ancestors had been hired by Cosimo to translate the works of Plato into Latin and that Medici was a huge patron of the arts and literature. She commented that, according to family stories, the Medici were the first family to use their personal residences to display vast art and cultural collections.<sup>4</sup> Ficino indicated that the practice of inviting guests to visit the Palace was politically innovative at the time because guests were only shown rooms that equaled their favor with the family. Viewing the enormous collection of rare and priceless artifacts became an inducement that led guests to do the bidding of the family. Certain precious pieces were only shown to those members of society that, according to the Medici family, were worthy.<sup>4</sup> At the time, this custom created envy among some circles while delighting others. Could it be that the same practice still exists, in some form, in our society today?</p>\r\n<p align=\"left\">Today, the Palace holds the offices of the Provincial Governor, the Florentine Provincial Authority, the Istituto Storico della Resistenza and the Biblioteca Moreniana. In addition, upon researching this article, the author found almost three million listings for the Medici Palazzo that were academic in nature or bespoke of its architectural prestige and dominance in the civil architecture movement of the Renaissance. In the humble opinion of this author, it appears that this extraordinary work of architecture is worth preserving and hopefully the Florence City Council will realize the historical importance and, keep the building and give the protestors what they want.</p>\r\n\r\n<h2><em><span style=\"color: #605f00\">Works Cited List:</span></em></h2>\r\n<p align=\"left\">1. The Medici Palazzo - The Chronology. http://www.palazzo-medici.it/eng/sez_storia/medici.htm Website accessed August 26, 2011.</p>\r\n<p align=\"left\">2. Partridge, Loren W.<span style=\"text-decoration: underline\"> Art of Renaissance Florence, 1400-1600 </span>. Imprint Berkeley : University of California Press, c2009.</p>\r\n<p align=\"left\">3. Martinez, Lauro. <span style=\"text-decoration: underline\">April blood : Florence and the plot against the Medici.</span> Imprint Oxford ; New York : Oxford University Press, 2003.</p>\r\n<p align=\"left\">4. Neher, Gabriele. <a title=\"Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace.\" href=\"http://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/viewarticle?data=dGJyMPPp44rp2%2fdV0%2bnjisfk5Ie41%2fOL8t%2fsRuvX54as2%2baH8eq%2bUK2prkewpq9JnqeuUrGsuEy1lr9lpOrweezp33vy3%2b2G59q7RbCmsEyxq7BJsKqkhN%2fk5VXj5KR84LPfUeac8nnls79mpNfsVbCvsVCxrrBIpNztiuvX8lXk6%2bqE8tv2jAAA&amp;hid=5\">Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace. </a><em>Art Book</em>, Feb2008, Vol. 15 Issue 1, p9-10, 2p;</p>\r\n<p align=\"left\">5. Matthews, T., DeWitt Platt, F., Noble, Thomas F.X., <span style=\"text-decoration: underline\">The Western Humanities</span>, McGraw-Hill, New York, 2011, Seventh Edition, Volume II, p307-308; p312;</p>\r\n<p align=\"left\">6.Equestrian statue of Cosimo Medici. Website:  http://www.flickr.com/photos/19178753@N04/5093773149/. Accessed September 8, 2011.</p>\r\n<p align=\"left\">7. Medici-Riccardi Palace courtyard, Florence. Italy. Website: http://www.goingthroughitaly.com/500/medici-riccardi-palace/. Accessed September 5, 2011.</p>\r\n<p align=\"left\">8. Laurentian Library. The Museums of Florence. Website: http://www.museumsinflorence.com/musei/Laurentian_Library.html. Accessed September 7, 2011.</p>\r\n<p align=\"left\">9.  Mediateca di Palazzo Medici Riccardi. <a href=\"http://www.provincia.fi.it/\">Provincia di Firenze</a>. Palazzo Medici-Riccardi Today.\r\nWebsite: http://www.palazzo-medici.it/mediateca/en/cronologia.php#3. Accessed September 6, 2011.</p>\r\n<p align=\"left\">10. Comune di Perugia. Palazzo dei Priori. Website: http://www.comune.perugia.it. Accessed: September 16, 2011.</p>','Protest at the Palazzo','','inherit','open','open','','1593-revision-18','','','2011-09-20 15:45:10','2011-09-20 21:45:10','',1593,'http://jeanatacc.com/2011/?p=1627',0,'revision','',0),(1629,41,'2011-09-20 15:59:28','2011-09-20 21:59:28','<h3><span style=\"color: #605f00\">Citizens revolt against plans to demolish the embodiment of Renaissance Civil Architecture.</span></h3>\r\n<p align=\"left\">By Jill Brockmann<strong>,</strong> ONN Contributor, Italy, Florence -- (ONN Bureau)</p>\r\n<p align=\"left\">September 19, 2011 12:05 p.m. EDT</p>\r\n\r\n\r\n[caption id=\"attachment_1604\" align=\"alignleft\" width=\"290\" caption=\"The Medici Palazzo - Image found: http://otherworldmystery.com/tag/rosicrucianism\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\"><img class=\"size-full wp-image-1604\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\" alt=\"The Medici Palazzo\" width=\"290\" height=\"117\" /></a>[/caption]\r\n<p align=\"left\">Riots broke out in Tuscany\'s capital today, as the polizia tried to hold back protesters in front of the Palazzo Medici Riccardi, the epitome and gold standard of Renaissance Civil Architecture. Hundreds of protesters congregated in front of the strong, yet grim, exterior of the cube-shaped building that was once the most persuasive symbol of the political and cultural authority of the Medici banking family in Florence.<sup>2 </sup> Protesters believe that the building should be preserved because of its long history of provoking ardent political discourse, its owners promoted the preservation of rare art and they shared their priceless pieces in an effort to enhance the community\'s love of the arts. The City Council is attempting to exert their power <!--more-->of emminent domain and destroy the building, replacing it with a high-rise apartment complex that would include tax-generating commercial space on the first floor. The building was built by the Italian architect and sculptor, Michelozzo di Bartolomeo Michelozzi (1396–1472) and was commissioned by the head of the Medici banking family, Cosimo de\' Medici, between the years of 1445-1460. Today, the building is known as the Palazzo Medici Riccardi, after Gabbriello Riccardi purchased it and expanded its footprint in 1659.<sup>1</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1609\" align=\"alignright\" width=\"198\" caption=\"Courtyard at the Medici Palazzo  Image found: http://www.goingthroughitaly.com/500/medici-riccardi-palace/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\"><img class=\"size-full wp-image-1609\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\" alt=\"Courtyard at the Medici Palazzo\" width=\"198\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">Florentine citizens are protesting the demolition of the building, which they consider the foremost example of the classic theory of magnificence, touted by Aristotle in his famed literary work, <em>Nicomachean Ethics</em>. Aristotle\'s theory held that \"men of means had a moral duty to live in magnificent palaces for the benefit of themselves, their family and society.\"<sup>2 </sup>Florentinians of today agree with this theory and see the building as an ideal model of political order, civic harmony, and pride.<sup>1</sup> At one time, the Medici Palazzo (palace) was said to be \"one of the noblest specimens of Italian fifteenth-century architecture, in which the great taste and skill of the architect has combined with the delicate lightness of earlier Italian Gothic style and with the massive stateliness of the classical style.\" <sup>2</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1606\" align=\"alignleft\" width=\"482\" caption=\"                         Example of biforal (left) and Gothic triforal (right) windows                                 Images found: http://www.florence-gallery.com/monuments/  and http://santatatiana.wordpress.com/2011/07/06/the-magnificent-palace-of-priors-in-perugia\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\"><img class=\"size-full wp-image-1606 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\" alt=\"Medici Palazzo (left) and Prior\'s Palace (right) window examples \" width=\"482\" height=\"151\" /></a>[/caption]\r\n<p align=\"left\"> When compared to the Prior\'s Palace, in Perugia, the Medici Palace offers many considerations of similarity and contrast.<sup> 2</sup> The Prior\'s Palace was constructed during the same time period and held fast to the custom of resting double-arch (biforal) windows on classic cornices, which echoed ecclesiastical architecture.<sup>2</sup></p>\r\n<p align=\"left\">Medici Palazzo is designed with double-arch windows on the second and third floors. However, the rounded-arches of the windows in the Medici Palazzo deviate from the Prior\'s Palace windows in that they do not have the classic Gothic point at the top.<sup>2</sup> This rounded-style arch was first seen in a residence when Michelozzo designed the Medici Palazzo to look more secular.<sup>2</sup></p>\r\n<p align=\"left\">An additional architectural differentiation from buildings of its time, including the Prior\'s Palace, was the optical illusion created when the building is viewed from street level.<sup>2</sup> The stone surfaces from bottom-to-top change in texture from rough to smooth, and the stories are scaled from taller on the bottom level to shorter on the upper levels.<sup>2</sup> This transition of surfaces and story height creates the illusion that the structure looms even taller than it actually is. The cornice along the top of the building, projecting out six feet past the façade, serves as a type of crown for the building and its ornate moldings, coffers, rosettes and flutes further speak to the Medici\'s preoccupation with social and political status.<sup>2,4</sup></p>\r\n<p align=\"left\">Spokesperson for the uprising, Leona Battista Alberti, (descendent of author Leon Battista Alberti, who penned <em>On the Art of Building in Ten Books</em>) stated that the Medici family monopolized Florentine politics and all things cultural from 1434 to 1494.<sup>5</sup>  Alberti claims that Cosimo Medici was a humanist, had amassed a large fortune, and had successfully managed to outwit his political enemies to become the <em>de facto</em> ruler of Florence.<sup>3</sup> Under his rule, Medici took advantage of the open trade routes, throughout much of the world, to bring precious objects to Florence and this enhanced honor and pride within the community. She further stated that the objects he imported  included priceless paintings, rare books, elaborate sculptures, fine tapestries, unusual plants, splendid inlaid marble floor tiles and much more.<sup>3</sup> Alberti clearly prayed that the Medici Palace remain standing as a respectful tribute to the illustrious Medici family and all of the rare treasures they brought to the Florentine citizens.</p>\r\n\r\n\r\n[caption id=\"attachment_1611\" align=\"alignright\" width=\"245\" caption=\"Statue of Cosimo de&#039; Medici - Image found: http://www.flickr.com/photos/19178753@N04/5093773149/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\"><img class=\"size-full wp-image-1611 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\" alt=\"Statue of Cosimo de Medici\" width=\"245\" height=\"194\" /></a>[/caption]\r\n<p align=\"left\">Opponent of the protest, Frank Pazzi, (descendant of Francesco de\' Pazzi) spoke of the political unrest that swirled around the Medici family during the time immediately before and after the construction of the Medici Palazzo. The rising wealth among the merchant class was infringing upon the authority of the Papacy and creating tension within the Church. He spoke of the fact that Medici purposefully chose the unusual design and appearance of the building\'s façade because he had just returned from exile and was conscientious about upsetting the delicate political climate of the time and arousing envy among the citizens of Florence. Pazzi\'s family had been political rivals of the Medici family in the 1400s and he noted that one of his ancestors had been hanged at the Palace.<sup>3</sup> Pazzi viewed the Palace as a place of great heartache, political unrest, and the reminded him of the social manipulation running rampant at the time. He stated that he wished the building \"had been flattened years ago.\"</p>\r\n<p align=\"left\">Since the Medici vs. Pazzi family rivalry ended with the Medici\'s prevailing, the construction of the Medici Palace represented a celebration or re-birth of sorts, and therefor, the building was in a brand-new style.<sup>3</sup>  According to the Curator of the present-day Medici Museum, the Medici Palace was the first private residence in Florence to have an all-stone exterior, elements such as moldings, round-headed arches, elegant wedge-shaped stones in the arches, (called \"voussoirs\") and the prominent display of the family coat-of-arms.<sup>2  </sup>The Curator further explained that although there were some characteristics of this building that were classically Roman in nature, the predominant reason to preserve this structure was that it was the first time a residence included a gracious nod to civic harmony and lower-class inclusiveness among the wealthy. For example, he stated that Medici placed stone benches, wrought-iron hitching rings for horses, and torch holders on the exterior as a means of welcoming visitors.</p>\r\n<p align=\"left\">Perhaps the welcoming ambience of the Palace was the seed of change and now, present day architects use it in their designs. The Medici were the first to incorporate these community-related elements in to their design and nowadays nearly every building in existence has some sort of bench, railing, fountain, garden, or welcoming landscape. Saying that a building is \"inviting\" is considered a great accomplishment among commercial architects today. Is it possible that the Medici were the first example of this community-minded trend? If so, this fact alone may be reason enough to preserve the building.</p>\r\n\r\n\r\n[caption id=\"attachment_1614\" align=\"alignleft\" width=\"230\" caption=\"Alterpiece in the Chapel of the Medici Palazzo ~ Image found: http://hoocher.com/Agnolo_Bronzino/Agnolo_Bronzino.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\"><img class=\"size-full wp-image-1614\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\" alt=\"Alterpiece in the chapel of The Medici Palazzo\" width=\"230\" height=\"320\" /></a>[/caption]\r\n<p align=\"left\">When interviewed, present-day Florentine Architect, Phillip Brunelleschi, (descendant of architect, Filippo Brunelleschi) noted that at the time Medici Palazzo was constructed, building façades had a distinct asymmetry to the placement of the center courtyard and the doors. This created a lack of alignment between the doors and the upper windows.<sup>2</sup> He went on to speak of the misalignment of the doors and upper-story windows of the Medici Palazzo. Despite this similarity to buildings of the day, it was Brunelleschi\'s opinion that the center courtyard of Medici Palazzo is designed to \"evoke a cloister-like sacred space\"<sup>2</sup> and this tranquil element was non-existent in other palaces of that time. The Medici incorporated their own chapel within the walls of the Palace. What did having their own church say about their connection to God? Most people in Florence had to walk to church. The Medici could have simply walked into their chapel and hired their own priest. Their social and religious stature must have irritated the Church and that would have further inflamed their political standing in town.</p>\r\n<p align=\"left\">Protest organizer, Loren Vecchio, (descendant of Cosimo Medici) advocates the preservation of the building due to the historic accomplishments of the Medici family in relation to education. Vecchio stressed that under the patronage of the Medici family, the Platonic Academy in Florence was founded in 1462. In 1480, The Medici opened the Garden of Lorenzo de’ Medici. Vecchio noted that the library of St. Lorenzo (Bibliotheca Laurenziana) made</p>\r\n\r\n\r\n[caption id=\"attachment_1616\" align=\"alignright\" width=\"190\" caption=\"Laurentian Library Foyer     Image found: http://www.museumsinflorence.com/musei/Laurentian_Library.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\"><img class=\"size-full wp-image-1616\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\" alt=\"Laurentian Library inside The Medici Palazzo\" width=\"190\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">available to the public the immense Medici collection of books and manuscripts, and that this one act proved that the Medici\'s had devoted their lives to the colossal undertaking of educating and promoting the appreciation of the arts for generations to come.<sup>4</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1615\" align=\"alignleft\" width=\"194\" caption=\"Medici Palazzo Ceremonial Hall  Image found: http://www.museumsinflorence.com/musei/medici_riccardi_palace.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\"><img class=\"size-full wp-image-1615\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\" alt=\"Medici Palazzo Ceremonial Hall\" width=\"194\" height=\"259\" /></a>[/caption]\r\n<p align=\"left\">One of the protesters, Marisa Ficino, (descendent of Marsilio Ficino), mentioned that one of her ancestors had been hired by Cosimo to translate the works of Plato into Latin and that Medici was a huge patron of the arts and literature. She commented that, according to family stories, the Medici were the first family to use their personal residences to display vast art and cultural collections.<sup>4</sup> Ficino indicated that the practice of inviting guests to visit the Palace was politically innovative at the time because guests were only shown rooms that equaled their favor with the family. Viewing the enormous collection of rare and priceless artifacts became an inducement that led guests to do the bidding of the family. Certain precious pieces were only shown to those members of society that, according to the Medici family, were worthy.<sup>4</sup> At the time, this custom created envy among some circles while delighting others. Could it be that the same practice still exists, in some form, in our society today?</p>\r\n<p align=\"left\">Today, the Palace holds the offices of the Provincial Governor, the Florentine Provincial Authority, the Istituto Storico della Resistenza and the Biblioteca Moreniana. Upon researching this article, the author found almost three million listings for the Medici Palazzo that were academic in nature or bespoke of its architectural prestige and dominance in the civil architecture movement of the Renaissance. In the humble opinion of this author, it appears that this extraordinary work of architecture is worth preserving and hopefully the Florence City Council will realize the multi-layered historical importance and, keep the building in order to give the protestors what they want.</p>\r\n<p align=\"left\"></p>\r\n\r\n<h2></h2>\r\n<h2><em><span style=\"color: #605f00\">Works Cited List:</span></em></h2>\r\n<p align=\"left\">1. The Medici Palazzo - The Chronology. http://www.palazzo-medici.it/eng/sez_storia/medici.htm Website accessed August 26, 2011.</p>\r\n<p align=\"left\">2. Partridge, Loren W.<span style=\"text-decoration: underline\"> Art of Renaissance Florence, 1400-1600 </span>. Imprint Berkeley : University of California Press, c2009.</p>\r\n<p align=\"left\">3. Martinez, Lauro. <span style=\"text-decoration: underline\">April blood : Florence and the plot against the Medici.</span> Imprint Oxford ; New York : Oxford University Press, 2003.</p>\r\n<p align=\"left\">4. Neher, Gabriele. <a title=\"Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace.\" href=\"http://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/viewarticle?data=dGJyMPPp44rp2%2fdV0%2bnjisfk5Ie41%2fOL8t%2fsRuvX54as2%2baH8eq%2bUK2prkewpq9JnqeuUrGsuEy1lr9lpOrweezp33vy3%2b2G59q7RbCmsEyxq7BJsKqkhN%2fk5VXj5KR84LPfUeac8nnls79mpNfsVbCvsVCxrrBIpNztiuvX8lXk6%2bqE8tv2jAAA&amp;hid=5\">Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace. </a><em>Art Book</em>, Feb2008, Vol. 15 Issue 1, p9-10, 2p;</p>\r\n<p align=\"left\">5. Matthews, T., DeWitt Platt, F., Noble, Thomas F.X., <span style=\"text-decoration: underline\">The Western Humanities</span>, McGraw-Hill, New York, 2011, Seventh Edition, Volume II, p307-308; p312;</p>\r\n<p align=\"left\">6.Equestrian statue of Cosimo Medici. Website:  http://www.flickr.com/photos/19178753@N04/5093773149/. Accessed September 8, 2011.</p>\r\n<p align=\"left\">7. Medici-Riccardi Palace courtyard, Florence. Italy. Website: http://www.goingthroughitaly.com/500/medici-riccardi-palace/. Accessed September 5, 2011.</p>\r\n<p align=\"left\">8. Laurentian Library. The Museums of Florence. Website: http://www.museumsinflorence.com/musei/Laurentian_Library.html. Accessed September 7, 2011.</p>\r\n<p align=\"left\">9.  Mediateca di Palazzo Medici Riccardi. <a href=\"http://www.provincia.fi.it/\">Provincia di Firenze</a>. Palazzo Medici-Riccardi Today.\r\nWebsite: http://www.palazzo-medici.it/mediateca/en/cronologia.php#3. Accessed September 6, 2011.</p>\r\n<p align=\"left\">10. Comune di Perugia. Palazzo dei Priori. Website: http://www.comune.perugia.it. Accessed: September 16, 2011.</p>','Protest at the Palazzo','','inherit','open','open','','1593-revision-20','','','2011-09-20 15:59:28','2011-09-20 21:59:28','',1593,'http://jeanatacc.com/2011/?p=1629',0,'revision','',0),(1630,41,'2011-09-20 15:59:32','2011-09-20 21:59:32','<h3><span style=\"color: #605f00\">Citizens revolt against plans to demolish the embodiment of Renaissance Civil Architecture.</span></h3>\r\n<p align=\"left\">By Jill Brockmann<strong>,</strong> ONN Contributor, Italy, Florence -- (ONN Bureau)</p>\r\n<p align=\"left\">September 19, 2011 12:05 p.m. EDT</p>\r\n\r\n\r\n[caption id=\"attachment_1604\" align=\"alignleft\" width=\"290\" caption=\"The Medici Palazzo - Image found: http://otherworldmystery.com/tag/rosicrucianism\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\"><img class=\"size-full wp-image-1604\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\" alt=\"The Medici Palazzo\" width=\"290\" height=\"117\" /></a>[/caption]\r\n<p align=\"left\">Riots broke out in Tuscany\'s capital today, as the polizia tried to hold back protesters in front of the Palazzo Medici Riccardi, the epitome and gold standard of Renaissance Civil Architecture. Hundreds of protesters congregated in front of the strong, yet grim, exterior of the cube-shaped building that was once the most persuasive symbol of the political and cultural authority of the Medici banking family in Florence.<sup>2 </sup> Protesters believe that the building should be preserved because of its long history of provoking ardent political discourse, its owners promoted the preservation of rare art and they shared their priceless pieces in an effort to enhance the community\'s love of the arts. The City Council is attempting to exert their power <!--more-->of emminent domain and destroy the building, replacing it with a high-rise apartment complex that would include tax-generating commercial space on the first floor. The building was built by the Italian architect and sculptor, Michelozzo di Bartolomeo Michelozzi (1396–1472) and was commissioned by the head of the Medici banking family, Cosimo de\' Medici, between the years of 1445-1460. Today, the building is known as the Palazzo Medici Riccardi, after Gabbriello Riccardi purchased it and expanded its footprint in 1659.<sup>1</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1609\" align=\"alignright\" width=\"198\" caption=\"Courtyard at the Medici Palazzo  Image found: http://www.goingthroughitaly.com/500/medici-riccardi-palace/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\"><img class=\"size-full wp-image-1609\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\" alt=\"Courtyard at the Medici Palazzo\" width=\"198\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">Florentine citizens are protesting the demolition of the building, which they consider the foremost example of the classic theory of magnificence, touted by Aristotle in his famed literary work, <em>Nicomachean Ethics</em>. Aristotle\'s theory held that \"men of means had a moral duty to live in magnificent palaces for the benefit of themselves, their family and society.\"<sup>2 </sup>Florentinians of today agree with this theory and see the building as an ideal model of political order, civic harmony, and pride.<sup>1</sup> At one time, the Medici Palazzo (palace) was said to be \"one of the noblest specimens of Italian fifteenth-century architecture, in which the great taste and skill of the architect has combined with the delicate lightness of earlier Italian Gothic style and with the massive stateliness of the classical style.\" <sup>2</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1606\" align=\"alignleft\" width=\"482\" caption=\"                         Example of biforal (left) and Gothic triforal (right) windows                                 Images found: http://www.florence-gallery.com/monuments/  and http://santatatiana.wordpress.com/2011/07/06/the-magnificent-palace-of-priors-in-perugia\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\"><img class=\"size-full wp-image-1606 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\" alt=\"Medici Palazzo (left) and Prior\'s Palace (right) window examples \" width=\"482\" height=\"151\" /></a>[/caption]\r\n<p align=\"left\"> When compared to the Prior\'s Palace, in Perugia, the Medici Palace offers many considerations of similarity and contrast.<sup> 2</sup> The Prior\'s Palace was constructed during the same time period and held fast to the custom of resting double-arch (biforal) windows on classic cornices, which echoed ecclesiastical architecture.<sup>2</sup></p>\r\n<p align=\"left\">Medici Palazzo is designed with double-arch windows on the second and third floors. However, the rounded-arches of the windows in the Medici Palazzo deviate from the Prior\'s Palace windows in that they do not have the classic Gothic point at the top.<sup>2</sup> This rounded-style arch was first seen in a residence when Michelozzo designed the Medici Palazzo to look more secular.<sup>2</sup></p>\r\n<p align=\"left\">An additional architectural differentiation from buildings of its time, including the Prior\'s Palace, was the optical illusion created when the building is viewed from street level.<sup>2</sup> The stone surfaces from bottom-to-top change in texture from rough to smooth, and the stories are scaled from taller on the bottom level to shorter on the upper levels.<sup>2</sup> This transition of surfaces and story height creates the illusion that the structure looms even taller than it actually is. The cornice along the top of the building, projecting out six feet past the façade, serves as a type of crown for the building and its ornate moldings, coffers, rosettes and flutes further speak to the Medici\'s preoccupation with social and political status.<sup>2,4</sup></p>\r\n<p align=\"left\">Spokesperson for the uprising, Leona Battista Alberti, (descendent of author Leon Battista Alberti, who penned <em>On the Art of Building in Ten Books</em>) stated that the Medici family monopolized Florentine politics and all things cultural from 1434 to 1494.<sup>5</sup>  Alberti claims that Cosimo Medici was a humanist, had amassed a large fortune, and had successfully managed to outwit his political enemies to become the <em>de facto</em> ruler of Florence.<sup>3</sup> Under his rule, Medici took advantage of the open trade routes, throughout much of the world, to bring precious objects to Florence and this enhanced honor and pride within the community. She further stated that the objects he imported  included priceless paintings, rare books, elaborate sculptures, fine tapestries, unusual plants, splendid inlaid marble floor tiles and much more.<sup>3</sup> Alberti clearly prayed that the Medici Palace remain standing as a respectful tribute to the illustrious Medici family and all of the rare treasures they brought to the Florentine citizens.</p>\r\n\r\n\r\n[caption id=\"attachment_1611\" align=\"alignright\" width=\"245\" caption=\"Statue of Cosimo de&#039; Medici - Image found: http://www.flickr.com/photos/19178753@N04/5093773149/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\"><img class=\"size-full wp-image-1611 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\" alt=\"Statue of Cosimo de Medici\" width=\"245\" height=\"194\" /></a>[/caption]\r\n<p align=\"left\">Opponent of the protest, Frank Pazzi, (descendant of Francesco de\' Pazzi) spoke of the political unrest that swirled around the Medici family during the time immediately before and after the construction of the Medici Palazzo. The rising wealth among the merchant class was infringing upon the authority of the Papacy and creating tension within the Church. He spoke of the fact that Medici purposefully chose the unusual design and appearance of the building\'s façade because he had just returned from exile and was conscientious about upsetting the delicate political climate of the time and arousing envy among the citizens of Florence. Pazzi\'s family had been political rivals of the Medici family in the 1400s and he noted that one of his ancestors had been hanged at the Palace.<sup>3</sup> Pazzi viewed the Palace as a place of great heartache, political unrest, and the reminded him of the social manipulation running rampant at the time. He stated that he wished the building \"had been flattened years ago.\"</p>\r\n<p align=\"left\">Since the Medici vs. Pazzi family rivalry ended with the Medici\'s prevailing, the construction of the Medici Palace represented a celebration or re-birth of sorts, and therefor, the building was in a brand-new style.<sup>3</sup>  According to the Curator of the present-day Medici Museum, the Medici Palace was the first private residence in Florence to have an all-stone exterior, elements such as moldings, round-headed arches, elegant wedge-shaped stones in the arches, (called \"voussoirs\") and the prominent display of the family coat-of-arms.<sup>2  </sup>The Curator further explained that although there were some characteristics of this building that were classically Roman in nature, the predominant reason to preserve this structure was that it was the first time a residence included a gracious nod to civic harmony and lower-class inclusiveness among the wealthy. For example, he stated that Medici placed stone benches, wrought-iron hitching rings for horses, and torch holders on the exterior as a means of welcoming visitors.</p>\r\n<p align=\"left\">Perhaps the welcoming ambience of the Palace was the seed of change and now, present day architects use it in their designs. The Medici were the first to incorporate these community-related elements in to their design and nowadays nearly every building in existence has some sort of bench, railing, fountain, garden, or welcoming landscape. Saying that a building is \"inviting\" is considered a great accomplishment among commercial architects today. Is it possible that the Medici were the first example of this community-minded trend? If so, this fact alone may be reason enough to preserve the building.</p>\r\n\r\n\r\n[caption id=\"attachment_1614\" align=\"alignleft\" width=\"230\" caption=\"Alterpiece in the Chapel of the Medici Palazzo ~ Image found: http://hoocher.com/Agnolo_Bronzino/Agnolo_Bronzino.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\"><img class=\"size-full wp-image-1614\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\" alt=\"Alterpiece in the chapel of The Medici Palazzo\" width=\"230\" height=\"320\" /></a>[/caption]\r\n<p align=\"left\">When interviewed, present-day Florentine Architect, Phillip Brunelleschi, (descendant of architect, Filippo Brunelleschi) noted that at the time Medici Palazzo was constructed, building façades had a distinct asymmetry to the placement of the center courtyard and the doors. This created a lack of alignment between the doors and the upper windows.<sup>2</sup> He went on to speak of the misalignment of the doors and upper-story windows of the Medici Palazzo. Despite this similarity to buildings of the day, it was Brunelleschi\'s opinion that the center courtyard of Medici Palazzo is designed to \"evoke a cloister-like sacred space\"<sup>2</sup> and this tranquil element was non-existent in other palaces of that time. The Medici incorporated their own chapel within the walls of the Palace. What did having their own church say about their connection to God? Most people in Florence had to walk to church. The Medici could have simply walked into their chapel and hired their own priest. Their social and religious stature must have irritated the Church and that would have further inflamed their political standing in town.</p>\r\n<p align=\"left\">Protest organizer, Loren Vecchio, (descendant of Cosimo Medici) advocates the preservation of the building due to the historic accomplishments of the Medici family in relation to education. Vecchio stressed that under the patronage of the Medici family, the Platonic Academy in Florence was founded in 1462. In 1480, The Medici opened the Garden of Lorenzo de’ Medici. Vecchio noted that the library of St. Lorenzo (Bibliotheca Laurenziana) made</p>\r\n\r\n\r\n[caption id=\"attachment_1616\" align=\"alignright\" width=\"190\" caption=\"Laurentian Library Foyer     Image found: http://www.museumsinflorence.com/musei/Laurentian_Library.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\"><img class=\"size-full wp-image-1616\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\" alt=\"Laurentian Library inside The Medici Palazzo\" width=\"190\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">available to the public the immense Medici collection of books and manuscripts, and that this one act proved that the Medici\'s had devoted their lives to the colossal undertaking of educating and promoting the appreciation of the arts for generations to come.<sup>4</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1615\" align=\"alignleft\" width=\"194\" caption=\"Medici Palazzo Ceremonial Hall  Image found: http://www.museumsinflorence.com/musei/medici_riccardi_palace.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\"><img class=\"size-full wp-image-1615\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\" alt=\"Medici Palazzo Ceremonial Hall\" width=\"194\" height=\"259\" /></a>[/caption]\r\n<p align=\"left\">One of the protesters, Marisa Ficino, (descendent of Marsilio Ficino), mentioned that one of her ancestors had been hired by Cosimo to translate the works of Plato into Latin and that Medici was a huge patron of the arts and literature. She commented that, according to family stories, the Medici were the first family to use their personal residences to display vast art and cultural collections.<sup>4</sup> Ficino indicated that the practice of inviting guests to visit the Palace was politically innovative at the time because guests were only shown rooms that equaled their favor with the family. Viewing the enormous collection of rare and priceless artifacts became an inducement that led guests to do the bidding of the family. Certain precious pieces were only shown to those members of society that, according to the Medici family, were worthy.<sup>4</sup> At the time, this custom created envy among some circles while delighting others. Could it be that the same practice still exists, in some form, in our society today?</p>\r\n<p align=\"left\">Today, the Palace holds the offices of the Provincial Governor, the Florentine Provincial Authority, the Istituto Storico della Resistenza and the Biblioteca Moreniana. Upon researching this article, the author found almost three million listings for the Medici Palazzo that were academic in nature or bespoke of its architectural prestige and dominance in the civil architecture movement of the Renaissance. In the humble opinion of this author, it appears that this extraordinary work of architecture is worth preserving and hopefully the Florence City Council will realize the multi-layered historical importance and, keep the building in order to give the protestors what they want.</p>\r\n\r\n<h2></h2>\r\n<h2><em><span style=\"color: #605f00\">Works Cited List:</span></em></h2>\r\n<p align=\"left\">1. The Medici Palazzo - The Chronology. http://www.palazzo-medici.it/eng/sez_storia/medici.htm Website accessed August 26, 2011.</p>\r\n<p align=\"left\">2. Partridge, Loren W.<span style=\"text-decoration: underline\"> Art of Renaissance Florence, 1400-1600 </span>. Imprint Berkeley : University of California Press, c2009.</p>\r\n<p align=\"left\">3. Martinez, Lauro. <span style=\"text-decoration: underline\">April blood : Florence and the plot against the Medici.</span> Imprint Oxford ; New York : Oxford University Press, 2003.</p>\r\n<p align=\"left\">4. Neher, Gabriele. <a title=\"Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace.\" href=\"http://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/viewarticle?data=dGJyMPPp44rp2%2fdV0%2bnjisfk5Ie41%2fOL8t%2fsRuvX54as2%2baH8eq%2bUK2prkewpq9JnqeuUrGsuEy1lr9lpOrweezp33vy3%2b2G59q7RbCmsEyxq7BJsKqkhN%2fk5VXj5KR84LPfUeac8nnls79mpNfsVbCvsVCxrrBIpNztiuvX8lXk6%2bqE8tv2jAAA&amp;hid=5\">Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace. </a><em>Art Book</em>, Feb2008, Vol. 15 Issue 1, p9-10, 2p;</p>\r\n<p align=\"left\">5. Matthews, T., DeWitt Platt, F., Noble, Thomas F.X., <span style=\"text-decoration: underline\">The Western Humanities</span>, McGraw-Hill, New York, 2011, Seventh Edition, Volume II, p307-308; p312;</p>\r\n<p align=\"left\">6.Equestrian statue of Cosimo Medici. Website:  http://www.flickr.com/photos/19178753@N04/5093773149/. Accessed September 8, 2011.</p>\r\n<p align=\"left\">7. Medici-Riccardi Palace courtyard, Florence. Italy. Website: http://www.goingthroughitaly.com/500/medici-riccardi-palace/. Accessed September 5, 2011.</p>\r\n<p align=\"left\">8. Laurentian Library. The Museums of Florence. Website: http://www.museumsinflorence.com/musei/Laurentian_Library.html. Accessed September 7, 2011.</p>\r\n<p align=\"left\">9.  Mediateca di Palazzo Medici Riccardi. <a href=\"http://www.provincia.fi.it/\">Provincia di Firenze</a>. Palazzo Medici-Riccardi Today.\r\nWebsite: http://www.palazzo-medici.it/mediateca/en/cronologia.php#3. Accessed September 6, 2011.</p>\r\n<p align=\"left\">10. Comune di Perugia. Palazzo dei Priori. Website: http://www.comune.perugia.it. Accessed: September 16, 2011.</p>','Protest at the Palazzo','','inherit','open','open','','1593-revision-21','','','2011-09-20 15:59:32','2011-09-20 21:59:32','',1593,'http://jeanatacc.com/2011/?p=1630',0,'revision','',0),(1631,41,'2011-09-20 16:00:10','2011-09-20 22:00:10','<h3><span style=\"color: #605f00\">Citizens revolt against plans to demolish the embodiment of Renaissance Civil Architecture.</span></h3>\r\n<p align=\"left\">By Jill Brockmann<strong>,</strong> ONN Contributor, Italy, Florence -- (ONN Bureau)</p>\r\n<p align=\"left\">September 19, 2011 12:05 p.m. EDT</p>\r\n\r\n\r\n[caption id=\"attachment_1604\" align=\"alignleft\" width=\"290\" caption=\"The Medici Palazzo - Image found: http://otherworldmystery.com/tag/rosicrucianism\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\"><img class=\"size-full wp-image-1604\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\" alt=\"The Medici Palazzo\" width=\"290\" height=\"117\" /></a>[/caption]\r\n<p align=\"left\">Riots broke out in Tuscany\'s capital today, as the polizia tried to hold back protesters in front of the Palazzo Medici Riccardi, the epitome and gold standard of Renaissance Civil Architecture. Hundreds of protesters congregated in front of the strong, yet grim, exterior of the cube-shaped building that was once the most persuasive symbol of the political and cultural authority of the Medici banking family in Florence.<sup>2 </sup> Protesters believe that the building should be preserved because of its long history of provoking ardent political discourse, its owners promoted the preservation of rare art and they shared their priceless pieces in an effort to enhance the community\'s love of the arts. The City Council is attempting to exert their power <!--more-->of emminent domain and destroy the building, replacing it with a high-rise apartment complex that would include tax-generating commercial space on the first floor. The building was built by the Italian architect and sculptor, Michelozzo di Bartolomeo Michelozzi (1396–1472) and was commissioned by the head of the Medici banking family, Cosimo de\' Medici, between the years of 1445-1460. Today, the building is known as the Palazzo Medici Riccardi, after Gabbriello Riccardi purchased it and expanded its footprint in 1659.<sup>1</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1609\" align=\"alignright\" width=\"198\" caption=\"Courtyard at the Medici Palazzo  Image found: http://www.goingthroughitaly.com/500/medici-riccardi-palace/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\"><img class=\"size-full wp-image-1609\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\" alt=\"Courtyard at the Medici Palazzo\" width=\"198\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">Florentine citizens are protesting the demolition of the building, which they consider the foremost example of the classic theory of magnificence, touted by Aristotle in his famed literary work, <em>Nicomachean Ethics</em>. Aristotle\'s theory held that \"men of means had a moral duty to live in magnificent palaces for the benefit of themselves, their family and society.\"<sup>2 </sup>Florentinians of today agree with this theory and see the building as an ideal model of political order, civic harmony, and pride.<sup>1</sup> At one time, the Medici Palazzo (palace) was said to be \"one of the noblest specimens of Italian fifteenth-century architecture, in which the great taste and skill of the architect has combined with the delicate lightness of earlier Italian Gothic style and with the massive stateliness of the classical style.\" <sup>2</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1606\" align=\"alignleft\" width=\"482\" caption=\"                         Example of biforal (left) and Gothic triforal (right) windows                                 Images found: http://www.florence-gallery.com/monuments/  and http://santatatiana.wordpress.com/2011/07/06/the-magnificent-palace-of-priors-in-perugia\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\"><img class=\"size-full wp-image-1606 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\" alt=\"Medici Palazzo (left) and Prior\'s Palace (right) window examples \" width=\"482\" height=\"151\" /></a>[/caption]\r\n<p align=\"left\"> When compared to the Prior\'s Palace, in Perugia, the Medici Palace offers many considerations of similarity and contrast.<sup> 2</sup> The Prior\'s Palace was constructed during the same time period and held fast to the custom of resting double-arch (biforal) windows on classic cornices, which echoed ecclesiastical architecture.<sup>2</sup></p>\r\n<p align=\"left\">Medici Palazzo is designed with double-arch windows on the second and third floors. However, the rounded-arches of the windows in the Medici Palazzo deviate from the Prior\'s Palace windows in that they do not have the classic Gothic point at the top.<sup>2</sup> This rounded-style arch was first seen in a residence when Michelozzo designed the Medici Palazzo to look more secular.<sup>2</sup></p>\r\n<p align=\"left\">An additional architectural differentiation from buildings of its time, including the Prior\'s Palace, was the optical illusion created when the building is viewed from street level.<sup>2</sup> The stone surfaces from bottom-to-top change in texture from rough to smooth, and the stories are scaled from taller on the bottom level to shorter on the upper levels.<sup>2</sup> This transition of surfaces and story height creates the illusion that the structure looms even taller than it actually is. The cornice along the top of the building, projecting out six feet past the façade, serves as a type of crown for the building and its ornate moldings, coffers, rosettes and flutes further speak to the Medici\'s preoccupation with social and political status.<sup>2,4</sup></p>\r\n<p align=\"left\">Spokesperson for the uprising, Leona Battista Alberti, (descendent of author Leon Battista Alberti, who penned <em>On the Art of Building in Ten Books</em>) stated that the Medici family monopolized Florentine politics and all things cultural from 1434 to 1494.<sup>5</sup>  Alberti claims that Cosimo Medici was a humanist, had amassed a large fortune, and had successfully managed to outwit his political enemies to become the <em>de facto</em> ruler of Florence.<sup>3</sup> Under his rule, Medici took advantage of the open trade routes, throughout much of the world, to bring precious objects to Florence and this enhanced honor and pride within the community. She further stated that the objects he imported  included priceless paintings, rare books, elaborate sculptures, fine tapestries, unusual plants, splendid inlaid marble floor tiles and much more.<sup>3</sup> Alberti clearly prayed that the Medici Palace remain standing as a respectful tribute to the illustrious Medici family and all of the rare treasures they brought to the Florentine citizens.</p>\r\n\r\n\r\n[caption id=\"attachment_1611\" align=\"alignright\" width=\"245\" caption=\"Statue of Cosimo de&#039; Medici - Image found: http://www.flickr.com/photos/19178753@N04/5093773149/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\"><img class=\"size-full wp-image-1611 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\" alt=\"Statue of Cosimo de Medici\" width=\"245\" height=\"194\" /></a>[/caption]\r\n<p align=\"left\">Opponent of the protest, Frank Pazzi, (descendant of Francesco de\' Pazzi) spoke of the political unrest that swirled around the Medici family during the time immediately before and after the construction of the Medici Palazzo. The rising wealth among the merchant class was infringing upon the authority of the Papacy and creating tension within the Church. He spoke of the fact that Medici purposefully chose the unusual design and appearance of the building\'s façade because he had just returned from exile and was conscientious about upsetting the delicate political climate of the time and arousing envy among the citizens of Florence. Pazzi\'s family had been political rivals of the Medici family in the 1400s and he noted that one of his ancestors had been hanged at the Palace.<sup>3</sup> Pazzi viewed the Palace as a place of great heartache, political unrest, and the reminded him of the social manipulation running rampant at the time. He stated that he wished the building \"had been flattened years ago.\"</p>\r\n<p align=\"left\">Since the Medici vs. Pazzi family rivalry ended with the Medici\'s prevailing, the construction of the Medici Palace represented a celebration or re-birth of sorts, and therefor, the building was in a brand-new style.<sup>3</sup>  According to the Curator of the present-day Medici Museum, the Medici Palace was the first private residence in Florence to have an all-stone exterior, elements such as moldings, round-headed arches, elegant wedge-shaped stones in the arches, (called \"voussoirs\") and the prominent display of the family coat-of-arms.<sup>2  </sup>The Curator further explained that although there were some characteristics of this building that were classically Roman in nature, the predominant reason to preserve this structure was that it was the first time a residence included a gracious nod to civic harmony and lower-class inclusiveness among the wealthy. For example, he stated that Medici placed stone benches, wrought-iron hitching rings for horses, and torch holders on the exterior as a means of welcoming visitors.</p>\r\n<p align=\"left\">Perhaps the welcoming ambience of the Palace was the seed of change and now, present day architects use it in their designs. The Medici were the first to incorporate these community-related elements in to their design and nowadays nearly every building in existence has some sort of bench, railing, fountain, garden, or welcoming landscape. Saying that a building is \"inviting\" is considered a great accomplishment among commercial architects today. Is it possible that the Medici were the first example of this community-minded trend? If so, this fact alone may be reason enough to preserve the building.</p>\r\n\r\n\r\n[caption id=\"attachment_1614\" align=\"alignleft\" width=\"230\" caption=\"Alterpiece in the Chapel of the Medici Palazzo ~ Image found: http://hoocher.com/Agnolo_Bronzino/Agnolo_Bronzino.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\"><img class=\"size-full wp-image-1614\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\" alt=\"Alterpiece in the chapel of The Medici Palazzo\" width=\"230\" height=\"320\" /></a>[/caption]\r\n<p align=\"left\">When interviewed, present-day Florentine Architect, Phillip Brunelleschi, (descendant of architect, Filippo Brunelleschi) noted that at the time Medici Palazzo was constructed, building façades had a distinct asymmetry to the placement of the center courtyard and the doors. This created a lack of alignment between the doors and the upper windows.<sup>2</sup> He went on to speak of the misalignment of the doors and upper-story windows of the Medici Palazzo. Despite this similarity to buildings of the day, it was Brunelleschi\'s opinion that the center courtyard of Medici Palazzo is designed to \"evoke a cloister-like sacred space\"<sup>2</sup> and this tranquil element was non-existent in other palaces of that time. The Medici incorporated their own chapel within the walls of the Palace. What did having their own church say about their connection to God? Most people in Florence had to walk to church. The Medici could have simply walked into their chapel and hired their own priest. Their social and religious stature must have irritated the Church and that would have further inflamed their political standing in town.</p>\r\n<p align=\"left\">Protest organizer, Loren Vecchio, (descendant of Cosimo Medici) advocates the preservation of the building due to the historic accomplishments of the Medici family in relation to education. Vecchio stressed that under the patronage of the Medici family, the Platonic Academy in Florence was founded in 1462. In 1480, The Medici opened the Garden of Lorenzo de’ Medici. Vecchio noted that the library of St. Lorenzo (Bibliotheca Laurenziana) made</p>\r\n\r\n\r\n[caption id=\"attachment_1616\" align=\"alignright\" width=\"190\" caption=\"Laurentian Library Foyer     Image found: http://www.museumsinflorence.com/musei/Laurentian_Library.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\"><img class=\"size-full wp-image-1616\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\" alt=\"Laurentian Library inside The Medici Palazzo\" width=\"190\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">available to the public the immense Medici collection of books and manuscripts, and that this one act proved that the Medici\'s had devoted their lives to the colossal undertaking of educating and promoting the appreciation of the arts for generations to come.<sup>4</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1615\" align=\"alignleft\" width=\"194\" caption=\"Medici Palazzo Ceremonial Hall  Image found: http://www.museumsinflorence.com/musei/medici_riccardi_palace.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\"><img class=\"size-full wp-image-1615\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\" alt=\"Medici Palazzo Ceremonial Hall\" width=\"194\" height=\"259\" /></a>[/caption]\r\n<p align=\"left\">One of the protesters, Marisa Ficino, (descendent of Marsilio Ficino), mentioned that one of her ancestors had been hired by Cosimo to translate the works of Plato into Latin and that Medici was a huge patron of the arts and literature. She commented that, according to family stories, the Medici were the first family to use their personal residences to display vast art and cultural collections.<sup>4</sup> Ficino indicated that the practice of inviting guests to visit the Palace was politically innovative at the time because guests were only shown rooms that equaled their favor with the family. Viewing the enormous collection of rare and priceless artifacts became an inducement that led guests to do the bidding of the family. Certain precious pieces were only shown to those members of society that, according to the Medici family, were worthy.<sup>4</sup> At the time, this custom created envy among some circles while delighting others. Could it be that the same practice still exists, in some form, in our society today?</p>\r\n<p align=\"left\">Today, the Palace holds the offices of the Provincial Governor, the Florentine Provincial Authority, the Istituto Storico della Resistenza and the Biblioteca Moreniana. Upon researching this article, the author found almost three million listings for the Medici Palazzo that were academic in nature or bespoke of its architectural prestige and dominance in the civil architecture movement of the Renaissance. In the humble opinion of this author, it appears that this extraordinary work of architecture is worth preserving and hopefully the Florence City Council will realize the multi-layered historical importance and, keep the building in order to give the protestors what they want.</p>\r\n\r\n<h2></h2>\r\n<h2><em><span style=\"color: #605f00\">Works Cited List:</span></em></h2>\r\n<p align=\"left\">1. The Medici Palazzo - The Chronology. http://www.palazzo-medici.it/eng/sez_storia/medici.htm Website accessed August 26, 2011.</p>\r\n<p align=\"left\">2. Partridge, Loren W.<span style=\"text-decoration: underline\"> Art of Renaissance Florence, 1400-1600 </span>. Imprint Berkeley : University of California Press, c2009.</p>\r\n<p align=\"left\">3. Martinez, Lauro. <span style=\"text-decoration: underline\">April blood : Florence and the plot against the Medici.</span> Imprint Oxford ; New York : Oxford University Press, 2003.</p>\r\n<p align=\"left\">4. Neher, Gabriele. <a title=\"Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace.\" href=\"http://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/viewarticle?data=dGJyMPPp44rp2%2fdV0%2bnjisfk5Ie41%2fOL8t%2fsRuvX54as2%2baH8eq%2bUK2prkewpq9JnqeuUrGsuEy1lr9lpOrweezp33vy3%2b2G59q7RbCmsEyxq7BJsKqkhN%2fk5VXj5KR84LPfUeac8nnls79mpNfsVbCvsVCxrrBIpNztiuvX8lXk6%2bqE8tv2jAAA&amp;hid=5\">Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace. </a><em>Art Book</em>, Feb2008, Vol. 15 Issue 1, p9-10, 2p;</p>\r\n<p align=\"left\">5. Matthews, T., DeWitt Platt, F., Noble, Thomas F.X., <span style=\"text-decoration: underline\">The Western Humanities</span>, McGraw-Hill, New York, 2011, Seventh Edition, Volume II, p307-308; p312;</p>\r\n<p align=\"left\">6.Equestrian statue of Cosimo Medici. Website:  http://www.flickr.com/photos/19178753@N04/5093773149/. Accessed September 8, 2011.</p>\r\n<p align=\"left\">7. Medici-Riccardi Palace courtyard, Florence. Italy. Website: http://www.goingthroughitaly.com/500/medici-riccardi-palace/. Accessed September 5, 2011.</p>\r\n<p align=\"left\">8. Laurentian Library. The Museums of Florence. Website: http://www.museumsinflorence.com/musei/Laurentian_Library.html. Accessed September 7, 2011.</p>\r\n<p align=\"left\">9.  Mediateca di Palazzo Medici Riccardi. <a href=\"http://www.provincia.fi.it/\">Provincia di Firenze</a>. Palazzo Medici-Riccardi Today.\r\nWebsite: http://www.palazzo-medici.it/mediateca/en/cronologia.php#3. Accessed September 6, 2011.</p>\r\n<p align=\"left\">10. Comune di Perugia. Palazzo dei Priori. Website: http://www.comune.perugia.it. Accessed: September 16, 2011.</p>','Protest at the Palazzo','','inherit','open','open','','1593-revision-22','','','2011-09-20 16:00:10','2011-09-20 22:00:10','',1593,'http://jeanatacc.com/2011/?p=1631',0,'revision','',0),(1632,41,'2011-09-20 16:01:30','2011-09-20 22:01:30','<h3><span style=\"color: #605f00\">Citizens revolt against plans to demolish the embodiment of Renaissance Civil Architecture.</span></h3>\r\n<p align=\"left\">By Jill Brockmann<strong>,</strong> ONN Contributor, Italy, Florence -- (ONN Bureau)</p>\r\n<p align=\"left\">September 19, 2011 12:05 p.m. EDT</p>\r\n\r\n\r\n[caption id=\"attachment_1604\" align=\"alignleft\" width=\"290\" caption=\"The Medici Palazzo - Image found: http://otherworldmystery.com/tag/rosicrucianism\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\"><img class=\"size-full wp-image-1604\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\" alt=\"The Medici Palazzo\" width=\"290\" height=\"117\" /></a>[/caption]\r\n<p align=\"left\">Riots broke out in Tuscany\'s capital today, as the polizia tried to hold back protesters in front of the Palazzo Medici Riccardi, the epitome and gold standard of Renaissance Civil Architecture. Hundreds of protesters congregated in front of the strong, yet grim, exterior of the cube-shaped building that was once the most persuasive symbol of the political and cultural authority of the Medici banking family in Florence.<sup>2 </sup> Protesters believe that the building should be preserved because of its long history of provoking ardent political discourse, its owners promoted the preservation of rare art and they shared their priceless pieces in an effort to enhance the community\'s love of the arts. The City Council is attempting to exert their power <!--more-->of emminent domain and destroy the building, replacing it with a high-rise apartment complex that would include tax-generating commercial space on the first floor. The building was built by the Italian architect and sculptor, Michelozzo di Bartolomeo Michelozzi (1396–1472) and was commissioned by the head of the Medici banking family, Cosimo de\' Medici, between the years of 1445-1460. Today, the building is known as the Palazzo Medici Riccardi, after Gabbriello Riccardi purchased it and expanded its footprint in 1659.<sup>1</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1609\" align=\"alignright\" width=\"198\" caption=\"Courtyard at the Medici Palazzo  Image found: http://www.goingthroughitaly.com/500/medici-riccardi-palace/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\"><img class=\"size-full wp-image-1609\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\" alt=\"Courtyard at the Medici Palazzo\" width=\"198\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">Florentine citizens are protesting the demolition of the building, which they consider the foremost example of the classic theory of magnificence, touted by Aristotle in his famed literary work, <em>Nicomachean Ethics</em>. Aristotle\'s theory held that \"men of means had a moral duty to live in magnificent palaces for the benefit of themselves, their family and society.\"<sup>2 </sup>Florentinians of today agree with this theory and see the building as an ideal model of political order, civic harmony, and pride.<sup>1</sup> At one time, the Medici Palazzo (palace) was said to be \"one of the noblest specimens of Italian fifteenth-century architecture, in which the great taste and skill of the architect has combined with the delicate lightness of earlier Italian Gothic style and with the massive stateliness of the classical style.\" <sup>2</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1606\" align=\"alignleft\" width=\"482\" caption=\"                         Example of biforal (left) and Gothic triforal (right) windows                                 Images found: http://www.florence-gallery.com/monuments/  and http://santatatiana.wordpress.com/2011/07/06/the-magnificent-palace-of-priors-in-perugia\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\"><img class=\"size-full wp-image-1606 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\" alt=\"Medici Palazzo (left) and Prior\'s Palace (right) window examples \" width=\"482\" height=\"151\" /></a>[/caption]\r\n<p align=\"left\"> When compared to the Prior\'s Palace, in Perugia, the Medici Palace offers many considerations of similarity and contrast.<sup> 2</sup> The Prior\'s Palace was constructed during the same time period and held fast to the custom of resting double-arch (biforal) windows on classic cornices, which echoed ecclesiastical architecture.<sup>2</sup></p>\r\n<p align=\"left\">Medici Palazzo is designed with double-arch windows on the second and third floors. However, the rounded-arches of the windows in the Medici Palazzo deviate from the Prior\'s Palace windows in that they do not have the classic Gothic point at the top.<sup>2</sup> This rounded-style arch was first seen in a residence when Michelozzo designed the Medici Palazzo to look more secular.<sup>2</sup></p>\r\n<p align=\"left\">An additional architectural differentiation from buildings of its time, including the Prior\'s Palace, was the optical illusion created when the building is viewed from street level.<sup>2</sup> The stone surfaces from bottom-to-top change in texture from rough to smooth, and the stories are scaled from taller on the bottom level to shorter on the upper levels.<sup>2</sup> This transition of surfaces and story height creates the illusion that the structure looms even taller than it actually is. The cornice along the top of the building, projecting out six feet past the façade, serves as a type of crown for the building and its ornate moldings, coffers, rosettes and flutes further speak to the Medici\'s preoccupation with social and political status.<sup>2,4</sup></p>\r\n<p align=\"left\">Spokesperson for the uprising, Leona Battista Alberti, (descendent of author Leon Battista Alberti, who penned <em>On the Art of Building in Ten Books</em>) stated that the Medici family monopolized Florentine politics and all things cultural from 1434 to 1494.<sup>5</sup>  Alberti claims that Cosimo Medici was a humanist, had amassed a large fortune, and had successfully managed to outwit his political enemies to become the <em>de facto</em> ruler of Florence.<sup>3</sup> Under his rule, Medici took advantage of the open trade routes, throughout much of the world, to bring precious objects to Florence and this enhanced honor and pride within the community. She further stated that the objects he imported  included priceless paintings, rare books, elaborate sculptures, fine tapestries, unusual plants, splendid inlaid marble floor tiles and much more.<sup>3</sup> Alberti clearly prayed that the Medici Palace remain standing as a respectful tribute to the illustrious Medici family and all of the rare treasures they brought to the Florentine citizens.</p>\r\n\r\n\r\n[caption id=\"attachment_1611\" align=\"alignright\" width=\"245\" caption=\"Statue of Cosimo de&#039; Medici - Image found: http://www.flickr.com/photos/19178753@N04/5093773149/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\"><img class=\"size-full wp-image-1611 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\" alt=\"Statue of Cosimo de Medici\" width=\"245\" height=\"194\" /></a>[/caption]\r\n<p align=\"left\">Opponent of the protest, Frank Pazzi, (descendant of Francesco de\' Pazzi) spoke of the political unrest that swirled around the Medici family during the time immediately before and after the construction of the Medici Palazzo. The rising wealth among the merchant class was infringing upon the authority of the Papacy and creating tension within the Church. He spoke of the fact that Medici purposefully chose the unusual design and appearance of the building\'s façade because he had just returned from exile and was conscientious about upsetting the delicate political climate of the time and arousing envy among the citizens of Florence. Pazzi\'s family had been political rivals of the Medici family in the 1400s and he noted that one of his ancestors had been hanged at the Palace.<sup>3</sup> Pazzi viewed the Palace as a place of great heartache, political unrest, and the reminded him of the social manipulation running rampant at the time. He stated that he wished the building \"had been flattened years ago.\"</p>\r\n<p align=\"left\">Since the Medici vs. Pazzi family rivalry ended with the Medici\'s prevailing, the construction of the Medici Palace represented a celebration or re-birth of sorts, and therefor, the building was in a brand-new style.<sup>3</sup>  According to the Curator of the present-day Medici Museum, the Medici Palace was the first private residence in Florence to have an all-stone exterior, elements such as moldings, round-headed arches, elegant wedge-shaped stones in the arches, (called \"voussoirs\") and the prominent display of the family coat-of-arms.<sup>2  </sup>The Curator further explained that although there were some characteristics of this building that were classically Roman in nature, the predominant reason to preserve this structure was that it was the first time a residence included a gracious nod to civic harmony and lower-class inclusiveness among the wealthy. For example, he stated that Medici placed stone benches, wrought-iron hitching rings for horses, and torch holders on the exterior as a means of welcoming visitors.</p>\r\n<p align=\"left\">Perhaps the welcoming ambience of the Palace was the seed of change and now, present day architects use it in their designs. The Medici were the first to incorporate these community-related elements in to their design and nowadays nearly every building in existence has some sort of bench, railing, fountain, garden, or welcoming landscape. Saying that a building is \"inviting\" is considered a great accomplishment among commercial architects today. Is it possible that the Medici were the first example of this community-minded trend? If so, this fact alone may be reason enough to preserve the building.</p>\r\n\r\n\r\n[caption id=\"attachment_1614\" align=\"alignleft\" width=\"230\" caption=\"Alterpiece in the Chapel of the Medici Palazzo ~ Image found: http://hoocher.com/Agnolo_Bronzino/Agnolo_Bronzino.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\"><img class=\"size-full wp-image-1614\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\" alt=\"Alterpiece in the chapel of The Medici Palazzo\" width=\"230\" height=\"320\" /></a>[/caption]\r\n<p align=\"left\">When interviewed, present-day Florentine Architect, Phillip Brunelleschi, (descendant of architect, Filippo Brunelleschi) noted that at the time Medici Palazzo was constructed, building façades had a distinct asymmetry to the placement of the center courtyard and the doors. This created a lack of alignment between the doors and the upper windows.<sup>2</sup> He went on to speak of the misalignment of the doors and upper-story windows of the Medici Palazzo. Despite this similarity to buildings of the day, it was Brunelleschi\'s opinion that the center courtyard of Medici Palazzo is designed to \"evoke a cloister-like sacred space\"<sup>2</sup> and this tranquil element was non-existent in other palaces of that time. The Medici incorporated their own chapel within the walls of the Palace. What did having their own church say about their connection to God? Most people in Florence had to walk to church. The Medici could have simply walked into their chapel and hired their own priest. Their social and religious stature must have irritated the Church and that would have further inflamed their political standing in town.</p>\r\n<p align=\"left\">Protest organizer, Loren Vecchio, (descendant of Cosimo Medici) advocates the preservation of the building due to the historic accomplishments of the Medici family in relation to education. Vecchio stressed that under the patronage of the Medici family, the Platonic Academy in Florence was founded in 1462. In 1480, The Medici opened the Garden of Lorenzo de’ Medici. Vecchio noted that the library of St. Lorenzo (Bibliotheca Laurenziana) made</p>\r\n\r\n\r\n[caption id=\"attachment_1616\" align=\"alignright\" width=\"190\" caption=\"Laurentian Library Foyer     Image found: http://www.museumsinflorence.com/musei/Laurentian_Library.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\"><img class=\"size-full wp-image-1616\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\" alt=\"Laurentian Library inside The Medici Palazzo\" width=\"190\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">available to the public the immense Medici collection of books and manuscripts, and that this one act proved that the Medici\'s had devoted their lives to the colossal undertaking of educating and promoting the appreciation of the arts for generations to come.<sup>4</sup></p>\r\n<p align=\"left\">One of the protesters, Marisa Ficino, (descendent of Marsilio Ficino), mentioned that one of her ancestors had been hired by Cosimo to translate the works of Plato into Latin and that Medici was a huge patron of the arts and literature. She commented that, according to family stories, the Medici were the first family to use their personal residences to display vast art and cultural collections.<sup>4</sup> Ficino indicated that the practice of inviting guests to visit the Palace was politically innovative at the time because guests were only shown rooms that equaled their favor with the family. Viewing the enormous collection of rare and priceless artifacts became an inducement that led guests to do the bidding of the family. Certain precious pieces were only shown to those members of society that, according to the Medici family, were worthy.<sup>4</sup> At the time, this custom created envy among some circles while delighting others. Could it be that the same practice still exists, in some form, in our society today?</p>\r\n\r\n\r\n[caption id=\"attachment_1615\" align=\"alignleft\" width=\"194\" caption=\"Medici Palazzo Ceremonial Hall  Image found: http://www.museumsinflorence.com/musei/medici_riccardi_palace.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\"><img class=\"size-full wp-image-1615\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\" alt=\"Medici Palazzo Ceremonial Hall\" width=\"194\" height=\"259\" /></a>[/caption]\r\n<p align=\"left\">Today, the Palace holds the offices of the Provincial Governor, the Florentine Provincial Authority, the Istituto Storico dellaRes istenza and the Biblioteca Moreniana. Upon researching this article, the author found almost three million listings for the Medici Palazzo that were academic in n</p>\r\n<p align=\"left\">ature or bespoke of its architectural prestige and dominance in the civil architecture movement of the Renaissance. In the humble opinion of this author, it appears that this extraordinary work of architecture is worth preserving and hopefully the Florence City Council will realize the multi-layered historical importance and, keep the building in order to give the protestors what they want.</p>\r\n\r\n<h2></h2>\r\n<h2><em><span style=\"color: #605f00\">Works Cited List:</span></em></h2>\r\n<p align=\"left\">1. The Medici Palazzo - The Chronology. http://www.palazzo-medici.it/eng/sez_storia/medici.htm Website accessed August 26, 2011.</p>\r\n<p align=\"left\">2. Partridge, Loren W.<span style=\"text-decoration: underline\"> Art of Renaissance Florence, 1400-1600 </span>. Imprint Berkeley : University of California Press, c2009.</p>\r\n<p align=\"left\">3. Martinez, Lauro. <span style=\"text-decoration: underline\">April blood : Florence and the plot against the Medici.</span> Imprint Oxford ; New York : Oxford University Press, 2003.</p>\r\n<p align=\"left\">4. Neher, Gabriele. <a title=\"Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace.\" href=\"http://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/viewarticle?data=dGJyMPPp44rp2%2fdV0%2bnjisfk5Ie41%2fOL8t%2fsRuvX54as2%2baH8eq%2bUK2prkewpq9JnqeuUrGsuEy1lr9lpOrweezp33vy3%2b2G59q7RbCmsEyxq7BJsKqkhN%2fk5VXj5KR84LPfUeac8nnls79mpNfsVbCvsVCxrrBIpNztiuvX8lXk6%2bqE8tv2jAAA&amp;hid=5\">Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace. </a><em>Art Book</em>, Feb2008, Vol. 15 Issue 1, p9-10, 2p;</p>\r\n<p align=\"left\">5. Matthews, T., DeWitt Platt, F., Noble, Thomas F.X., <span style=\"text-decoration: underline\">The Western Humanities</span>, McGraw-Hill, New York, 2011, Seventh Edition, Volume II, p307-308; p312;</p>\r\n<p align=\"left\">6.Equestrian statue of Cosimo Medici. Website:  http://www.flickr.com/photos/19178753@N04/5093773149/. Accessed September 8, 2011.</p>\r\n<p align=\"left\">7. Medici-Riccardi Palace courtyard, Florence. Italy. Website: http://www.goingthroughitaly.com/500/medici-riccardi-palace/. Accessed September 5, 2011.</p>\r\n<p align=\"left\">8. Laurentian Library. The Museums of Florence. Website: http://www.museumsinflorence.com/musei/Laurentian_Library.html. Accessed September 7, 2011.</p>\r\n<p align=\"left\">9.  Mediateca di Palazzo Medici Riccardi. <a href=\"http://www.provincia.fi.it/\">Provincia di Firenze</a>. Palazzo Medici-Riccardi Today.\r\nWebsite: http://www.palazzo-medici.it/mediateca/en/cronologia.php#3. Accessed September 6, 2011.</p>\r\n<p align=\"left\">10. Comune di Perugia. Palazzo dei Priori. Website: http://www.comune.perugia.it. Accessed: September 16, 2011.</p>','Protest at the Palazzo','','inherit','open','open','','1593-revision-23','','','2011-09-20 16:01:30','2011-09-20 22:01:30','',1593,'http://jeanatacc.com/2011/?p=1632',0,'revision','',0),(1633,41,'2011-09-20 16:01:33','2011-09-20 22:01:33','<h3><span style=\"color: #605f00\">Citizens revolt against plans to demolish the embodiment of Renaissance Civil Architecture.</span></h3>\r\n<p align=\"left\">By Jill Brockmann<strong>,</strong> ONN Contributor, Italy, Florence -- (ONN Bureau)</p>\r\n<p align=\"left\">September 19, 2011 12:05 p.m. EDT</p>\r\n\r\n\r\n[caption id=\"attachment_1604\" align=\"alignleft\" width=\"290\" caption=\"The Medici Palazzo - Image found: http://otherworldmystery.com/tag/rosicrucianism\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\"><img class=\"size-full wp-image-1604\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\" alt=\"The Medici Palazzo\" width=\"290\" height=\"117\" /></a>[/caption]\r\n<p align=\"left\">Riots broke out in Tuscany\'s capital today, as the polizia tried to hold back protesters in front of the Palazzo Medici Riccardi, the epitome and gold standard of Renaissance Civil Architecture. Hundreds of protesters congregated in front of the strong, yet grim, exterior of the cube-shaped building that was once the most persuasive symbol of the political and cultural authority of the Medici banking family in Florence.<sup>2 </sup> Protesters believe that the building should be preserved because of its long history of provoking ardent political discourse, its owners promoted the preservation of rare art and they shared their priceless pieces in an effort to enhance the community\'s love of the arts. The City Council is attempting to exert their power <!--more-->of emminent domain and destroy the building, replacing it with a high-rise apartment complex that would include tax-generating commercial space on the first floor. The building was built by the Italian architect and sculptor, Michelozzo di Bartolomeo Michelozzi (1396–1472) and was commissioned by the head of the Medici banking family, Cosimo de\' Medici, between the years of 1445-1460. Today, the building is known as the Palazzo Medici Riccardi, after Gabbriello Riccardi purchased it and expanded its footprint in 1659.<sup>1</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1609\" align=\"alignright\" width=\"198\" caption=\"Courtyard at the Medici Palazzo  Image found: http://www.goingthroughitaly.com/500/medici-riccardi-palace/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\"><img class=\"size-full wp-image-1609\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\" alt=\"Courtyard at the Medici Palazzo\" width=\"198\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">Florentine citizens are protesting the demolition of the building, which they consider the foremost example of the classic theory of magnificence, touted by Aristotle in his famed literary work, <em>Nicomachean Ethics</em>. Aristotle\'s theory held that \"men of means had a moral duty to live in magnificent palaces for the benefit of themselves, their family and society.\"<sup>2 </sup>Florentinians of today agree with this theory and see the building as an ideal model of political order, civic harmony, and pride.<sup>1</sup> At one time, the Medici Palazzo (palace) was said to be \"one of the noblest specimens of Italian fifteenth-century architecture, in which the great taste and skill of the architect has combined with the delicate lightness of earlier Italian Gothic style and with the massive stateliness of the classical style.\" <sup>2</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1606\" align=\"alignleft\" width=\"482\" caption=\"                         Example of biforal (left) and Gothic triforal (right) windows                                 Images found: http://www.florence-gallery.com/monuments/  and http://santatatiana.wordpress.com/2011/07/06/the-magnificent-palace-of-priors-in-perugia\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\"><img class=\"size-full wp-image-1606 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\" alt=\"Medici Palazzo (left) and Prior\'s Palace (right) window examples \" width=\"482\" height=\"151\" /></a>[/caption]\r\n<p align=\"left\"> When compared to the Prior\'s Palace, in Perugia, the Medici Palace offers many considerations of similarity and contrast.<sup> 2</sup> The Prior\'s Palace was constructed during the same time period and held fast to the custom of resting double-arch (biforal) windows on classic cornices, which echoed ecclesiastical architecture.<sup>2</sup></p>\r\n<p align=\"left\">Medici Palazzo is designed with double-arch windows on the second and third floors. However, the rounded-arches of the windows in the Medici Palazzo deviate from the Prior\'s Palace windows in that they do not have the classic Gothic point at the top.<sup>2</sup> This rounded-style arch was first seen in a residence when Michelozzo designed the Medici Palazzo to look more secular.<sup>2</sup></p>\r\n<p align=\"left\">An additional architectural differentiation from buildings of its time, including the Prior\'s Palace, was the optical illusion created when the building is viewed from street level.<sup>2</sup> The stone surfaces from bottom-to-top change in texture from rough to smooth, and the stories are scaled from taller on the bottom level to shorter on the upper levels.<sup>2</sup> This transition of surfaces and story height creates the illusion that the structure looms even taller than it actually is. The cornice along the top of the building, projecting out six feet past the façade, serves as a type of crown for the building and its ornate moldings, coffers, rosettes and flutes further speak to the Medici\'s preoccupation with social and political status.<sup>2,4</sup></p>\r\n<p align=\"left\">Spokesperson for the uprising, Leona Battista Alberti, (descendent of author Leon Battista Alberti, who penned <em>On the Art of Building in Ten Books</em>) stated that the Medici family monopolized Florentine politics and all things cultural from 1434 to 1494.<sup>5</sup>  Alberti claims that Cosimo Medici was a humanist, had amassed a large fortune, and had successfully managed to outwit his political enemies to become the <em>de facto</em> ruler of Florence.<sup>3</sup> Under his rule, Medici took advantage of the open trade routes, throughout much of the world, to bring precious objects to Florence and this enhanced honor and pride within the community. She further stated that the objects he imported  included priceless paintings, rare books, elaborate sculptures, fine tapestries, unusual plants, splendid inlaid marble floor tiles and much more.<sup>3</sup> Alberti clearly prayed that the Medici Palace remain standing as a respectful tribute to the illustrious Medici family and all of the rare treasures they brought to the Florentine citizens.</p>\r\n\r\n\r\n[caption id=\"attachment_1611\" align=\"alignright\" width=\"245\" caption=\"Statue of Cosimo de&#039; Medici - Image found: http://www.flickr.com/photos/19178753@N04/5093773149/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\"><img class=\"size-full wp-image-1611 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\" alt=\"Statue of Cosimo de Medici\" width=\"245\" height=\"194\" /></a>[/caption]\r\n<p align=\"left\">Opponent of the protest, Frank Pazzi, (descendant of Francesco de\' Pazzi) spoke of the political unrest that swirled around the Medici family during the time immediately before and after the construction of the Medici Palazzo. The rising wealth among the merchant class was infringing upon the authority of the Papacy and creating tension within the Church. He spoke of the fact that Medici purposefully chose the unusual design and appearance of the building\'s façade because he had just returned from exile and was conscientious about upsetting the delicate political climate of the time and arousing envy among the citizens of Florence. Pazzi\'s family had been political rivals of the Medici family in the 1400s and he noted that one of his ancestors had been hanged at the Palace.<sup>3</sup> Pazzi viewed the Palace as a place of great heartache, political unrest, and the reminded him of the social manipulation running rampant at the time. He stated that he wished the building \"had been flattened years ago.\"</p>\r\n<p align=\"left\">Since the Medici vs. Pazzi family rivalry ended with the Medici\'s prevailing, the construction of the Medici Palace represented a celebration or re-birth of sorts, and therefor, the building was in a brand-new style.<sup>3</sup>  According to the Curator of the present-day Medici Museum, the Medici Palace was the first private residence in Florence to have an all-stone exterior, elements such as moldings, round-headed arches, elegant wedge-shaped stones in the arches, (called \"voussoirs\") and the prominent display of the family coat-of-arms.<sup>2  </sup>The Curator further explained that although there were some characteristics of this building that were classically Roman in nature, the predominant reason to preserve this structure was that it was the first time a residence included a gracious nod to civic harmony and lower-class inclusiveness among the wealthy. For example, he stated that Medici placed stone benches, wrought-iron hitching rings for horses, and torch holders on the exterior as a means of welcoming visitors.</p>\r\n<p align=\"left\">Perhaps the welcoming ambience of the Palace was the seed of change and now, present day architects use it in their designs. The Medici were the first to incorporate these community-related elements in to their design and nowadays nearly every building in existence has some sort of bench, railing, fountain, garden, or welcoming landscape. Saying that a building is \"inviting\" is considered a great accomplishment among commercial architects today. Is it possible that the Medici were the first example of this community-minded trend? If so, this fact alone may be reason enough to preserve the building.</p>\r\n\r\n\r\n[caption id=\"attachment_1614\" align=\"alignleft\" width=\"230\" caption=\"Alterpiece in the Chapel of the Medici Palazzo ~ Image found: http://hoocher.com/Agnolo_Bronzino/Agnolo_Bronzino.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\"><img class=\"size-full wp-image-1614\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\" alt=\"Alterpiece in the chapel of The Medici Palazzo\" width=\"230\" height=\"320\" /></a>[/caption]\r\n<p align=\"left\">When interviewed, present-day Florentine Architect, Phillip Brunelleschi, (descendant of architect, Filippo Brunelleschi) noted that at the time Medici Palazzo was constructed, building façades had a distinct asymmetry to the placement of the center courtyard and the doors. This created a lack of alignment between the doors and the upper windows.<sup>2</sup> He went on to speak of the misalignment of the doors and upper-story windows of the Medici Palazzo. Despite this similarity to buildings of the day, it was Brunelleschi\'s opinion that the center courtyard of Medici Palazzo is designed to \"evoke a cloister-like sacred space\"<sup>2</sup> and this tranquil element was non-existent in other palaces of that time. The Medici incorporated their own chapel within the walls of the Palace. What did having their own church say about their connection to God? Most people in Florence had to walk to church. The Medici could have simply walked into their chapel and hired their own priest. Their social and religious stature must have irritated the Church and that would have further inflamed their political standing in town.</p>\r\n<p align=\"left\">Protest organizer, Loren Vecchio, (descendant of Cosimo Medici) advocates the preservation of the building due to the historic accomplishments of the Medici family in relation to education. Vecchio stressed that under the patronage of the Medici family, the Platonic Academy in Florence was founded in 1462. In 1480, The Medici opened the Garden of Lorenzo de’ Medici. Vecchio noted that the library of St. Lorenzo (Bibliotheca Laurenziana) made</p>\r\n\r\n\r\n[caption id=\"attachment_1616\" align=\"alignright\" width=\"190\" caption=\"Laurentian Library Foyer     Image found: http://www.museumsinflorence.com/musei/Laurentian_Library.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\"><img class=\"size-full wp-image-1616\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\" alt=\"Laurentian Library inside The Medici Palazzo\" width=\"190\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">available to the public the immense Medici collection of books and manuscripts, and that this one act proved that the Medici\'s had devoted their lives to the colossal undertaking of educating and promoting the appreciation of the arts for generations to come.<sup>4</sup></p>\r\n<p align=\"left\">One of the protesters, Marisa Ficino, (descendent of Marsilio Ficino), mentioned that one of her ancestors had been hired by Cosimo to translate the works of Plato into Latin and that Medici was a huge patron of the arts and literature. She commented that, according to family stories, the Medici were the first family to use their personal residences to display vast art and cultural collections.<sup>4</sup> Ficino indicated that the practice of inviting guests to visit the Palace was politically innovative at the time because guests were only shown rooms that equaled their favor with the family. Viewing the enormous collection of rare and priceless artifacts became an inducement that led guests to do the bidding of the family. Certain precious pieces were only shown to those members of society that, according to the Medici family, were worthy.<sup>4</sup> At the time, this custom created envy among some circles while delighting others. Could it be that the same practice still exists, in some form, in our society today?</p>\r\n\r\n\r\n[caption id=\"attachment_1615\" align=\"alignleft\" width=\"194\" caption=\"Medici Palazzo Ceremonial Hall  Image found: http://www.museumsinflorence.com/musei/medici_riccardi_palace.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\"><img class=\"size-full wp-image-1615\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\" alt=\"Medici Palazzo Ceremonial Hall\" width=\"194\" height=\"259\" /></a>[/caption]\r\n<p align=\"left\">Today, the Palace holds the offices of the Provincial Governor, the Florentine Provincial Authority, the Istituto Storico dellaRes istenza and the Biblioteca Moreniana. Upon researching this article, the author found almost three million listings for the Medici Palazzo that were academic in n</p>\r\n<p align=\"left\">ature or bespoke of its architectural prestige and dominance in the civil architecture movement of the Renaissance. In the humble opinion of this author, it appears that this extraordinary work of architecture is worth preserving and hopefully the Florence City Council will realize the multi-layered historical importance and, keep the building in order to give the protestors what they want.</p>\r\n\r\n<h2></h2>\r\n<h2><em><span style=\"color: #605f00\">Works Cited List:</span></em></h2>\r\n<p align=\"left\">1. The Medici Palazzo - The Chronology. http://www.palazzo-medici.it/eng/sez_storia/medici.htm Website accessed August 26, 2011.</p>\r\n<p align=\"left\">2. Partridge, Loren W.<span style=\"text-decoration: underline\"> Art of Renaissance Florence, 1400-1600 </span>. Imprint Berkeley : University of California Press, c2009.</p>\r\n<p align=\"left\">3. Martinez, Lauro. <span style=\"text-decoration: underline\">April blood : Florence and the plot against the Medici.</span> Imprint Oxford ; New York : Oxford University Press, 2003.</p>\r\n<p align=\"left\">4. Neher, Gabriele. <a title=\"Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace.\" href=\"http://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/viewarticle?data=dGJyMPPp44rp2%2fdV0%2bnjisfk5Ie41%2fOL8t%2fsRuvX54as2%2baH8eq%2bUK2prkewpq9JnqeuUrGsuEy1lr9lpOrweezp33vy3%2b2G59q7RbCmsEyxq7BJsKqkhN%2fk5VXj5KR84LPfUeac8nnls79mpNfsVbCvsVCxrrBIpNztiuvX8lXk6%2bqE8tv2jAAA&amp;hid=5\">Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace. </a><em>Art Book</em>, Feb2008, Vol. 15 Issue 1, p9-10, 2p;</p>\r\n<p align=\"left\">5. Matthews, T., DeWitt Platt, F., Noble, Thomas F.X., <span style=\"text-decoration: underline\">The Western Humanities</span>, McGraw-Hill, New York, 2011, Seventh Edition, Volume II, p307-308; p312;</p>\r\n<p align=\"left\">6.Equestrian statue of Cosimo Medici. Website:  http://www.flickr.com/photos/19178753@N04/5093773149/. Accessed September 8, 2011.</p>\r\n<p align=\"left\">7. Medici-Riccardi Palace courtyard, Florence. Italy. Website: http://www.goingthroughitaly.com/500/medici-riccardi-palace/. Accessed September 5, 2011.</p>\r\n<p align=\"left\">8. Laurentian Library. The Museums of Florence. Website: http://www.museumsinflorence.com/musei/Laurentian_Library.html. Accessed September 7, 2011.</p>\r\n<p align=\"left\">9.  Mediateca di Palazzo Medici Riccardi. <a href=\"http://www.provincia.fi.it/\">Provincia di Firenze</a>. Palazzo Medici-Riccardi Today.\r\nWebsite: http://www.palazzo-medici.it/mediateca/en/cronologia.php#3. Accessed September 6, 2011.</p>\r\n<p align=\"left\">10. Comune di Perugia. Palazzo dei Priori. Website: http://www.comune.perugia.it. Accessed: September 16, 2011.</p>','Protest at the Palazzo','','inherit','open','open','','1593-revision-24','','','2011-09-20 16:01:33','2011-09-20 22:01:33','',1593,'http://jeanatacc.com/2011/?p=1633',0,'revision','',0),(1634,41,'2011-09-20 16:02:36','2011-09-20 22:02:36','<h3><span style=\"color: #605f00\">Citizens revolt against plans to demolish the embodiment of Renaissance Civil Architecture.</span></h3>\r\n<p align=\"left\">By Jill Brockmann<strong>,</strong> ONN Contributor, Italy, Florence -- (ONN Bureau)</p>\r\n<p align=\"left\">September 19, 2011 12:05 p.m. EDT</p>\r\n\r\n\r\n[caption id=\"attachment_1604\" align=\"alignleft\" width=\"290\" caption=\"The Medici Palazzo - Image found: http://otherworldmystery.com/tag/rosicrucianism\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\"><img class=\"size-full wp-image-1604\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\" alt=\"The Medici Palazzo\" width=\"290\" height=\"117\" /></a>[/caption]\r\n<p align=\"left\">Riots broke out in Tuscany\'s capital today, as the polizia tried to hold back protesters in front of the Palazzo Medici Riccardi, the epitome and gold standard of Renaissance Civil Architecture. Hundreds of protesters congregated in front of the strong, yet grim, exterior of the cube-shaped building that was once the most persuasive symbol of the political and cultural authority of the Medici banking family in Florence.<sup>2 </sup> Protesters believe that the building should be preserved because of its long history of provoking ardent political discourse, its owners promoted the preservation of rare art and they shared their priceless pieces in an effort to enhance the community\'s love of the arts. The City Council is attempting to exert their power <!--more-->of emminent domain and destroy the building, replacing it with a high-rise apartment complex that would include tax-generating commercial space on the first floor. The building was built by the Italian architect and sculptor, Michelozzo di Bartolomeo Michelozzi (1396–1472) and was commissioned by the head of the Medici banking family, Cosimo de\' Medici, between the years of 1445-1460. Today, the building is known as the Palazzo Medici Riccardi, after Gabbriello Riccardi purchased it and expanded its footprint in 1659.<sup>1</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1609\" align=\"alignright\" width=\"198\" caption=\"Courtyard at the Medici Palazzo  Image found: http://www.goingthroughitaly.com/500/medici-riccardi-palace/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\"><img class=\"size-full wp-image-1609\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\" alt=\"Courtyard at the Medici Palazzo\" width=\"198\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">Florentine citizens are protesting the demolition of the building, which they consider the foremost example of the classic theory of magnificence, touted by Aristotle in his famed literary work, <em>Nicomachean Ethics</em>. Aristotle\'s theory held that \"men of means had a moral duty to live in magnificent palaces for the benefit of themselves, their family and society.\"<sup>2 </sup>Florentinians of today agree with this theory and see the building as an ideal model of political order, civic harmony, and pride.<sup>1</sup> At one time, the Medici Palazzo (palace) was said to be \"one of the noblest specimens of Italian fifteenth-century architecture, in which the great taste and skill of the architect has combined with the delicate lightness of earlier Italian Gothic style and with the massive stateliness of the classical style.\" <sup>2</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1606\" align=\"alignleft\" width=\"482\" caption=\"                         Example of biforal (left) and Gothic triforal (right) windows                                 Images found: http://www.florence-gallery.com/monuments/  and http://santatatiana.wordpress.com/2011/07/06/the-magnificent-palace-of-priors-in-perugia\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\"><img class=\"size-full wp-image-1606 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\" alt=\"Medici Palazzo (left) and Prior\'s Palace (right) window examples \" width=\"482\" height=\"151\" /></a>[/caption]\r\n<p align=\"left\"> When compared to the Prior\'s Palace, in Perugia, the Medici Palace offers many considerations of similarity and contrast.<sup> 2</sup> The Prior\'s Palace was constructed during the same time period and held fast to the custom of resting double-arch (biforal) windows on classic cornices, which echoed ecclesiastical architecture.<sup>2</sup></p>\r\n<p align=\"left\">Medici Palazzo is designed with double-arch windows on the second and third floors. However, the rounded-arches of the windows in the Medici Palazzo deviate from the Prior\'s Palace windows in that they do not have the classic Gothic point at the top.<sup>2</sup> This rounded-style arch was first seen in a residence when Michelozzo designed the Medici Palazzo to look more secular.<sup>2</sup></p>\r\n<p align=\"left\">An additional architectural differentiation from buildings of its time, including the Prior\'s Palace, was the optical illusion created when the building is viewed from street level.<sup>2</sup> The stone surfaces from bottom-to-top change in texture from rough to smooth, and the stories are scaled from taller on the bottom level to shorter on the upper levels.<sup>2</sup> This transition of surfaces and story height creates the illusion that the structure looms even taller than it actually is. The cornice along the top of the building, projecting out six feet past the façade, serves as a type of crown for the building and its ornate moldings, coffers, rosettes and flutes further speak to the Medici\'s preoccupation with social and political status.<sup>2,4</sup></p>\r\n<p align=\"left\">Spokesperson for the uprising, Leona Battista Alberti, (descendent of author Leon Battista Alberti, who penned <em>On the Art of Building in Ten Books</em>) stated that the Medici family monopolized Florentine politics and all things cultural from 1434 to 1494.<sup>5</sup>  Alberti claims that Cosimo Medici was a humanist, had amassed a large fortune, and had successfully managed to outwit his political enemies to become the <em>de facto</em> ruler of Florence.<sup>3</sup> Under his rule, Medici took advantage of the open trade routes, throughout much of the world, to bring precious objects to Florence and this enhanced honor and pride within the community. She further stated that the objects he imported  included priceless paintings, rare books, elaborate sculptures, fine tapestries, unusual plants, splendid inlaid marble floor tiles and much more.<sup>3</sup> Alberti clearly prayed that the Medici Palace remain standing as a respectful tribute to the illustrious Medici family and all of the rare treasures they brought to the Florentine citizens.</p>\r\n\r\n\r\n[caption id=\"attachment_1611\" align=\"alignright\" width=\"245\" caption=\"Statue of Cosimo de&#039; Medici - Image found: http://www.flickr.com/photos/19178753@N04/5093773149/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\"><img class=\"size-full wp-image-1611 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\" alt=\"Statue of Cosimo de Medici\" width=\"245\" height=\"194\" /></a>[/caption]\r\n<p align=\"left\">Opponent of the protest, Frank Pazzi, (descendant of Francesco de\' Pazzi) spoke of the political unrest that swirled around the Medici family during the time immediately before and after the construction of the Medici Palazzo. The rising wealth among the merchant class was infringing upon the authority of the Papacy and creating tension within the Church. He spoke of the fact that Medici purposefully chose the unusual design and appearance of the building\'s façade because he had just returned from exile and was conscientious about upsetting the delicate political climate of the time and arousing envy among the citizens of Florence. Pazzi\'s family had been political rivals of the Medici family in the 1400s and he noted that one of his ancestors had been hanged at the Palace.<sup>3</sup> Pazzi viewed the Palace as a place of great heartache, political unrest, and the reminded him of the social manipulation running rampant at the time. He stated that he wished the building \"had been flattened years ago.\"</p>\r\n<p align=\"left\">Since the Medici vs. Pazzi family rivalry ended with the Medici\'s prevailing, the construction of the Medici Palace represented a celebration or re-birth of sorts, and therefor, the building was in a brand-new style.<sup>3</sup>  According to the Curator of the present-day Medici Museum, the Medici Palace was the first private residence in Florence to have an all-stone exterior, elements such as moldings, round-headed arches, elegant wedge-shaped stones in the arches, (called \"voussoirs\") and the prominent display of the family coat-of-arms.<sup>2  </sup>The Curator further explained that although there were some characteristics of this building that were classically Roman in nature, the predominant reason to preserve this structure was that it was the first time a residence included a gracious nod to civic harmony and lower-class inclusiveness among the wealthy. For example, he stated that Medici placed stone benches, wrought-iron hitching rings for horses, and torch holders on the exterior as a means of welcoming visitors.</p>\r\n<p align=\"left\">Perhaps the welcoming ambience of the Palace was the seed of change and now, present day architects use it in their designs. The Medici were the first to incorporate these community-related elements in to their design and nowadays nearly every building in existence has some sort of bench, railing, fountain, garden, or welcoming landscape. Saying that a building is \"inviting\" is considered a great accomplishment among commercial architects today. Is it possible that the Medici were the first example of this community-minded trend? If so, this fact alone may be reason enough to preserve the building.</p>\r\n\r\n\r\n[caption id=\"attachment_1614\" align=\"alignleft\" width=\"230\" caption=\"Alterpiece in the Chapel of the Medici Palazzo ~ Image found: http://hoocher.com/Agnolo_Bronzino/Agnolo_Bronzino.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\"><img class=\"size-full wp-image-1614\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\" alt=\"Alterpiece in the chapel of The Medici Palazzo\" width=\"230\" height=\"320\" /></a>[/caption]\r\n<p align=\"left\">When interviewed, present-day Florentine Architect, Phillip Brunelleschi, (descendant of architect, Filippo Brunelleschi) noted that at the time Medici Palazzo was constructed, building façades had a distinct asymmetry to the placement of the center courtyard and the doors. This created a lack of alignment between the doors and the upper windows.<sup>2</sup> He went on to speak of the misalignment of the doors and upper-story windows of the Medici Palazzo. Despite this similarity to buildings of the day, it was Brunelleschi\'s opinion that the center courtyard of Medici Palazzo is designed to \"evoke a cloister-like sacred space\"<sup>2</sup> and this tranquil element was non-existent in other palaces of that time. The Medici incorporated their own chapel within the walls of the Palace. What did having their own church say about their connection to God? Most people in Florence had to walk to church. The Medici could have simply walked into their chapel and hired their own priest. Their social and religious stature must have irritated the Church and that would have further inflamed their political standing in town.</p>\r\n<p align=\"left\">Protest organizer, Loren Vecchio, (descendant of Cosimo Medici) advocates the preservation of the building due to the historic accomplishments of the Medici family in relation to education. Vecchio stressed that under the patronage of the Medici family, the Platonic Academy in Florence was founded in 1462. In 1480, The Medici opened the Garden of Lorenzo de’ Medici. Vecchio noted that the library of St. Lorenzo (Bibliotheca Laurenziana) made</p>\r\n\r\n\r\n[caption id=\"attachment_1616\" align=\"alignright\" width=\"190\" caption=\"Laurentian Library Foyer     Image found: http://www.museumsinflorence.com/musei/Laurentian_Library.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\"><img class=\"size-full wp-image-1616\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\" alt=\"Laurentian Library inside The Medici Palazzo\" width=\"190\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">available to the public the immense Medici collection of books and manuscripts, and that this one act proved that the Medici\'s had devoted their lives to the colossal undertaking of educating and promoting the appreciation of the arts for generations to come.<sup>4</sup></p>\r\n<p align=\"left\">One of the protesters, Marisa Ficino, (descendent of Marsilio Ficino), mentioned that one of her ancestors had been hired by Cosimo to translate the works of Plato into Latin and that Medici was a huge patron of the arts and literature. She commented that, according to family stories, the Medici were the first family to use their personal residences to display vast art and cultural collections.<sup>4</sup> Ficino indicated that the practice of inviting guests to visit the Palace was politically innovative at the time because guests were only shown rooms that equaled their favor with the family. Viewing the enormous collection of rare and priceless artifacts became an inducement that led guests to do the bidding of the family. Certain precious pieces were only shown to those members of society that, according to the Medici family, were worthy.<sup>4</sup> At the time, this custom created envy among some circles while delighting others. Could it be that the same practice still exists, in some form, in our society today?</p>\r\n\r\n\r\n[caption id=\"attachment_1615\" align=\"alignleft\" width=\"194\" caption=\"Medici Palazzo Ceremonial Hall  Image found: http://www.museumsinflorence.com/musei/medici_riccardi_palace.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\"><img class=\"size-full wp-image-1615\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\" alt=\"Medici Palazzo Ceremonial Hall\" width=\"194\" height=\"259\" /></a>[/caption]\r\n<p align=\"left\">Today, the Palace holds the offices of the Provincial Governor, the Florentine Provincial Authority, the Istituto Storico dellaRes istenza and the Biblioteca Moreniana. Upon researching this article, the author found almost three million listings for the Medici Palazzo that were academic in n</p>\r\n<p align=\"left\">ature or bespoke of its architectural prestige and dominance in the civil architecture movement of the Renaissance. In the humble opinion of this author, it appears that this extraordinary work of architecture is worth preserving and hopefully the Florence City Council will realize the multi-layered historical importance and, keep the building in order to give the protestors what they want.</p>\r\n\r\n<h2></h2>\r\n&nbsp;\r\n<h2><em><span style=\"color: #605f00\">Works Cited List:</span></em></h2>\r\n<p align=\"left\">1. The Medici Palazzo - The Chronology. http://www.palazzo-medici.it/eng/sez_storia/medici.htm Website accessed August 26, 2011.</p>\r\n<p align=\"left\">2. Partridge, Loren W.<span style=\"text-decoration: underline\"> Art of Renaissance Florence, 1400-1600 </span>. Imprint Berkeley : University of California Press, c2009.</p>\r\n<p align=\"left\">3. Martinez, Lauro. <span style=\"text-decoration: underline\">April blood : Florence and the plot against the Medici.</span> Imprint Oxford ; New York : Oxford University Press, 2003.</p>\r\n<p align=\"left\">4. Neher, Gabriele. <a title=\"Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace.\" href=\"http://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/viewarticle?data=dGJyMPPp44rp2%2fdV0%2bnjisfk5Ie41%2fOL8t%2fsRuvX54as2%2baH8eq%2bUK2prkewpq9JnqeuUrGsuEy1lr9lpOrweezp33vy3%2b2G59q7RbCmsEyxq7BJsKqkhN%2fk5VXj5KR84LPfUeac8nnls79mpNfsVbCvsVCxrrBIpNztiuvX8lXk6%2bqE8tv2jAAA&amp;hid=5\">Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace. </a><em>Art Book</em>, Feb2008, Vol. 15 Issue 1, p9-10, 2p;</p>\r\n<p align=\"left\">5. Matthews, T., DeWitt Platt, F., Noble, Thomas F.X., <span style=\"text-decoration: underline\">The Western Humanities</span>, McGraw-Hill, New York, 2011, Seventh Edition, Volume II, p307-308; p312;</p>\r\n<p align=\"left\">6.Equestrian statue of Cosimo Medici. Website:  http://www.flickr.com/photos/19178753@N04/5093773149/. Accessed September 8, 2011.</p>\r\n<p align=\"left\">7. Medici-Riccardi Palace courtyard, Florence. Italy. Website: http://www.goingthroughitaly.com/500/medici-riccardi-palace/. Accessed September 5, 2011.</p>\r\n<p align=\"left\">8. Laurentian Library. The Museums of Florence. Website: http://www.museumsinflorence.com/musei/Laurentian_Library.html. Accessed September 7, 2011.</p>\r\n<p align=\"left\">9.  Mediateca di Palazzo Medici Riccardi. <a href=\"http://www.provincia.fi.it/\">Provincia di Firenze</a>. Palazzo Medici-Riccardi Today.\r\nWebsite: http://www.palazzo-medici.it/mediateca/en/cronologia.php#3. Accessed September 6, 2011.</p>\r\n<p align=\"left\">10. Comune di Perugia. Palazzo dei Priori. Website: http://www.comune.perugia.it. Accessed: September 16, 2011.</p>','Protest at the Palazzo','','inherit','open','open','','1593-revision-25','','','2011-09-20 16:02:36','2011-09-20 22:02:36','',1593,'http://jeanatacc.com/2011/?p=1634',0,'revision','',0),(1635,41,'2011-09-20 16:02:40','2011-09-20 22:02:40','<h3><span style=\"color: #605f00\">Citizens revolt against plans to demolish the embodiment of Renaissance Civil Architecture.</span></h3>\r\n<p align=\"left\">By Jill Brockmann<strong>,</strong> ONN Contributor, Italy, Florence -- (ONN Bureau)</p>\r\n<p align=\"left\">September 19, 2011 12:05 p.m. EDT</p>\r\n\r\n\r\n[caption id=\"attachment_1604\" align=\"alignleft\" width=\"290\" caption=\"The Medici Palazzo - Image found: http://otherworldmystery.com/tag/rosicrucianism\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\"><img class=\"size-full wp-image-1604\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\" alt=\"The Medici Palazzo\" width=\"290\" height=\"117\" /></a>[/caption]\r\n<p align=\"left\">Riots broke out in Tuscany\'s capital today, as the polizia tried to hold back protesters in front of the Palazzo Medici Riccardi, the epitome and gold standard of Renaissance Civil Architecture. Hundreds of protesters congregated in front of the strong, yet grim, exterior of the cube-shaped building that was once the most persuasive symbol of the political and cultural authority of the Medici banking family in Florence.<sup>2 </sup> Protesters believe that the building should be preserved because of its long history of provoking ardent political discourse, its owners promoted the preservation of rare art and they shared their priceless pieces in an effort to enhance the community\'s love of the arts. The City Council is attempting to exert their power <!--more-->of emminent domain and destroy the building, replacing it with a high-rise apartment complex that would include tax-generating commercial space on the first floor. The building was built by the Italian architect and sculptor, Michelozzo di Bartolomeo Michelozzi (1396–1472) and was commissioned by the head of the Medici banking family, Cosimo de\' Medici, between the years of 1445-1460. Today, the building is known as the Palazzo Medici Riccardi, after Gabbriello Riccardi purchased it and expanded its footprint in 1659.<sup>1</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1609\" align=\"alignright\" width=\"198\" caption=\"Courtyard at the Medici Palazzo  Image found: http://www.goingthroughitaly.com/500/medici-riccardi-palace/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\"><img class=\"size-full wp-image-1609\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\" alt=\"Courtyard at the Medici Palazzo\" width=\"198\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">Florentine citizens are protesting the demolition of the building, which they consider the foremost example of the classic theory of magnificence, touted by Aristotle in his famed literary work, <em>Nicomachean Ethics</em>. Aristotle\'s theory held that \"men of means had a moral duty to live in magnificent palaces for the benefit of themselves, their family and society.\"<sup>2 </sup>Florentinians of today agree with this theory and see the building as an ideal model of political order, civic harmony, and pride.<sup>1</sup> At one time, the Medici Palazzo (palace) was said to be \"one of the noblest specimens of Italian fifteenth-century architecture, in which the great taste and skill of the architect has combined with the delicate lightness of earlier Italian Gothic style and with the massive stateliness of the classical style.\" <sup>2</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1606\" align=\"alignleft\" width=\"482\" caption=\"                         Example of biforal (left) and Gothic triforal (right) windows                                 Images found: http://www.florence-gallery.com/monuments/  and http://santatatiana.wordpress.com/2011/07/06/the-magnificent-palace-of-priors-in-perugia\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\"><img class=\"size-full wp-image-1606 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\" alt=\"Medici Palazzo (left) and Prior\'s Palace (right) window examples \" width=\"482\" height=\"151\" /></a>[/caption]\r\n<p align=\"left\"> When compared to the Prior\'s Palace, in Perugia, the Medici Palace offers many considerations of similarity and contrast.<sup> 2</sup> The Prior\'s Palace was constructed during the same time period and held fast to the custom of resting double-arch (biforal) windows on classic cornices, which echoed ecclesiastical architecture.<sup>2</sup></p>\r\n<p align=\"left\">Medici Palazzo is designed with double-arch windows on the second and third floors. However, the rounded-arches of the windows in the Medici Palazzo deviate from the Prior\'s Palace windows in that they do not have the classic Gothic point at the top.<sup>2</sup> This rounded-style arch was first seen in a residence when Michelozzo designed the Medici Palazzo to look more secular.<sup>2</sup></p>\r\n<p align=\"left\">An additional architectural differentiation from buildings of its time, including the Prior\'s Palace, was the optical illusion created when the building is viewed from street level.<sup>2</sup> The stone surfaces from bottom-to-top change in texture from rough to smooth, and the stories are scaled from taller on the bottom level to shorter on the upper levels.<sup>2</sup> This transition of surfaces and story height creates the illusion that the structure looms even taller than it actually is. The cornice along the top of the building, projecting out six feet past the façade, serves as a type of crown for the building and its ornate moldings, coffers, rosettes and flutes further speak to the Medici\'s preoccupation with social and political status.<sup>2,4</sup></p>\r\n<p align=\"left\">Spokesperson for the uprising, Leona Battista Alberti, (descendent of author Leon Battista Alberti, who penned <em>On the Art of Building in Ten Books</em>) stated that the Medici family monopolized Florentine politics and all things cultural from 1434 to 1494.<sup>5</sup>  Alberti claims that Cosimo Medici was a humanist, had amassed a large fortune, and had successfully managed to outwit his political enemies to become the <em>de facto</em> ruler of Florence.<sup>3</sup> Under his rule, Medici took advantage of the open trade routes, throughout much of the world, to bring precious objects to Florence and this enhanced honor and pride within the community. She further stated that the objects he imported  included priceless paintings, rare books, elaborate sculptures, fine tapestries, unusual plants, splendid inlaid marble floor tiles and much more.<sup>3</sup> Alberti clearly prayed that the Medici Palace remain standing as a respectful tribute to the illustrious Medici family and all of the rare treasures they brought to the Florentine citizens.</p>\r\n\r\n\r\n[caption id=\"attachment_1611\" align=\"alignright\" width=\"245\" caption=\"Statue of Cosimo de&#039; Medici - Image found: http://www.flickr.com/photos/19178753@N04/5093773149/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\"><img class=\"size-full wp-image-1611 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\" alt=\"Statue of Cosimo de Medici\" width=\"245\" height=\"194\" /></a>[/caption]\r\n<p align=\"left\">Opponent of the protest, Frank Pazzi, (descendant of Francesco de\' Pazzi) spoke of the political unrest that swirled around the Medici family during the time immediately before and after the construction of the Medici Palazzo. The rising wealth among the merchant class was infringing upon the authority of the Papacy and creating tension within the Church. He spoke of the fact that Medici purposefully chose the unusual design and appearance of the building\'s façade because he had just returned from exile and was conscientious about upsetting the delicate political climate of the time and arousing envy among the citizens of Florence. Pazzi\'s family had been political rivals of the Medici family in the 1400s and he noted that one of his ancestors had been hanged at the Palace.<sup>3</sup> Pazzi viewed the Palace as a place of great heartache, political unrest, and the reminded him of the social manipulation running rampant at the time. He stated that he wished the building \"had been flattened years ago.\"</p>\r\n<p align=\"left\">Since the Medici vs. Pazzi family rivalry ended with the Medici\'s prevailing, the construction of the Medici Palace represented a celebration or re-birth of sorts, and therefor, the building was in a brand-new style.<sup>3</sup>  According to the Curator of the present-day Medici Museum, the Medici Palace was the first private residence in Florence to have an all-stone exterior, elements such as moldings, round-headed arches, elegant wedge-shaped stones in the arches, (called \"voussoirs\") and the prominent display of the family coat-of-arms.<sup>2  </sup>The Curator further explained that although there were some characteristics of this building that were classically Roman in nature, the predominant reason to preserve this structure was that it was the first time a residence included a gracious nod to civic harmony and lower-class inclusiveness among the wealthy. For example, he stated that Medici placed stone benches, wrought-iron hitching rings for horses, and torch holders on the exterior as a means of welcoming visitors.</p>\r\n<p align=\"left\">Perhaps the welcoming ambience of the Palace was the seed of change and now, present day architects use it in their designs. The Medici were the first to incorporate these community-related elements in to their design and nowadays nearly every building in existence has some sort of bench, railing, fountain, garden, or welcoming landscape. Saying that a building is \"inviting\" is considered a great accomplishment among commercial architects today. Is it possible that the Medici were the first example of this community-minded trend? If so, this fact alone may be reason enough to preserve the building.</p>\r\n\r\n\r\n[caption id=\"attachment_1614\" align=\"alignleft\" width=\"230\" caption=\"Alterpiece in the Chapel of the Medici Palazzo ~ Image found: http://hoocher.com/Agnolo_Bronzino/Agnolo_Bronzino.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\"><img class=\"size-full wp-image-1614\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\" alt=\"Alterpiece in the chapel of The Medici Palazzo\" width=\"230\" height=\"320\" /></a>[/caption]\r\n<p align=\"left\">When interviewed, present-day Florentine Architect, Phillip Brunelleschi, (descendant of architect, Filippo Brunelleschi) noted that at the time Medici Palazzo was constructed, building façades had a distinct asymmetry to the placement of the center courtyard and the doors. This created a lack of alignment between the doors and the upper windows.<sup>2</sup> He went on to speak of the misalignment of the doors and upper-story windows of the Medici Palazzo. Despite this similarity to buildings of the day, it was Brunelleschi\'s opinion that the center courtyard of Medici Palazzo is designed to \"evoke a cloister-like sacred space\"<sup>2</sup> and this tranquil element was non-existent in other palaces of that time. The Medici incorporated their own chapel within the walls of the Palace. What did having their own church say about their connection to God? Most people in Florence had to walk to church. The Medici could have simply walked into their chapel and hired their own priest. Their social and religious stature must have irritated the Church and that would have further inflamed their political standing in town.</p>\r\n<p align=\"left\">Protest organizer, Loren Vecchio, (descendant of Cosimo Medici) advocates the preservation of the building due to the historic accomplishments of the Medici family in relation to education. Vecchio stressed that under the patronage of the Medici family, the Platonic Academy in Florence was founded in 1462. In 1480, The Medici opened the Garden of Lorenzo de’ Medici. Vecchio noted that the library of St. Lorenzo (Bibliotheca Laurenziana) made</p>\r\n\r\n\r\n[caption id=\"attachment_1616\" align=\"alignright\" width=\"190\" caption=\"Laurentian Library Foyer     Image found: http://www.museumsinflorence.com/musei/Laurentian_Library.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\"><img class=\"size-full wp-image-1616\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\" alt=\"Laurentian Library inside The Medici Palazzo\" width=\"190\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">available to the public the immense Medici collection of books and manuscripts, and that this one act proved that the Medici\'s had devoted their lives to the colossal undertaking of educating and promoting the appreciation of the arts for generations to come.<sup>4</sup></p>\r\n<p align=\"left\">One of the protesters, Marisa Ficino, (descendent of Marsilio Ficino), mentioned that one of her ancestors had been hired by Cosimo to translate the works of Plato into Latin and that Medici was a huge patron of the arts and literature. She commented that, according to family stories, the Medici were the first family to use their personal residences to display vast art and cultural collections.<sup>4</sup> Ficino indicated that the practice of inviting guests to visit the Palace was politically innovative at the time because guests were only shown rooms that equaled their favor with the family. Viewing the enormous collection of rare and priceless artifacts became an inducement that led guests to do the bidding of the family. Certain precious pieces were only shown to those members of society that, according to the Medici family, were worthy.<sup>4</sup> At the time, this custom created envy among some circles while delighting others. Could it be that the same practice still exists, in some form, in our society today?</p>\r\n\r\n\r\n[caption id=\"attachment_1615\" align=\"alignleft\" width=\"194\" caption=\"Medici Palazzo Ceremonial Hall  Image found: http://www.museumsinflorence.com/musei/medici_riccardi_palace.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\"><img class=\"size-full wp-image-1615\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\" alt=\"Medici Palazzo Ceremonial Hall\" width=\"194\" height=\"259\" /></a>[/caption]\r\n<p align=\"left\">Today, the Palace holds the offices of the Provincial Governor, the Florentine Provincial Authority, the Istituto Storico dellaRes istenza and the Biblioteca Moreniana. Upon researching this article, the author found almost three million listings for the Medici Palazzo that were academic in n</p>\r\n<p align=\"left\">ature or bespoke of its architectural prestige and dominance in the civil architecture movement of the Renaissance. In the humble opinion of this author, it appears that this extraordinary work of architecture is worth preserving and hopefully the Florence City Council will realize the multi-layered historical importance and, keep the building in order to give the protestors what they want.</p>\r\n\r\n<h2></h2>\r\n&nbsp;\r\n<h2><em><span style=\"color: #605f00\">Works Cited List:</span></em></h2>\r\n<p align=\"left\">1. The Medici Palazzo - The Chronology. http://www.palazzo-medici.it/eng/sez_storia/medici.htm Website accessed August 26, 2011.</p>\r\n<p align=\"left\">2. Partridge, Loren W.<span style=\"text-decoration: underline\"> Art of Renaissance Florence, 1400-1600 </span>. Imprint Berkeley : University of California Press, c2009.</p>\r\n<p align=\"left\">3. Martinez, Lauro. <span style=\"text-decoration: underline\">April blood : Florence and the plot against the Medici.</span> Imprint Oxford ; New York : Oxford University Press, 2003.</p>\r\n<p align=\"left\">4. Neher, Gabriele. <a title=\"Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace.\" href=\"http://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/viewarticle?data=dGJyMPPp44rp2%2fdV0%2bnjisfk5Ie41%2fOL8t%2fsRuvX54as2%2baH8eq%2bUK2prkewpq9JnqeuUrGsuEy1lr9lpOrweezp33vy3%2b2G59q7RbCmsEyxq7BJsKqkhN%2fk5VXj5KR84LPfUeac8nnls79mpNfsVbCvsVCxrrBIpNztiuvX8lXk6%2bqE8tv2jAAA&amp;hid=5\">Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace. </a><em>Art Book</em>, Feb2008, Vol. 15 Issue 1, p9-10, 2p;</p>\r\n<p align=\"left\">5. Matthews, T., DeWitt Platt, F., Noble, Thomas F.X., <span style=\"text-decoration: underline\">The Western Humanities</span>, McGraw-Hill, New York, 2011, Seventh Edition, Volume II, p307-308; p312;</p>\r\n<p align=\"left\">6.Equestrian statue of Cosimo Medici. Website:  http://www.flickr.com/photos/19178753@N04/5093773149/. Accessed September 8, 2011.</p>\r\n<p align=\"left\">7. Medici-Riccardi Palace courtyard, Florence. Italy. Website: http://www.goingthroughitaly.com/500/medici-riccardi-palace/. Accessed September 5, 2011.</p>\r\n<p align=\"left\">8. Laurentian Library. The Museums of Florence. Website: http://www.museumsinflorence.com/musei/Laurentian_Library.html. Accessed September 7, 2011.</p>\r\n<p align=\"left\">9.  Mediateca di Palazzo Medici Riccardi. <a href=\"http://www.provincia.fi.it/\">Provincia di Firenze</a>. Palazzo Medici-Riccardi Today.\r\nWebsite: http://www.palazzo-medici.it/mediateca/en/cronologia.php#3. Accessed September 6, 2011.</p>\r\n<p align=\"left\">10. Comune di Perugia. Palazzo dei Priori. Website: http://www.comune.perugia.it. Accessed: September 16, 2011.</p>','Protest at the Palazzo','','inherit','open','open','','1593-revision-26','','','2011-09-20 16:02:40','2011-09-20 22:02:40','',1593,'http://jeanatacc.com/2011/?p=1635',0,'revision','',0),(1636,41,'2011-09-27 19:37:52','2011-09-28 01:37:52','<h3><span style=\"color: #605f00\">Citizens revolt against plans to demolish the embodiment of Renaissance Civil Architecture.</span></h3>\n<p align=\"left\">By Jill Brockmann<strong>,</strong> ONN Contributor, Italy, Florence -- (ONN Bureau)</p>\n<p align=\"left\">September 19, 2011 12:05 p.m. EDT</p>\n\n\n[caption id=\"attachment_1604\" align=\"alignleft\" width=\"290\" caption=\"The Medici Palazzo - Image found: http://otherworldmystery.com/tag/rosicrucianism\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\"><img class=\"size-full wp-image-1604\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\" alt=\"The Medici Palazzo\" width=\"290\" height=\"117\" /></a>[/caption]\n<p align=\"left\">Riots broke out in Tuscany\'s capital today, as the polizia tried to hold back protesters in front of the Palazzo Medici Riccardi, the epitome and gold standard of Renaissance Civil Architecture. Hundreds of protesters congregated in front of the strong, yet grim, exterior of the cube-shaped building that was once the most persuasive symbol of the political and cultural authority of the Medici banking family in Florence.<sup>2 </sup> Protesters believe that the building should be preserved because of its long history of provoking ardent political discourse, its owners promoted the preservation of rare art and they shared their priceless pieces in an effort to enhance the community\'s love of the arts. <!--more--></p>\n<p align=\"left\">The City Council is attempting to exert their power of eminent domain and destroy the building, replacing it with a high-rise apartment complex that would include tax-generating commercial space on the first floor. The building was built by the Italian architect and sculptor, Michelozzo di Bartolomeo Michelozzi (1396–1472) and was commissioned by the head of the Medici banking family, Cosimo de\' Medici, between the years of 1445-1460. Today, the building is known as the Palazzo Medici Riccardi, after Gabbriello Riccardi purchased it and expanded its footprint in 1659.<sup>1</sup></p>\n\n\n[caption id=\"attachment_1609\" align=\"alignright\" width=\"198\" caption=\"Courtyard at the Medici Palazzo  Image found: http://www.goingthroughitaly.com/500/medici-riccardi-palace/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\"><img class=\"size-full wp-image-1609\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\" alt=\"Courtyard at the Medici Palazzo\" width=\"198\" height=\"187\" /></a>[/caption]\n<p align=\"left\">Florentine citizens are protesting the demolition of the building, which they consider the foremost example of the classic theory of magnificence, touted by Aristotle in his famed literary work, <em>Nicomachean Ethics</em>. Aristotle\'s theory held that \"men of means had a moral duty to live in magnificent palaces for the benefit of themselves, their family and society.\"<sup>2 </sup>Florentinians of today agree with this theory and see the building as an ideal model of political order, civic harmony, and pride.<sup>1</sup> At one time, the Medici Palazzo (palace) was said to be \"one of the noblest specimens of Italian fifteenth-century architecture, in which the great taste and skill of the architect has combined with the delicate lightness of earlier Italian Gothic style and with the massive stateliness of the classical style.\" <sup>2</sup></p>\n\n\n[caption id=\"attachment_1606\" align=\"alignleft\" width=\"482\" caption=\"                         Example of biforal (left) and Gothic triforal (right) windows                                 Images found: http://www.florence-gallery.com/monuments/  and http://santatatiana.wordpress.com/2011/07/06/the-magnificent-palace-of-priors-in-perugia\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\"><img class=\"size-full wp-image-1606 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\" alt=\"Medici Palazzo (left) and Prior\'s Palace (right) window examples \" width=\"482\" height=\"151\" /></a>[/caption]\n<p align=\"left\"> When compared to the Prior\'s Palace, in Perugia, the Medici Palace offers many considerations of similarity and contrast.<sup> 2</sup> The Prior\'s Palace was constructed during the same time period and held fast to the custom of resting double-arch (biforal) windows on classic cornices, which echoed ecclesiastical architecture.<sup>2</sup></p>\n<p align=\"left\">Medici Palazzo is designed with double-arch windows on the second and third floors. However, the rounded-arches of the windows in the Medici Palazzo deviate from the Prior\'s Palace windows in that they do not have the classic Gothic point at the top.<sup>2</sup> This rounded-style arch was first seen in a residence when Michelozzo designed the Medici Palazzo to look more secular.<sup>2</sup></p>\n<p align=\"left\">An additional architectural differentiation from buildings of its time, including the Prior\'s Palace, was the optical illusion created when the building is viewed from street level.<sup>2</sup> The stone surfaces from bottom-to-top change in texture from rough to smooth, and the stories are scaled from taller on the bottom level to shorter on the upper levels.<sup>2</sup> This transition of surfaces and story height creates the illusion that the structure looms even taller than it actually is. The cornice along the top of the building, projecting out six feet past the façade, serves as a type of crown for the building and its ornate moldings, coffers, rosettes and flutes further speak to the Medici\'s preoccupation with social and political status.<sup>2,4</sup></p>\n<p align=\"left\">Spokesperson for the uprising, Leona Battista Alberti, (descendent of author Leon Battista Alberti, who penned <em>On the Art of Building in Ten Books</em>) stated that the Medici family monopolized Florentine politics and all things cultural from 1434 to 1494.<sup>5</sup>  Alberti claims that Cosimo Medici was a humanist, had amassed a large fortune, and had successfully managed to outwit his political enemies to become the <em>de facto</em> ruler of Florence.<sup>3</sup> Under his rule, Medici took advantage of the open trade routes, throughout much of the world, to bring precious objects to Florence and this enhanced honor and pride within the community. She further stated that the objects he imported  included priceless paintings, rare books, elaborate sculptures, fine tapestries, unusual plants, splendid inlaid marble floor tiles and much more.<sup>3</sup> Alberti clearly prayed that the Medici Palace remain standing as a respectful tribute to the illustrious Medici family and all of the rare treasures they brought to the Florentine citizens.</p>\n\n\n[caption id=\"attachment_1611\" align=\"alignright\" width=\"245\" caption=\"Statue of Cosimo de&#039; Medici - Image found: http://www.flickr.com/photos/19178753@N04/5093773149/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\"><img class=\"size-full wp-image-1611 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\" alt=\"Statue of Cosimo de Medici\" width=\"245\" height=\"194\" /></a>[/caption]\n<p align=\"left\">Opponent of the protest, Frank Pazzi, (descendant of Francesco de\' Pazzi) spoke of the political unrest that swirled around the Medici family during the time immediately before and after the construction of the Medici Palazzo. The rising wealth among the merchant class was infringing upon the authority of the Papacy and creating tension within the Church. He spoke of the fact that Medici purposefully chose the unusual design and appearance of the building\'s façade because he had just returned from exile and was conscientious about upsetting the delicate political climate of the time and arousing envy among the citizens of Florence. Pazzi\'s family had been political rivals of the Medici family in the 1400s and he noted that one of his ancestors had been hanged at the Palace.<sup>3</sup> Pazzi viewed the Palace as a place of great heartache, political unrest, and that it reminded him of the social manipulation running rampant at the time. He stated that he wished the building \"had been flattened years ago.\"</p>\n<p align=\"left\">Since the Medici vs. Pazzi family rivalry ended with the Medici\'s prevailing, the construction of the Medici Palace represented a celebration or re-birth of sorts, and therefor, the building was in a brand-new style.<sup>3</sup>  According to the Curator of the present-day Medici Museum, the Medici Palace was the first private residence in Florence to have an all-stone exterior, elements such as moldings, round-headed arches, elegant wedge-shaped stones in the arches, (called \"voussoirs\") and the prominent display of the family coat-of-arms.<sup>2  </sup>The Curator further explained that although there were some characteristics of this building that were classically Roman in nature, the predominant reason to preserve this structure was that it was the first time a residence included a gracious nod to civic harmony and lower-class inclusiveness among the wealthy. For example, he stated that Medici placed stone benches, wrought-iron hitching rings for horses, and torch holders on the exterior as a means of welcoming visitors.</p>\n<p align=\"left\">Perhaps the welcoming ambiance of the Palace was the seed of change and now, present day architects use it in their designs. The Medici were the first to incorporate these community-related elements in to their design and nowadays nearly every building in existence has some sort of bench, railing, fountain, garden, or welcoming landscape. Saying that a building is \"inviting\" is considered a great accomplishment among commercial architects today. Is it possible that the Medici were the first example of this community-minded trend? If so, this fact alone may be reason enough to preserve the building.</p>\n\n\n[caption id=\"attachment_1614\" align=\"alignleft\" width=\"230\" caption=\"Alterpiece in the Chapel of the Medici Palazzo ~ Image found: http://hoocher.com/Agnolo_Bronzino/Agnolo_Bronzino.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\"><img class=\"size-full wp-image-1614\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\" alt=\"Alterpiece in the chapel of The Medici Palazzo\" width=\"230\" height=\"320\" /></a>[/caption]\n<p align=\"left\">When interviewed, present-day Florentine Architect, Phillip Brunelleschi, (descendant of architect, Filippo Brunelleschi) noted that at the time Medici Palazzo was constructed, building façades had a distinct asymmetry to the placement of the center courtyard and the doors. This created a lack of alignment between the doors and the upper windows.<sup>2</sup> He went on to speak of the misalignment of the doors and upper-story windows of the Medici Palazzo. Despite this similarity to buildings of the day, it was Brunelleschi\'s opinion that the center courtyard of Medici Palazzo is designed to \"evoke a cloister-like sacred space\"<sup>2</sup> and this tranquil element was non-existent in other palaces of that time. The Medici incorporated their own chapel within the walls of the Palace. What did having their own church say about their connection to God? Most people in Florence had to walk to church. The Medici could have simply walked into their chapel and hired their own priest. Their social and religious stature must have irritated the Church and that would have further inflamed their political standing in town.</p>\n<p align=\"left\">Protest organizer, Loren Vecchio, (descendant of Cosimo Medici) advocates the preservation of the building due to the historic accomplishments of the Medici family in relation to education. Vecchio stressed that under the patronage of the Medici family, the Platonic Academy in Florence was founded in 1462. In 1480, The Medici opened the Garden of Lorenzo de’ Medici. Vecchio noted that the library of St. Lorenzo (Bibliotheca Laurenziana) made</p>\n\n\n[caption id=\"attachment_1616\" align=\"alignright\" width=\"190\" caption=\"Laurentian Library Foyer     Image found: http://www.museumsinflorence.com/musei/Laurentian_Library.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\"><img class=\"size-full wp-image-1616\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\" alt=\"Laurentian Library inside The Medici Palazzo\" width=\"190\" height=\"187\" /></a>[/caption]\n<p align=\"left\">available to the public the immense Medici collection of books and manuscripts, and that this one act proved that the Medici\'s had devoted their lives to the colossal undertaking of educating and promoting the appreciation of the arts for generations to come.<sup>4</sup></p>\n<p align=\"left\">One of the protesters, Marisa Ficino, (descendent of Marsilio Ficino), mentioned that one of her ancestors had been hired by Cosimo to translate the works of Plato into Latin and that Medici was a huge patron of the arts and literature. She commented that, according to family stories, the Medici were the first family to use their personal residences to display vast art and cultural collections.<sup>4</sup> Ficino indicated that the practice of inviting guests to visit the Palace was politically innovative at the time because guests were only shown rooms that equaled their favor with the family. Viewing the enormous collection of rare and priceless artifacts became an inducement that led guests to do the bidding of the family. Certain precious pieces were only shown to those members of society that, according to the Medici family, were worthy.<sup>4</sup> At the time, this custom created envy among some circles while delighting others. Could it be that the same practice still exists, in some form, in our society today?</p>\n\n\n[caption id=\"attachment_1615\" align=\"alignleft\" width=\"194\" caption=\"Medici Palazzo Ceremonial Hall  Image found: http://www.museumsinflorence.com/musei/medici_riccardi_palace.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\"><img class=\"size-full wp-image-1615\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\" alt=\"Medici Palazzo Ceremonial Hall\" width=\"194\" height=\"259\" /></a>[/caption]\n<p align=\"left\">Today, the Palace holds the offices of the Provincial Governor, the Florentine Provincial Authority, the Istituto Storico dellaRes istenza and the Biblioteca Moreniana. Upon researching this article, the author found almost three million listings for the Medici Palazzo that were academic in nature or bespoke of its architectural prestige and dominance in the civil architecture movement of the Renaissance. In the humble opinion of this author, it appears that this extraordinary work of architecture is worth preserving and hopefully the Florence City Council will realize the multi-layered historical importance and keep the building in order to give the protestors what they want.</p>\n\n<h2></h2>\n&nbsp;\n<h2><em><span style=\"color: #605f00\">Works Cited List:</span></em></h2>\n<p align=\"left\">1. The Medici Palazzo - The Chronology. http://www.palazzo-medici.it/eng/sez_storia/medici.htm Website accessed August 26, 2011.</p>\n<p align=\"left\">2. Partridge, Loren W.<span style=\"text-decoration: underline\"> Art of Renaissance Florence, 1400-1600 </span>. Imprint Berkeley : University of California Press, c2009.</p>\n<p align=\"left\">3. Martinez, Lauro. <span style=\"text-decoration: underline\">April blood : Florence and the plot against the Medici.</span> Imprint Oxford ; New York : Oxford University Press, 2003.</p>\n<p align=\"left\">4. Neher, Gabriele. <a title=\"Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace.\" href=\"http://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/viewarticle?data=dGJyMPPp44rp2%2fdV0%2bnjisfk5Ie41%2fOL8t%2fsRuvX54as2%2baH8eq%2bUK2prkewpq9JnqeuUrGsuEy1lr9lpOrweezp33vy3%2b2G59q7RbCmsEyxq7BJsKqkhN%2fk5VXj5KR84LPfUeac8nnls79mpNfsVbCvsVCxrrBIpNztiuvX8lXk6%2bqE8tv2jAAA&amp;hid=5\">Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace. </a><em>Art Book</em>, Feb2008, Vol. 15 Issue 1, p9-10, 2p;</p>\n<p align=\"left\">5. Matthews, T., DeWitt Platt, F., Noble, Thomas F.X., <span style=\"text-decoration: underline\">The Western Humanities</span>, McGraw-Hill, New York, 2011, Seventh Edition, Volume II, p307-308; p312;</p>\n<p align=\"left\">6.Equestrian statue of Cosimo Medici. Website:  http://www.flickr.com/photos/19178753@N04/5093773149/. Accessed September 8, 2011.</p>\n<p align=\"left\">7. Medici-Riccardi Palace courtyard, Florence. Italy. Website: http://www.goingthroughitaly.com/500/medici-riccardi-palace/. Accessed September 5, 2011.</p>\n<p align=\"left\">8. Laurentian Library. The Museums of Florence. Website: http://www.museumsinflorence.com/musei/Laurentian_Library.html. Accessed September 7, 2011.</p>\n<p align=\"left\">9.  Mediateca di Palazzo Medici Riccardi. <a href=\"http://www.provincia.fi.it/\">Provincia di Firenze</a>. Palazzo Medici-Riccardi Today.\nWebsite: http://www.palazzo-medici.it/mediateca/en/cronologia.php#3. Accessed September 6, 2011.</p>\n<p align=\"left\">10. Comune di Perugia. Palazzo dei Priori. Website: http://www.comune.perugia.it. Accessed: September 16, 2011.</p>','Protest at the Palazzo','','inherit','open','open','','1593-autosave','','','2011-09-27 19:37:52','2011-09-28 01:37:52','',1593,'http://jeanatacc.com/2011/?p=1636',0,'revision','',0),(1637,41,'2011-09-20 16:02:47','2011-09-20 22:02:47','<h3><span style=\"color: #605f00\">Citizens revolt against plans to demolish the embodiment of Renaissance Civil Architecture.</span></h3>\r\n<p align=\"left\">By Jill Brockmann<strong>,</strong> ONN Contributor, Italy, Florence -- (ONN Bureau)</p>\r\n<p align=\"left\">September 19, 2011 12:05 p.m. EDT</p>\r\n\r\n\r\n[caption id=\"attachment_1604\" align=\"alignleft\" width=\"290\" caption=\"The Medici Palazzo - Image found: http://otherworldmystery.com/tag/rosicrucianism\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\"><img class=\"size-full wp-image-1604\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\" alt=\"The Medici Palazzo\" width=\"290\" height=\"117\" /></a>[/caption]\r\n<p align=\"left\">Riots broke out in Tuscany\'s capital today, as the polizia tried to hold back protesters in front of the Palazzo Medici Riccardi, the epitome and gold standard of Renaissance Civil Architecture. Hundreds of protesters congregated in front of the strong, yet grim, exterior of the cube-shaped building that was once the most persuasive symbol of the political and cultural authority of the Medici banking family in Florence.<sup>2 </sup> Protesters believe that the building should be preserved because of its long history of provoking ardent political discourse, its owners promoted the preservation of rare art and they shared their priceless pieces in an effort to enhance the community\'s love of the arts. The City Council is attempting to exert their power <!--more-->of emminent domain and destroy the building, replacing it with a high-rise apartment complex that would include tax-generating commercial space on the first floor. The building was built by the Italian architect and sculptor, Michelozzo di Bartolomeo Michelozzi (1396–1472) and was commissioned by the head of the Medici banking family, Cosimo de\' Medici, between the years of 1445-1460. Today, the building is known as the Palazzo Medici Riccardi, after Gabbriello Riccardi purchased it and expanded its footprint in 1659.<sup>1</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1609\" align=\"alignright\" width=\"198\" caption=\"Courtyard at the Medici Palazzo  Image found: http://www.goingthroughitaly.com/500/medici-riccardi-palace/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\"><img class=\"size-full wp-image-1609\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\" alt=\"Courtyard at the Medici Palazzo\" width=\"198\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">Florentine citizens are protesting the demolition of the building, which they consider the foremost example of the classic theory of magnificence, touted by Aristotle in his famed literary work, <em>Nicomachean Ethics</em>. Aristotle\'s theory held that \"men of means had a moral duty to live in magnificent palaces for the benefit of themselves, their family and society.\"<sup>2 </sup>Florentinians of today agree with this theory and see the building as an ideal model of political order, civic harmony, and pride.<sup>1</sup> At one time, the Medici Palazzo (palace) was said to be \"one of the noblest specimens of Italian fifteenth-century architecture, in which the great taste and skill of the architect has combined with the delicate lightness of earlier Italian Gothic style and with the massive stateliness of the classical style.\" <sup>2</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1606\" align=\"alignleft\" width=\"482\" caption=\"                         Example of biforal (left) and Gothic triforal (right) windows                                 Images found: http://www.florence-gallery.com/monuments/  and http://santatatiana.wordpress.com/2011/07/06/the-magnificent-palace-of-priors-in-perugia\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\"><img class=\"size-full wp-image-1606 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\" alt=\"Medici Palazzo (left) and Prior\'s Palace (right) window examples \" width=\"482\" height=\"151\" /></a>[/caption]\r\n<p align=\"left\"> When compared to the Prior\'s Palace, in Perugia, the Medici Palace offers many considerations of similarity and contrast.<sup> 2</sup> The Prior\'s Palace was constructed during the same time period and held fast to the custom of resting double-arch (biforal) windows on classic cornices, which echoed ecclesiastical architecture.<sup>2</sup></p>\r\n<p align=\"left\">Medici Palazzo is designed with double-arch windows on the second and third floors. However, the rounded-arches of the windows in the Medici Palazzo deviate from the Prior\'s Palace windows in that they do not have the classic Gothic point at the top.<sup>2</sup> This rounded-style arch was first seen in a residence when Michelozzo designed the Medici Palazzo to look more secular.<sup>2</sup></p>\r\n<p align=\"left\">An additional architectural differentiation from buildings of its time, including the Prior\'s Palace, was the optical illusion created when the building is viewed from street level.<sup>2</sup> The stone surfaces from bottom-to-top change in texture from rough to smooth, and the stories are scaled from taller on the bottom level to shorter on the upper levels.<sup>2</sup> This transition of surfaces and story height creates the illusion that the structure looms even taller than it actually is. The cornice along the top of the building, projecting out six feet past the façade, serves as a type of crown for the building and its ornate moldings, coffers, rosettes and flutes further speak to the Medici\'s preoccupation with social and political status.<sup>2,4</sup></p>\r\n<p align=\"left\">Spokesperson for the uprising, Leona Battista Alberti, (descendent of author Leon Battista Alberti, who penned <em>On the Art of Building in Ten Books</em>) stated that the Medici family monopolized Florentine politics and all things cultural from 1434 to 1494.<sup>5</sup>  Alberti claims that Cosimo Medici was a humanist, had amassed a large fortune, and had successfully managed to outwit his political enemies to become the <em>de facto</em> ruler of Florence.<sup>3</sup> Under his rule, Medici took advantage of the open trade routes, throughout much of the world, to bring precious objects to Florence and this enhanced honor and pride within the community. She further stated that the objects he imported  included priceless paintings, rare books, elaborate sculptures, fine tapestries, unusual plants, splendid inlaid marble floor tiles and much more.<sup>3</sup> Alberti clearly prayed that the Medici Palace remain standing as a respectful tribute to the illustrious Medici family and all of the rare treasures they brought to the Florentine citizens.</p>\r\n\r\n\r\n[caption id=\"attachment_1611\" align=\"alignright\" width=\"245\" caption=\"Statue of Cosimo de&#039; Medici - Image found: http://www.flickr.com/photos/19178753@N04/5093773149/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\"><img class=\"size-full wp-image-1611 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\" alt=\"Statue of Cosimo de Medici\" width=\"245\" height=\"194\" /></a>[/caption]\r\n<p align=\"left\">Opponent of the protest, Frank Pazzi, (descendant of Francesco de\' Pazzi) spoke of the political unrest that swirled around the Medici family during the time immediately before and after the construction of the Medici Palazzo. The rising wealth among the merchant class was infringing upon the authority of the Papacy and creating tension within the Church. He spoke of the fact that Medici purposefully chose the unusual design and appearance of the building\'s façade because he had just returned from exile and was conscientious about upsetting the delicate political climate of the time and arousing envy among the citizens of Florence. Pazzi\'s family had been political rivals of the Medici family in the 1400s and he noted that one of his ancestors had been hanged at the Palace.<sup>3</sup> Pazzi viewed the Palace as a place of great heartache, political unrest, and the reminded him of the social manipulation running rampant at the time. He stated that he wished the building \"had been flattened years ago.\"</p>\r\n<p align=\"left\">Since the Medici vs. Pazzi family rivalry ended with the Medici\'s prevailing, the construction of the Medici Palace represented a celebration or re-birth of sorts, and therefor, the building was in a brand-new style.<sup>3</sup>  According to the Curator of the present-day Medici Museum, the Medici Palace was the first private residence in Florence to have an all-stone exterior, elements such as moldings, round-headed arches, elegant wedge-shaped stones in the arches, (called \"voussoirs\") and the prominent display of the family coat-of-arms.<sup>2  </sup>The Curator further explained that although there were some characteristics of this building that were classically Roman in nature, the predominant reason to preserve this structure was that it was the first time a residence included a gracious nod to civic harmony and lower-class inclusiveness among the wealthy. For example, he stated that Medici placed stone benches, wrought-iron hitching rings for horses, and torch holders on the exterior as a means of welcoming visitors.</p>\r\n<p align=\"left\">Perhaps the welcoming ambience of the Palace was the seed of change and now, present day architects use it in their designs. The Medici were the first to incorporate these community-related elements in to their design and nowadays nearly every building in existence has some sort of bench, railing, fountain, garden, or welcoming landscape. Saying that a building is \"inviting\" is considered a great accomplishment among commercial architects today. Is it possible that the Medici were the first example of this community-minded trend? If so, this fact alone may be reason enough to preserve the building.</p>\r\n\r\n\r\n[caption id=\"attachment_1614\" align=\"alignleft\" width=\"230\" caption=\"Alterpiece in the Chapel of the Medici Palazzo ~ Image found: http://hoocher.com/Agnolo_Bronzino/Agnolo_Bronzino.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\"><img class=\"size-full wp-image-1614\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\" alt=\"Alterpiece in the chapel of The Medici Palazzo\" width=\"230\" height=\"320\" /></a>[/caption]\r\n<p align=\"left\">When interviewed, present-day Florentine Architect, Phillip Brunelleschi, (descendant of architect, Filippo Brunelleschi) noted that at the time Medici Palazzo was constructed, building façades had a distinct asymmetry to the placement of the center courtyard and the doors. This created a lack of alignment between the doors and the upper windows.<sup>2</sup> He went on to speak of the misalignment of the doors and upper-story windows of the Medici Palazzo. Despite this similarity to buildings of the day, it was Brunelleschi\'s opinion that the center courtyard of Medici Palazzo is designed to \"evoke a cloister-like sacred space\"<sup>2</sup> and this tranquil element was non-existent in other palaces of that time. The Medici incorporated their own chapel within the walls of the Palace. What did having their own church say about their connection to God? Most people in Florence had to walk to church. The Medici could have simply walked into their chapel and hired their own priest. Their social and religious stature must have irritated the Church and that would have further inflamed their political standing in town.</p>\r\n<p align=\"left\">Protest organizer, Loren Vecchio, (descendant of Cosimo Medici) advocates the preservation of the building due to the historic accomplishments of the Medici family in relation to education. Vecchio stressed that under the patronage of the Medici family, the Platonic Academy in Florence was founded in 1462. In 1480, The Medici opened the Garden of Lorenzo de’ Medici. Vecchio noted that the library of St. Lorenzo (Bibliotheca Laurenziana) made</p>\r\n\r\n\r\n[caption id=\"attachment_1616\" align=\"alignright\" width=\"190\" caption=\"Laurentian Library Foyer     Image found: http://www.museumsinflorence.com/musei/Laurentian_Library.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\"><img class=\"size-full wp-image-1616\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\" alt=\"Laurentian Library inside The Medici Palazzo\" width=\"190\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">available to the public the immense Medici collection of books and manuscripts, and that this one act proved that the Medici\'s had devoted their lives to the colossal undertaking of educating and promoting the appreciation of the arts for generations to come.<sup>4</sup></p>\r\n<p align=\"left\">One of the protesters, Marisa Ficino, (descendent of Marsilio Ficino), mentioned that one of her ancestors had been hired by Cosimo to translate the works of Plato into Latin and that Medici was a huge patron of the arts and literature. She commented that, according to family stories, the Medici were the first family to use their personal residences to display vast art and cultural collections.<sup>4</sup> Ficino indicated that the practice of inviting guests to visit the Palace was politically innovative at the time because guests were only shown rooms that equaled their favor with the family. Viewing the enormous collection of rare and priceless artifacts became an inducement that led guests to do the bidding of the family. Certain precious pieces were only shown to those members of society that, according to the Medici family, were worthy.<sup>4</sup> At the time, this custom created envy among some circles while delighting others. Could it be that the same practice still exists, in some form, in our society today?</p>\r\n\r\n\r\n[caption id=\"attachment_1615\" align=\"alignleft\" width=\"194\" caption=\"Medici Palazzo Ceremonial Hall  Image found: http://www.museumsinflorence.com/musei/medici_riccardi_palace.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\"><img class=\"size-full wp-image-1615\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\" alt=\"Medici Palazzo Ceremonial Hall\" width=\"194\" height=\"259\" /></a>[/caption]\r\n<p align=\"left\">Today, the Palace holds the offices of the Provincial Governor, the Florentine Provincial Authority, the Istituto Storico dellaRes istenza and the Biblioteca Moreniana. Upon researching this article, the author found almost three million listings for the Medici Palazzo that were academic in n</p>\r\n<p align=\"left\">ature or bespoke of its architectural prestige and dominance in the civil architecture movement of the Renaissance. In the humble opinion of this author, it appears that this extraordinary work of architecture is worth preserving and hopefully the Florence City Council will realize the multi-layered historical importance and, keep the building in order to give the protestors what they want.</p>\r\n\r\n<h2></h2>\r\n&nbsp;\r\n<h2><em><span style=\"color: #605f00\">Works Cited List:</span></em></h2>\r\n<p align=\"left\">1. The Medici Palazzo - The Chronology. http://www.palazzo-medici.it/eng/sez_storia/medici.htm Website accessed August 26, 2011.</p>\r\n<p align=\"left\">2. Partridge, Loren W.<span style=\"text-decoration: underline\"> Art of Renaissance Florence, 1400-1600 </span>. Imprint Berkeley : University of California Press, c2009.</p>\r\n<p align=\"left\">3. Martinez, Lauro. <span style=\"text-decoration: underline\">April blood : Florence and the plot against the Medici.</span> Imprint Oxford ; New York : Oxford University Press, 2003.</p>\r\n<p align=\"left\">4. Neher, Gabriele. <a title=\"Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace.\" href=\"http://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/viewarticle?data=dGJyMPPp44rp2%2fdV0%2bnjisfk5Ie41%2fOL8t%2fsRuvX54as2%2baH8eq%2bUK2prkewpq9JnqeuUrGsuEy1lr9lpOrweezp33vy3%2b2G59q7RbCmsEyxq7BJsKqkhN%2fk5VXj5KR84LPfUeac8nnls79mpNfsVbCvsVCxrrBIpNztiuvX8lXk6%2bqE8tv2jAAA&amp;hid=5\">Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace. </a><em>Art Book</em>, Feb2008, Vol. 15 Issue 1, p9-10, 2p;</p>\r\n<p align=\"left\">5. Matthews, T., DeWitt Platt, F., Noble, Thomas F.X., <span style=\"text-decoration: underline\">The Western Humanities</span>, McGraw-Hill, New York, 2011, Seventh Edition, Volume II, p307-308; p312;</p>\r\n<p align=\"left\">6.Equestrian statue of Cosimo Medici. Website:  http://www.flickr.com/photos/19178753@N04/5093773149/. Accessed September 8, 2011.</p>\r\n<p align=\"left\">7. Medici-Riccardi Palace courtyard, Florence. Italy. Website: http://www.goingthroughitaly.com/500/medici-riccardi-palace/. Accessed September 5, 2011.</p>\r\n<p align=\"left\">8. Laurentian Library. The Museums of Florence. Website: http://www.museumsinflorence.com/musei/Laurentian_Library.html. Accessed September 7, 2011.</p>\r\n<p align=\"left\">9.  Mediateca di Palazzo Medici Riccardi. <a href=\"http://www.provincia.fi.it/\">Provincia di Firenze</a>. Palazzo Medici-Riccardi Today.\r\nWebsite: http://www.palazzo-medici.it/mediateca/en/cronologia.php#3. Accessed September 6, 2011.</p>\r\n<p align=\"left\">10. Comune di Perugia. Palazzo dei Priori. Website: http://www.comune.perugia.it. Accessed: September 16, 2011.</p>','Protest at the Palazzo','','inherit','open','open','','1593-revision-27','','','2011-09-20 16:02:47','2011-09-20 22:02:47','',1593,'http://jeanatacc.com/2011/?p=1637',0,'revision','',0),(3478,1,'2013-10-14 12:42:23','2013-10-14 18:42:23','<p style=\"text-align: center;\"><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/modest.jpg\"><img class=\"size-medium wp-image-3441 aligncenter\" alt=\"modest\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/modest-167x300.jpg\" width=\"167\" height=\"300\" /></a></p>\r\n<p style=\"text-align: center;\">A Modest Proposal</p>\r\n<p style=\"text-align: center;\">(For Preventing the Children of Poor People in Ireland From Being a Burden to Their Parents of Country, and for Making Them Beneficial to the Public)</p>\r\n<p style=\"text-align: center;\">Jonathan swift</p>\r\n<p style=\"text-align: center;\">1729</p>\r\n&nbsp;\r\n\r\nSwift’s A Modest Proposal is in short his satirical suggested solution to the famine that weighed heavily on the people of Ireland. However, it is much more than that. With Swift’s proposal it is clear that his solution that \"…children should be bred and butchered for the English dining table, thus providing income for the poor and alleviating the miseries of all…\" was not the correct way to go. (Fiero) Swift opens with a heart wrenching description of the destitute women and children on the streets. He explains that as the children grow older they are a continuous burden on the parents and society because they become thieves. He suggests that his proposal will be great for the entire population. He identifies a year old is a proper age to be sold and \"will make four dishes of excellent nutritive meat\" (Swift). He admits that predominately the boys will be sold because the females are able to breed and feed the babies they birth and to sell them would be \"bordering upon cruelty\" (Swift). He claims that he doesn\'t have any personal motives in offering his idea besides \"the public good of my country, by advancing our trade, providing for infants, relieving the poor, and giving some pleasure to the rich\" (Swift). Ironically, he ends his proposal by informing the reader that none of his kids are young enough to be a part of his solution and his wife is too old to have any more kids. This inevitably solidifies the satirical irony this proposal is founded on. A Modest Proposal should be preserved because it teaches the complete tragedy of the times and its effects on society historically, in both an informational and entertaining style.<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2013/10/modest.jpg\"><!--more--></a>\r\n\r\n&nbsp;\r\n\r\nAt the time A Modest Proposal was written at a time when the British government was severely oppressing the Irish people. They had limited the Irish folks\' ability to export nearly everything that was worth exporting as well as forcing them to make all their purchases from foreign sellers because the imports were so few. Many of the families were unable to feed their own children because of how little income they were able to gain, this is something that Swift reviews as the \"cruel and enduring realities of Ireland\'s social misery\" (Briggs). They were in a terrible condition because \"the Irish that had legitimated the English colonization of Ireland for centuries\" (Splenetic). There was a great upset in the religious world as well. Although Catholicism was the major religion the Protestant minorities had immigrated to England and for the idea of safety in numbers they unity with the English. This unity brought a force that created \"a series of discriminatory inheritance laws which effectively broke up large Catholic estates\" (Baker). This left the \"Anglo-Irish\" as the prime owners of the country so to speak. However, as the redheaded step children they had no unity driving force, their people constantly split between two powers, Tory Lordship and Whiggish House of Commons, vying for the overall rule, leaving those with very little caught in the middle with no one fighting on their behalf. The lack of powerful leadership left them vulnerable to the strong hand of the English who desired no competition in the economy for farms and businesses. Thus, they created laws that at the root destroyed the Irish economy and brought the famine and destitution of the Irish people.\r\n\r\n&nbsp;\r\n\r\nHe copied a popular style of the time and used pamphlets that could be easily passed out in mass quantities for not very much money. He used this humorous approach because often times the solutions of his peers had such disregard for the tragic implication on the people whom they were supposed to be helping for the sake of economic efficiency. The suggestion of cannibalism was a theme that ran among the pamphleteers. It suggested that the Irish were so below humanity they were \"given to dietary practices\" (Splenetic). The many authors may have had some sympathy because this was the way the Irish were viewed they also had \"disgust and contempt for the objects of the slur\" (Splenetic). Swift was able to pull ideas from the writings of others over the previous seventy years. Swift\'s foundation for his writings is in the \"methods and implicit values\" of the pioneers in this type of influential writing, that create \"the confident social and financial projections of Swift\'s proposers\" (Briggs).\r\n\r\n&nbsp;\r\n\r\nThe satirical stand point from which Swift wrote this pamphlet marks it a part from others of it\'s kind. He was quite negative with his outlook of humanity and once even wrote a letter to Alexander Pope \"that he hated the human race, whose misuse of reason produced, in his view, an irredeemably corrupt society\" (Fiero). This ability to see the works of his predecessors and identify what made them ridiculous, in their disregard for the effect of their proposals, actually made him a better writer. He was able to \"extend the life of the original[s], even while drawing critical attention to [them]\" (Briggs). Other pieces allowed \"formal values to take precedence over feeling and human ones\" so Swift flipped the script and showed the true colors of those writings with a \"man\'s overconfident and unfeeling slavery to the same methods\" (Briggs).\r\n\r\n&nbsp;\r\n\r\nThe pamphlet was not well received in it\'s time. Many took the pamphlet too literally, which lead them to believe that swift\'s intentions were to actually beginning eating their children. This for any mother is an absolute abomination to her family and of course no one thought this was a good idea. For those who were able to understand and catch on to his satirical stand point they did. To want any more of the pamphlets to be printed as it so clearly was pointing the laughing finger in the face of such a serious matter and \"expressing contempt for the community under scrutiny,\" (Chowdhury).\r\n\r\n&nbsp;\r\n\r\nBarbara Bengels wrote a short piece on A modest proposal and focused on Swift\'s usage of clothes. She read into why he would have used the symbolism if clothes and identified it as it being something mothers are able to take pride in and how the \"physical revulsion\" comes from the comparison dressing a child in clothes and dressing a child with gravy. She thinks Swift is revealing the moral depravity of the times. She believes that Swift may be chastising the reader and their ability to pick up these comparisons he was making because he so cleverly covers up his true intentions. She claims he is hiding the meaning \"behind a mask of feigned sincerity\" (Bengels). I think this very deep reflection on the pamphlet can be credited to hindsight being 20/20.  She is able to see from a deep perspective exactly what he was implying and assign a greater meaning to it.\r\n\r\n&nbsp;\r\n\r\nI found Swifts proposal hilarious and terribly sad. To think this actually was to be looked at as even a momentary solution means that it was representative of a time of such dyer  circumstances. I understand the satire he was using and how it was reflective of the times, which magnifies the horrendous lack of humanity that was being used by the leadership of the times. I found it the language he uses to set the scene at the very beginning of the pamphlet meaningful because he wrenches at the heart of the reader. He identifies exactly who is being hurt by the bad economy. Women and children appear to be taking the brunt of the situation. They are the ones that need the most help and who would be able to \"benefit\" from his solution. It is really quite sad that Swift identifies that the women would not have to take care of the children after they are a year old as a positive side to his suggestion. I think it is admirable how he is able to add humor to such a horrible topic. He very smartly takes the very thing that other writers had disregarded as unimportant, which is humanity and our values and morals, and showed the reader just how poor those ideas were. It is a very well thought out and crafted piece of literature, that is able to show us the history of his writings as well as reveal to us the depravity they were facing all in a light hearted manner.\r\n\r\n&nbsp;\r\n\r\nA Modest Proposal can be compared to the visual satires of William Hogarth. Hogarth had a wholly different talent of bringing a parody of attention to the human experience. While Swift uses words to ironically paint the scene of the tragedy that was sweeping a nation, Hogarth is able to make prints and paintings with humor poking at reality. Hogarth actually illustrated \"Gulliver\'s Travels\" by Swift. Hogarth\'s pieces were reprinted and sold without his permission, this was before the first copy write laws. Contrastingly, Swift wanted his pamphlets to be reproduced and spread out as far and wide as possible, for he claims he did not have anything to gain. The engraving Gin Lane by Hogarth contrasts with Swifts proposal because they are just that, an engraving and a proposal. Gin Lane takes place in London, while A Modest Proposal is meant for Ireland. Both focus on the situations of the poor. Both works are dramatic views into the disparity of the times with an overlaying facts of the times and an underlaying parody of extremity. Both works view woman as the focus of the hard times, however, Gin Lane recognizes men, women and children while A Modest Proposal generally focuses as children with a rippling effect on economy as a whole. Gin Lane is drawing attention to \"gin addiction\" as a \"heroic attack on the social conditions of [the] time\". A Modest Proposal is an attack on the situation and previous proposed solutions. (Fiero)\r\n\r\n&nbsp;\r\n\r\nI think the most significant thing about this work that future generations should be aware of is how close to reality these events were. Even if they have very little idea of the 1700\'s, the descriptive words used to identify exactly what was going on is enough of a history lesson to give them a good grasp of what was happening then. Not only is it a good history type of lesson it is also fairly enjoyable to read. I think this credits the pamphlet above the others. While the other pamphleteers may have had \"good\" ideas of what solutions should be (I say that in quotes because they were truly horrible ideas they cloaked with fancy words and roundabout phrases similar to politicians so readers would have a difficult time deciphering the true implications), none can hold a match to the great Swift in his ability to identify the problem and make it humorous at that. If the future desires to know about the times and get a peek into the the 1700\'s while being entertained (which may I dare say, is a difficult thing to find), they ought to preserve and read A Modest Proposal.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\nWorks Cited\r\n\r\nBaker, Lyman A. “Conditions in Early Eighteenth Century Ireland”.  Periodical. 1999.  Kansas State University. 7 Oct 2013\r\n\r\nThis was a personal article written. I used this to better understand the historical times.\r\n\r\n&nbsp;\r\n\r\nBengels, Barbara. \"Swift\'s A MODEST PROPOSAL.\" Explicator 65.1 (2006): 13-15. Academic Search Complete. Web. 4 Oct. 2013.\r\n\r\nThis was a periodical where she observed Swift’s use of clothing in his writings. that I used to see what people of current times think of the pamphlet.\r\n\r\n&nbsp;\r\n\r\nBriggs, Peter M. \"John Graunt, Sir William Petty, And Swift\'s Modest Proposal.\" Eighteenth-Century Life 29.2 (2005): 3-24. Academic Search Complete. Web. 4 Oct. 2013.\r\n\r\nThis was an excerpt from a book that compared the style and ideas of these three authors. I used this to better define Swift’s in comparison to other writers of the time. Also, I was able to see what made Swift’s writings satirical because I could see the true intentions of other writers.\r\n\r\n&nbsp;\r\n\r\nChowdhury, Ahsan. \"Splenetic Ogres And Heroic Cannibals In Jonathan Swift\'s A Modest Proposal (1729).\" English Studies In Canada 34.2/3 (2008): 131-157. Academic Search Complete. Web. 4 Oct. 2013.\r\n\r\nThis article described the comparison and usage of the idea of cannibalism within Swift’s writings. I used this to gain a better understanding of what people thought of the work then.\r\n\r\n&nbsp;\r\n\r\nFiero, Gloria K. “Humanistic Tradition Vol 2”. Ebook. McGraw Hill. 2011.\r\n\r\nThis is our book for class. I used this to compare Hogarth’s works with Swift’s writings.\r\n\r\n&nbsp;\r\n\r\nHozeski, Bruce W. \"A Mathematical Error In Jonathan Swift\'s \"A Modest Proposal.\" American Notes &amp; Queries 15.4 (1976): 53. Academic Search Complete. Web. 4 Oct. 2013.\r\n\r\nThis is an article that looks into the thought of Swift’s proposal being mathematically incorrect and the insinuations that come with that. I used this to see understand the text of Swift’s proposal better.\r\n\r\n&nbsp;\r\n\r\nSwift, Jonathan. “A Modest Proposal”. Renascence Edition. 2003. University of Oregon. 3Oct 2013.\r\n\r\nThis is the full actual work of Swift. I based my entire proposal for preserving off of this.\r\n\r\n&nbsp;','A Modest Proposal','','inherit','open','open','','3437-revision-v1','','','2013-10-14 12:42:23','2013-10-14 18:42:23','',3437,'http://jeanatacc.com/2011/?p=3478',0,'revision','',0),(1640,41,'2011-09-20 16:03:43','2011-09-20 22:03:43','<h3><span style=\"color: #605f00\">Citizens revolt against plans to demolish the embodiment of Renaissance Civil Architecture.</span></h3>\r\n<p align=\"left\">By Jill Brockmann<strong>,</strong> ONN Contributor, Italy, Florence -- (ONN Bureau)</p>\r\n<p align=\"left\">September 19, 2011 12:05 p.m. EDT</p>\r\n\r\n\r\n[caption id=\"attachment_1604\" align=\"alignleft\" width=\"290\" caption=\"The Medici Palazzo - Image found: http://otherworldmystery.com/tag/rosicrucianism\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\"><img class=\"size-full wp-image-1604\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\" alt=\"The Medici Palazzo\" width=\"290\" height=\"117\" /></a>[/caption]\r\n<p align=\"left\">Riots broke out in Tuscany\'s capital today, as the polizia tried to hold back protesters in front of the Palazzo Medici Riccardi, the epitome and gold standard of Renaissance Civil Architecture. Hundreds of protesters congregated in front of the strong, yet grim, exterior of the cube-shaped building that was once the most persuasive symbol of the political and cultural authority of the Medici banking family in Florence.<sup>2 </sup> Protesters believe that the building should be preserved because of its long history of provoking ardent political discourse, its owners promoted the preservation of rare art and they shared their priceless pieces in an effort to enhance the community\'s love of the arts. The City Council is attempting to exert their power <!--more-->of emminent domain and destroy the building, replacing it with a high-rise apartment complex that would include tax-generating commercial space on the first floor. The building was built by the Italian architect and sculptor, Michelozzo di Bartolomeo Michelozzi (1396–1472) and was commissioned by the head of the Medici banking family, Cosimo de\' Medici, between the years of 1445-1460. Today, the building is known as the Palazzo Medici Riccardi, after Gabbriello Riccardi purchased it and expanded its footprint in 1659.<sup>1</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1609\" align=\"alignright\" width=\"198\" caption=\"Courtyard at the Medici Palazzo  Image found: http://www.goingthroughitaly.com/500/medici-riccardi-palace/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\"><img class=\"size-full wp-image-1609\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\" alt=\"Courtyard at the Medici Palazzo\" width=\"198\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">Florentine citizens are protesting the demolition of the building, which they consider the foremost example of the classic theory of magnificence, touted by Aristotle in his famed literary work, <em>Nicomachean Ethics</em>. Aristotle\'s theory held that \"men of means had a moral duty to live in magnificent palaces for the benefit of themselves, their family and society.\"<sup>2 </sup>Florentinians of today agree with this theory and see the building as an ideal model of political order, civic harmony, and pride.<sup>1</sup> At one time, the Medici Palazzo (palace) was said to be \"one of the noblest specimens of Italian fifteenth-century architecture, in which the great taste and skill of the architect has combined with the delicate lightness of earlier Italian Gothic style and with the massive stateliness of the classical style.\" <sup>2</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1606\" align=\"alignleft\" width=\"482\" caption=\"                         Example of biforal (left) and Gothic triforal (right) windows                                 Images found: http://www.florence-gallery.com/monuments/  and http://santatatiana.wordpress.com/2011/07/06/the-magnificent-palace-of-priors-in-perugia\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\"><img class=\"size-full wp-image-1606 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\" alt=\"Medici Palazzo (left) and Prior\'s Palace (right) window examples \" width=\"482\" height=\"151\" /></a>[/caption]\r\n<p align=\"left\"> When compared to the Prior\'s Palace, in Perugia, the Medici Palace offers many considerations of similarity and contrast.<sup> 2</sup> The Prior\'s Palace was constructed during the same time period and held fast to the custom of resting double-arch (biforal) windows on classic cornices, which echoed ecclesiastical architecture.<sup>2</sup></p>\r\n<p align=\"left\">Medici Palazzo is designed with double-arch windows on the second and third floors. However, the rounded-arches of the windows in the Medici Palazzo deviate from the Prior\'s Palace windows in that they do not have the classic Gothic point at the top.<sup>2</sup> This rounded-style arch was first seen in a residence when Michelozzo designed the Medici Palazzo to look more secular.<sup>2</sup></p>\r\n<p align=\"left\">An additional architectural differentiation from buildings of its time, including the Prior\'s Palace, was the optical illusion created when the building is viewed from street level.<sup>2</sup> The stone surfaces from bottom-to-top change in texture from rough to smooth, and the stories are scaled from taller on the bottom level to shorter on the upper levels.<sup>2</sup> This transition of surfaces and story height creates the illusion that the structure looms even taller than it actually is. The cornice along the top of the building, projecting out six feet past the façade, serves as a type of crown for the building and its ornate moldings, coffers, rosettes and flutes further speak to the Medici\'s preoccupation with social and political status.<sup>2,4</sup></p>\r\n<p align=\"left\">Spokesperson for the uprising, Leona Battista Alberti, (descendent of author Leon Battista Alberti, who penned <em>On the Art of Building in Ten Books</em>) stated that the Medici family monopolized Florentine politics and all things cultural from 1434 to 1494.<sup>5</sup>  Alberti claims that Cosimo Medici was a humanist, had amassed a large fortune, and had successfully managed to outwit his political enemies to become the <em>de facto</em> ruler of Florence.<sup>3</sup> Under his rule, Medici took advantage of the open trade routes, throughout much of the world, to bring precious objects to Florence and this enhanced honor and pride within the community. She further stated that the objects he imported  included priceless paintings, rare books, elaborate sculptures, fine tapestries, unusual plants, splendid inlaid marble floor tiles and much more.<sup>3</sup> Alberti clearly prayed that the Medici Palace remain standing as a respectful tribute to the illustrious Medici family and all of the rare treasures they brought to the Florentine citizens.</p>\r\n\r\n\r\n[caption id=\"attachment_1611\" align=\"alignright\" width=\"245\" caption=\"Statue of Cosimo de&#039; Medici - Image found: http://www.flickr.com/photos/19178753@N04/5093773149/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\"><img class=\"size-full wp-image-1611 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\" alt=\"Statue of Cosimo de Medici\" width=\"245\" height=\"194\" /></a>[/caption]\r\n<p align=\"left\">Opponent of the protest, Frank Pazzi, (descendant of Francesco de\' Pazzi) spoke of the political unrest that swirled around the Medici family during the time immediately before and after the construction of the Medici Palazzo. The rising wealth among the merchant class was infringing upon the authority of the Papacy and creating tension within the Church. He spoke of the fact that Medici purposefully chose the unusual design and appearance of the building\'s façade because he had just returned from exile and was conscientious about upsetting the delicate political climate of the time and arousing envy among the citizens of Florence. Pazzi\'s family had been political rivals of the Medici family in the 1400s and he noted that one of his ancestors had been hanged at the Palace.<sup>3</sup> Pazzi viewed the Palace as a place of great heartache, political unrest, and the reminded him of the social manipulation running rampant at the time. He stated that he wished the building \"had been flattened years ago.\"</p>\r\n<p align=\"left\">Since the Medici vs. Pazzi family rivalry ended with the Medici\'s prevailing, the construction of the Medici Palace represented a celebration or re-birth of sorts, and therefor, the building was in a brand-new style.<sup>3</sup>  According to the Curator of the present-day Medici Museum, the Medici Palace was the first private residence in Florence to have an all-stone exterior, elements such as moldings, round-headed arches, elegant wedge-shaped stones in the arches, (called \"voussoirs\") and the prominent display of the family coat-of-arms.<sup>2  </sup>The Curator further explained that although there were some characteristics of this building that were classically Roman in nature, the predominant reason to preserve this structure was that it was the first time a residence included a gracious nod to civic harmony and lower-class inclusiveness among the wealthy. For example, he stated that Medici placed stone benches, wrought-iron hitching rings for horses, and torch holders on the exterior as a means of welcoming visitors.</p>\r\n<p align=\"left\">Perhaps the welcoming ambience of the Palace was the seed of change and now, present day architects use it in their designs. The Medici were the first to incorporate these community-related elements in to their design and nowadays nearly every building in existence has some sort of bench, railing, fountain, garden, or welcoming landscape. Saying that a building is \"inviting\" is considered a great accomplishment among commercial architects today. Is it possible that the Medici were the first example of this community-minded trend? If so, this fact alone may be reason enough to preserve the building.</p>\r\n\r\n\r\n[caption id=\"attachment_1614\" align=\"alignleft\" width=\"230\" caption=\"Alterpiece in the Chapel of the Medici Palazzo ~ Image found: http://hoocher.com/Agnolo_Bronzino/Agnolo_Bronzino.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\"><img class=\"size-full wp-image-1614\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\" alt=\"Alterpiece in the chapel of The Medici Palazzo\" width=\"230\" height=\"320\" /></a>[/caption]\r\n<p align=\"left\">When interviewed, present-day Florentine Architect, Phillip Brunelleschi, (descendant of architect, Filippo Brunelleschi) noted that at the time Medici Palazzo was constructed, building façades had a distinct asymmetry to the placement of the center courtyard and the doors. This created a lack of alignment between the doors and the upper windows.<sup>2</sup> He went on to speak of the misalignment of the doors and upper-story windows of the Medici Palazzo. Despite this similarity to buildings of the day, it was Brunelleschi\'s opinion that the center courtyard of Medici Palazzo is designed to \"evoke a cloister-like sacred space\"<sup>2</sup> and this tranquil element was non-existent in other palaces of that time. The Medici incorporated their own chapel within the walls of the Palace. What did having their own church say about their connection to God? Most people in Florence had to walk to church. The Medici could have simply walked into their chapel and hired their own priest. Their social and religious stature must have irritated the Church and that would have further inflamed their political standing in town.</p>\r\n<p align=\"left\">Protest organizer, Loren Vecchio, (descendant of Cosimo Medici) advocates the preservation of the building due to the historic accomplishments of the Medici family in relation to education. Vecchio stressed that under the patronage of the Medici family, the Platonic Academy in Florence was founded in 1462. In 1480, The Medici opened the Garden of Lorenzo de’ Medici. Vecchio noted that the library of St. Lorenzo (Bibliotheca Laurenziana) made</p>\r\n\r\n\r\n[caption id=\"attachment_1616\" align=\"alignright\" width=\"190\" caption=\"Laurentian Library Foyer     Image found: http://www.museumsinflorence.com/musei/Laurentian_Library.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\"><img class=\"size-full wp-image-1616\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\" alt=\"Laurentian Library inside The Medici Palazzo\" width=\"190\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">available to the public the immense Medici collection of books and manuscripts, and that this one act proved that the Medici\'s had devoted their lives to the colossal undertaking of educating and promoting the appreciation of the arts for generations to come.<sup>4</sup></p>\r\n<p align=\"left\">One of the protesters, Marisa Ficino, (descendent of Marsilio Ficino), mentioned that one of her ancestors had been hired by Cosimo to translate the works of Plato into Latin and that Medici was a huge patron of the arts and literature. She commented that, according to family stories, the Medici were the first family to use their personal residences to display vast art and cultural collections.<sup>4</sup> Ficino indicated that the practice of inviting guests to visit the Palace was politically innovative at the time because guests were only shown rooms that equaled their favor with the family. Viewing the enormous collection of rare and priceless artifacts became an inducement that led guests to do the bidding of the family. Certain precious pieces were only shown to those members of society that, according to the Medici family, were worthy.<sup>4</sup> At the time, this custom created envy among some circles while delighting others. Could it be that the same practice still exists, in some form, in our society today?</p>\r\n\r\n\r\n[caption id=\"attachment_1615\" align=\"alignleft\" width=\"194\" caption=\"Medici Palazzo Ceremonial Hall  Image found: http://www.museumsinflorence.com/musei/medici_riccardi_palace.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\"><img class=\"size-full wp-image-1615\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\" alt=\"Medici Palazzo Ceremonial Hall\" width=\"194\" height=\"259\" /></a>[/caption]\r\n<p align=\"left\">Today, the Palace holds the offices of the Provincial Governor, the Florentine Provincial Authority, the Istituto Storico dellaRes istenza and the Biblioteca Moreniana. Upon researching this article, the author found almost three million listings for the Medici Palazzo that were academic in n</p>\r\n<p align=\"left\">ature or bespoke of its architectural prestige and dominance in the civil architecture movement of the Renaissance. In the humble opinion of this author, it appears that this extraordinary work of architecture is worth preserving and hopefully the Florence City Council will realize the multi-layered historical importance and, keep the building in order to give the protestors what they want.</p>\r\n\r\n<h2></h2>\r\n&nbsp;\r\n<h2><em><span style=\"color: #605f00\">Works Cited List:</span></em></h2>\r\n<p align=\"left\">1. The Medici Palazzo - The Chronology. http://www.palazzo-medici.it/eng/sez_storia/medici.htm Website accessed August 26, 2011.</p>\r\n<p align=\"left\">2. Partridge, Loren W.<span style=\"text-decoration: underline\"> Art of Renaissance Florence, 1400-1600 </span>. Imprint Berkeley : University of California Press, c2009.</p>\r\n<p align=\"left\">3. Martinez, Lauro. <span style=\"text-decoration: underline\">April blood : Florence and the plot against the Medici.</span> Imprint Oxford ; New York : Oxford University Press, 2003.</p>\r\n<p align=\"left\">4. Neher, Gabriele. <a title=\"Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace.\" href=\"http://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/viewarticle?data=dGJyMPPp44rp2%2fdV0%2bnjisfk5Ie41%2fOL8t%2fsRuvX54as2%2baH8eq%2bUK2prkewpq9JnqeuUrGsuEy1lr9lpOrweezp33vy3%2b2G59q7RbCmsEyxq7BJsKqkhN%2fk5VXj5KR84LPfUeac8nnls79mpNfsVbCvsVCxrrBIpNztiuvX8lXk6%2bqE8tv2jAAA&amp;hid=5\">Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace. </a><em>Art Book</em>, Feb2008, Vol. 15 Issue 1, p9-10, 2p;</p>\r\n<p align=\"left\">5. Matthews, T., DeWitt Platt, F., Noble, Thomas F.X., <span style=\"text-decoration: underline\">The Western Humanities</span>, McGraw-Hill, New York, 2011, Seventh Edition, Volume II, p307-308; p312;</p>\r\n<p align=\"left\">6.Equestrian statue of Cosimo Medici. Website:  http://www.flickr.com/photos/19178753@N04/5093773149/. Accessed September 8, 2011.</p>\r\n<p align=\"left\">7. Medici-Riccardi Palace courtyard, Florence. Italy. Website: http://www.goingthroughitaly.com/500/medici-riccardi-palace/. Accessed September 5, 2011.</p>\r\n<p align=\"left\">8. Laurentian Library. The Museums of Florence. Website: http://www.museumsinflorence.com/musei/Laurentian_Library.html. Accessed September 7, 2011.</p>\r\n<p align=\"left\">9.  Mediateca di Palazzo Medici Riccardi. <a href=\"http://www.provincia.fi.it/\">Provincia di Firenze</a>. Palazzo Medici-Riccardi Today.\r\nWebsite: http://www.palazzo-medici.it/mediateca/en/cronologia.php#3. Accessed September 6, 2011.</p>\r\n<p align=\"left\">10. Comune di Perugia. Palazzo dei Priori. Website: http://www.comune.perugia.it. Accessed: September 16, 2011.</p>','Protest at the Palazzo','','inherit','open','open','','1593-revision-28','','','2011-09-20 16:03:43','2011-09-20 22:03:43','',1593,'http://jeanatacc.com/2011/?p=1640',0,'revision','',0),(1641,1,'2011-09-20 16:05:45','2011-09-20 22:05:45','<h3><span style=\"color: #605f00\">Citizens revolt against plans to demolish the embodiment of Renaissance Civil Architecture.</span></h3>\r\n<p align=\"left\">By Jill Brockmann<strong>,</strong> ONN Contributor, Italy, Florence -- (ONN Bureau)</p>\r\n<p align=\"left\">September 19, 2011 12:05 p.m. EDT</p>\r\n\r\n\r\n[caption id=\"attachment_1604\" align=\"alignleft\" width=\"290\" caption=\"The Medici Palazzo - Image found: http://otherworldmystery.com/tag/rosicrucianism\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\"><img class=\"size-full wp-image-1604\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\" alt=\"The Medici Palazzo\" width=\"290\" height=\"117\" /></a>[/caption]\r\n<p align=\"left\">Riots broke out in Tuscany\'s capital today, as the polizia tried to hold back protesters in front of the Palazzo Medici Riccardi, the epitome and gold standard of Renaissance Civil Architecture. Hundreds of protesters congregated in front of the strong, yet grim, exterior of the cube-shaped building that was once the most persuasive symbol of the political and cultural authority of the Medici banking family in Florence.<sup>2 </sup> Protesters believe that the building should be preserved because of its long history of provoking ardent political discourse, its owners promoted the preservation of rare art and they shared their priceless pieces in an effort to enhance the community\'s love of the arts. The City Council is attempting to exert their power <!--more-->of emminent domain and destroy the building, replacing it with a high-rise apartment complex that would include tax-generating commercial space on the first floor. The building was built by the Italian architect and sculptor, Michelozzo di Bartolomeo Michelozzi (1396–1472) and was commissioned by the head of the Medici banking family, Cosimo de\' Medici, between the years of 1445-1460. Today, the building is known as the Palazzo Medici Riccardi, after Gabbriello Riccardi purchased it and expanded its footprint in 1659.<sup>1</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1609\" align=\"alignright\" width=\"198\" caption=\"Courtyard at the Medici Palazzo  Image found: http://www.goingthroughitaly.com/500/medici-riccardi-palace/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\"><img class=\"size-full wp-image-1609\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\" alt=\"Courtyard at the Medici Palazzo\" width=\"198\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">Florentine citizens are protesting the demolition of the building, which they consider the foremost example of the classic theory of magnificence, touted by Aristotle in his famed literary work, <em>Nicomachean Ethics</em>. Aristotle\'s theory held that \"men of means had a moral duty to live in magnificent palaces for the benefit of themselves, their family and society.\"<sup>2 </sup>Florentinians of today agree with this theory and see the building as an ideal model of political order, civic harmony, and pride.<sup>1</sup> At one time, the Medici Palazzo (palace) was said to be \"one of the noblest specimens of Italian fifteenth-century architecture, in which the great taste and skill of the architect has combined with the delicate lightness of earlier Italian Gothic style and with the massive stateliness of the classical style.\" <sup>2</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1606\" align=\"alignleft\" width=\"482\" caption=\"                         Example of biforal (left) and Gothic triforal (right) windows                                 Images found: http://www.florence-gallery.com/monuments/  and http://santatatiana.wordpress.com/2011/07/06/the-magnificent-palace-of-priors-in-perugia\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\"><img class=\"size-full wp-image-1606 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\" alt=\"Medici Palazzo (left) and Prior\'s Palace (right) window examples \" width=\"482\" height=\"151\" /></a>[/caption]\r\n<p align=\"left\"> When compared to the Prior\'s Palace, in Perugia, the Medici Palace offers many considerations of similarity and contrast.<sup> 2</sup> The Prior\'s Palace was constructed during the same time period and held fast to the custom of resting double-arch (biforal) windows on classic cornices, which echoed ecclesiastical architecture.<sup>2</sup></p>\r\n<p align=\"left\">Medici Palazzo is designed with double-arch windows on the second and third floors. However, the rounded-arches of the windows in the Medici Palazzo deviate from the Prior\'s Palace windows in that they do not have the classic Gothic point at the top.<sup>2</sup> This rounded-style arch was first seen in a residence when Michelozzo designed the Medici Palazzo to look more secular.<sup>2</sup></p>\r\n<p align=\"left\">An additional architectural differentiation from buildings of its time, including the Prior\'s Palace, was the optical illusion created when the building is viewed from street level.<sup>2</sup> The stone surfaces from bottom-to-top change in texture from rough to smooth, and the stories are scaled from taller on the bottom level to shorter on the upper levels.<sup>2</sup> This transition of surfaces and story height creates the illusion that the structure looms even taller than it actually is. The cornice along the top of the building, projecting out six feet past the façade, serves as a type of crown for the building and its ornate moldings, coffers, rosettes and flutes further speak to the Medici\'s preoccupation with social and political status.<sup>2,4</sup></p>\r\n<p align=\"left\">Spokesperson for the uprising, Leona Battista Alberti, (descendent of author Leon Battista Alberti, who penned <em>On the Art of Building in Ten Books</em>) stated that the Medici family monopolized Florentine politics and all things cultural from 1434 to 1494.<sup>5</sup>  Alberti claims that Cosimo Medici was a humanist, had amassed a large fortune, and had successfully managed to outwit his political enemies to become the <em>de facto</em> ruler of Florence.<sup>3</sup> Under his rule, Medici took advantage of the open trade routes, throughout much of the world, to bring precious objects to Florence and this enhanced honor and pride within the community. She further stated that the objects he imported  included priceless paintings, rare books, elaborate sculptures, fine tapestries, unusual plants, splendid inlaid marble floor tiles and much more.<sup>3</sup> Alberti clearly prayed that the Medici Palace remain standing as a respectful tribute to the illustrious Medici family and all of the rare treasures they brought to the Florentine citizens.</p>\r\n\r\n\r\n[caption id=\"attachment_1611\" align=\"alignright\" width=\"245\" caption=\"Statue of Cosimo de&#039; Medici - Image found: http://www.flickr.com/photos/19178753@N04/5093773149/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\"><img class=\"size-full wp-image-1611 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\" alt=\"Statue of Cosimo de Medici\" width=\"245\" height=\"194\" /></a>[/caption]\r\n<p align=\"left\">Opponent of the protest, Frank Pazzi, (descendant of Francesco de\' Pazzi) spoke of the political unrest that swirled around the Medici family during the time immediately before and after the construction of the Medici Palazzo. The rising wealth among the merchant class was infringing upon the authority of the Papacy and creating tension within the Church. He spoke of the fact that Medici purposefully chose the unusual design and appearance of the building\'s façade because he had just returned from exile and was conscientious about upsetting the delicate political climate of the time and arousing envy among the citizens of Florence. Pazzi\'s family had been political rivals of the Medici family in the 1400s and he noted that one of his ancestors had been hanged at the Palace.<sup>3</sup> Pazzi viewed the Palace as a place of great heartache, political unrest, and the reminded him of the social manipulation running rampant at the time. He stated that he wished the building \"had been flattened years ago.\"</p>\r\n<p align=\"left\">Since the Medici vs. Pazzi family rivalry ended with the Medici\'s prevailing, the construction of the Medici Palace represented a celebration or re-birth of sorts, and therefor, the building was in a brand-new style.<sup>3</sup>  According to the Curator of the present-day Medici Museum, the Medici Palace was the first private residence in Florence to have an all-stone exterior, elements such as moldings, round-headed arches, elegant wedge-shaped stones in the arches, (called \"voussoirs\") and the prominent display of the family coat-of-arms.<sup>2  </sup>The Curator further explained that although there were some characteristics of this building that were classically Roman in nature, the predominant reason to preserve this structure was that it was the first time a residence included a gracious nod to civic harmony and lower-class inclusiveness among the wealthy. For example, he stated that Medici placed stone benches, wrought-iron hitching rings for horses, and torch holders on the exterior as a means of welcoming visitors.</p>\r\n<p align=\"left\">Perhaps the welcoming ambience of the Palace was the seed of change and now, present day architects use it in their designs. The Medici were the first to incorporate these community-related elements in to their design and nowadays nearly every building in existence has some sort of bench, railing, fountain, garden, or welcoming landscape. Saying that a building is \"inviting\" is considered a great accomplishment among commercial architects today. Is it possible that the Medici were the first example of this community-minded trend? If so, this fact alone may be reason enough to preserve the building.</p>\r\n\r\n\r\n[caption id=\"attachment_1614\" align=\"alignleft\" width=\"230\" caption=\"Alterpiece in the Chapel of the Medici Palazzo ~ Image found: http://hoocher.com/Agnolo_Bronzino/Agnolo_Bronzino.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\"><img class=\"size-full wp-image-1614\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\" alt=\"Alterpiece in the chapel of The Medici Palazzo\" width=\"230\" height=\"320\" /></a>[/caption]\r\n<p align=\"left\">When interviewed, present-day Florentine Architect, Phillip Brunelleschi, (descendant of architect, Filippo Brunelleschi) noted that at the time Medici Palazzo was constructed, building façades had a distinct asymmetry to the placement of the center courtyard and the doors. This created a lack of alignment between the doors and the upper windows.<sup>2</sup> He went on to speak of the misalignment of the doors and upper-story windows of the Medici Palazzo. Despite this similarity to buildings of the day, it was Brunelleschi\'s opinion that the center courtyard of Medici Palazzo is designed to \"evoke a cloister-like sacred space\"<sup>2</sup> and this tranquil element was non-existent in other palaces of that time. The Medici incorporated their own chapel within the walls of the Palace. What did having their own church say about their connection to God? Most people in Florence had to walk to church. The Medici could have simply walked into their chapel and hired their own priest. Their social and religious stature must have irritated the Church and that would have further inflamed their political standing in town.</p>\r\n<p align=\"left\">Protest organizer, Loren Vecchio, (descendant of Cosimo Medici) advocates the preservation of the building due to the historic accomplishments of the Medici family in relation to education. Vecchio stressed that under the patronage of the Medici family, the Platonic Academy in Florence was founded in 1462. In 1480, The Medici opened the Garden of Lorenzo de’ Medici. Vecchio noted that the library of St. Lorenzo (Bibliotheca Laurenziana) made</p>\r\n\r\n\r\n[caption id=\"attachment_1616\" align=\"alignright\" width=\"190\" caption=\"Laurentian Library Foyer     Image found: http://www.museumsinflorence.com/musei/Laurentian_Library.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\"><img class=\"size-full wp-image-1616\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\" alt=\"Laurentian Library inside The Medici Palazzo\" width=\"190\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">available to the public the immense Medici collection of books and manuscripts, and that this one act proved that the Medici\'s had devoted their lives to the colossal undertaking of educating and promoting the appreciation of the arts for generations to come.<sup>4</sup></p>\r\n<p align=\"left\">One of the protesters, Marisa Ficino, (descendent of Marsilio Ficino), mentioned that one of her ancestors had been hired by Cosimo to translate the works of Plato into Latin and that Medici was a huge patron of the arts and literature. She commented that, according to family stories, the Medici were the first family to use their personal residences to display vast art and cultural collections.<sup>4</sup> Ficino indicated that the practice of inviting guests to visit the Palace was politically innovative at the time because guests were only shown rooms that equaled their favor with the family. Viewing the enormous collection of rare and priceless artifacts became an inducement that led guests to do the bidding of the family. Certain precious pieces were only shown to those members of society that, according to the Medici family, were worthy.<sup>4</sup> At the time, this custom created envy among some circles while delighting others. Could it be that the same practice still exists, in some form, in our society today?</p>\r\n\r\n\r\n[caption id=\"attachment_1615\" align=\"alignleft\" width=\"194\" caption=\"Medici Palazzo Ceremonial Hall  Image found: http://www.museumsinflorence.com/musei/medici_riccardi_palace.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\"><img class=\"size-full wp-image-1615\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\" alt=\"Medici Palazzo Ceremonial Hall\" width=\"194\" height=\"259\" /></a>[/caption]\r\n<p align=\"left\">Today, the Palace holds the offices of the Provincial Governor, the Florentine Provincial Authority, the Istituto Storico dellaRes istenza and the Biblioteca Moreniana. Upon researching this article, the author found almost three million listings for the Medici Palazzo that were academic in n</p>\r\n<p align=\"left\">ature or bespoke of its architectural prestige and dominance in the civil architecture movement of the Renaissance. In the humble opinion of this author, it appears that this extraordinary work of architecture is worth preserving and hopefully the Florence City Council will realize the multi-layered historical importance and, keep the building in order to give the protestors what they want.</p>\r\n\r\n<h2></h2>\r\n&nbsp;\r\n<h2><em><span style=\"color: #605f00\">Works Cited List:</span></em></h2>\r\n<p align=\"left\">1. The Medici Palazzo - The Chronology. http://www.palazzo-medici.it/eng/sez_storia/medici.htm Website accessed August 26, 2011.</p>\r\n<p align=\"left\">2. Partridge, Loren W.<span style=\"text-decoration: underline\"> Art of Renaissance Florence, 1400-1600 </span>. Imprint Berkeley : University of California Press, c2009.</p>\r\n<p align=\"left\">3. Martinez, Lauro. <span style=\"text-decoration: underline\">April blood : Florence and the plot against the Medici.</span> Imprint Oxford ; New York : Oxford University Press, 2003.</p>\r\n<p align=\"left\">4. Neher, Gabriele. <a title=\"Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace.\" href=\"http://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/viewarticle?data=dGJyMPPp44rp2%2fdV0%2bnjisfk5Ie41%2fOL8t%2fsRuvX54as2%2baH8eq%2bUK2prkewpq9JnqeuUrGsuEy1lr9lpOrweezp33vy3%2b2G59q7RbCmsEyxq7BJsKqkhN%2fk5VXj5KR84LPfUeac8nnls79mpNfsVbCvsVCxrrBIpNztiuvX8lXk6%2bqE8tv2jAAA&amp;hid=5\">Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace. </a><em>Art Book</em>, Feb2008, Vol. 15 Issue 1, p9-10, 2p;</p>\r\n<p align=\"left\">5. Matthews, T., DeWitt Platt, F., Noble, Thomas F.X., <span style=\"text-decoration: underline\">The Western Humanities</span>, McGraw-Hill, New York, 2011, Seventh Edition, Volume II, p307-308; p312;</p>\r\n<p align=\"left\">6.Equestrian statue of Cosimo Medici. Website:  http://www.flickr.com/photos/19178753@N04/5093773149/. Accessed September 8, 2011.</p>\r\n<p align=\"left\">7. Medici-Riccardi Palace courtyard, Florence. Italy. Website: http://www.goingthroughitaly.com/500/medici-riccardi-palace/. Accessed September 5, 2011.</p>\r\n<p align=\"left\">8. Laurentian Library. The Museums of Florence. Website: http://www.museumsinflorence.com/musei/Laurentian_Library.html. Accessed September 7, 2011.</p>\r\n<p align=\"left\">9.  Mediateca di Palazzo Medici Riccardi. <a href=\"http://www.provincia.fi.it/\">Provincia di Firenze</a>. Palazzo Medici-Riccardi Today.\r\nWebsite: http://www.palazzo-medici.it/mediateca/en/cronologia.php#3. Accessed September 6, 2011.</p>\r\n<p align=\"left\">10. Comune di Perugia. Palazzo dei Priori. Website: http://www.comune.perugia.it. Accessed: September 16, 2011.</p>','Protest at the Palazzo','','inherit','open','open','','1593-revision-29','','','2011-09-20 16:05:45','2011-09-20 22:05:45','',1593,'http://jeanatacc.com/2011/?p=1641',0,'revision','',0),(1644,48,'2011-09-26 12:08:16','2011-09-26 18:08:16','<div class=\"mceTemp mceIEcenter\"><dl><dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003.jpg\"><img class=\"size-medium wp-image-1645 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\" /></a></dt><dd>0, handle not the theme, to talk of hands, lest we remember still that we have none.</dd></dl>\r\n<p style=\"text-align: center\"><a href=\"http://www.pilgrimways.com/window/2010/06/01/street-galleries/\">http://www.pilgrimways.com/window/2010/06/01/street-galleries/</a></p>\r\n\r\n</div>\r\n&nbsp;\r\n<div>     When discussing English literature, there is no pinnacle higher, no name more recognized than that of William Shakespeare. Born into the height of the renaissance period, sometime roughly around 1564, Shakespeare authored and co-authored a large number of plays that are still known the world over today. One of his first tragedies, <em>Titus Andronicus</em>, was written between 1588 and 1593. It is a classic tale of revenge and the human struggle with morality, and heavily reflects the fascination at the time for classic tales of passion and drama, especially ones drawn from the influence of ancient Greece and Rome. The fascination with subject matter from the classical world encompassed both art and literature, and many stories by Greek and Roman authors were being adapted for public consumption, including the writings of Ovid, is mentioned specifically in <em>Titus Andronicus</em>. It is the homage that Shakespeare pays to the authors of the past as well as the fact that<em> Titus Andronicus</em> is the first tragedy written by the famous playwright that makes it of such historical importance.<!--more--></div>\r\n<div>     \"It was from the stores of Greek and Latin churches...that the monks had preserved the seeds of many arts, particularly the art of design, though in a very imperfect degree, but still sufficient, by cultivation, to produce effects of the greatest magnitude. In respect to the progress of refinement in Italy, it must be observed, that the little republic of Florence gave birth to many restorers of science, letters, and arts. Painting, sculpture, and architecture were advanced and perfected by the consecutive labors of well-employed artists, during the course of almost three hundred years, from Cimbaue to Leonardo da Vinci, Frau Bartolomeo to Michael Angelo\" ( Northcote 1: 393-394 ). Like most writers of his time, William Shakespeare was influenced heavily by the art and culture that surrounded him. Most subject matter had been brought over to England by the Romans that initially established the country, and because of this the art and writings focused heavily on the mythos of Greece and Rome, as well as religious subject matter. Many of the books at the time were written in languages such as Latin, and while there were certainly texts published in old English, the majority of the population at the time was illiterate. This is what motivated playwrights such as Shakespeare to take these stories and re-create them in a medium that the masses would be able to enjoy. At the same time painters such as Leonardo da Vinci and Michael Angelo were producing works that visually told stories in a way that didn\'t require a literate audience. \"Many works produced by English artists between the year 1200 and the reign of Henry the VII could be compared with the best Italian artists of the same time\" ( Flaxman 51 ).</div>\r\n<div>     It is difficult to dispute the greatness of Shakespeare, and part of what made his plays so wildly popular was their presentation by the Lord Chamberlain\'s Men in the famous Globe Theatre.“In 1603, when James I succeeded Elizabeth, he gave the company a royal patent, and it became the King\'s Men. From 1603 to 1616 they played an average of twelve performances a year at Court. James supplied nine members, including Shakespeare, with four-and-a-half yards of red cloth each to make liveries to wear in his coronation procession” ( 7 ).<em> </em><em>Titus Andronicus</em> was the first of Shakespeare\'s tragedies and would have been the first of his tragedies performed by the theatre company, and likely also the first of Shakespeare\'s tragedies performed in the Globe theatre. Although it was a very lewd and violent play that was designed to appeal to the public, the way in which the theatre company presented it was different from any other play being produced at the time, and the work itself is innovative in that it was the first time Shakespeare broke away from writing comedies.</div>\r\n<div>     Edward Ravenscroft ( 1654-1707), was an English dramatist who is best known for criticizing <em>Titus Andronicus</em> foremost among Shakespeare\'s works. Ravenscroft originated the theory that<em> Titus Andronicus</em> wasn\'t actually written by Shakespeare, instead supposing that the playwright took an already existing story and re-worked it. Ravenscroft has been quoted at saying,\"... \'tis the most incorrect and indigested piece in all his Works, It seems rather a heap of Rubbish then a Structure\" ( 4 ). This is in direct conflict with more current opinions. Most are familiar with the unbiased reviewing of written material provided by Cliffnotes, which claims,\"As is true in all of Shakespeare\'s plays,<em> Titus Andronicu</em>s is structured from conventions and traditions and philosophies which were well-known in Shakespeare\'s time; the play was not created in a vacuum, and although it is vulnerable to negative criticism, it contains some very good dramatic moments\" ( Wiley 63 ). While critics have developed more love for this particular play, the public has lost some of the stomach for the material it presents. At the time when the play was initially being performed, the state of affairs was completely opposite. Critics frowned upon <em>Titus Andronicus</em> because it was irreverent and created to appeal to the general public, who in turn were fascinated by the violence of the play.</div>\r\n<div>     My personal love for this play comes from the empathetic position which is given to Titus himself. Only wanting to do right and be honorable, the Roman general makes the grievous mistake of allowing his sons to sacrifice one of the captive sons of the Queen of the Goths. Although the motivation for this act is piety, it starts the chain reaction of revenge between Tamora and her sons and Titus\' family. Aaron is witty and provides a perfect antagonist, being a well written and vicious villain, and the various monologues are not only entertaining but beautifully written.</div>\r\n<div>     When talking about the masterful writing in Shakespeare\'s <em>Titus Andronicus</em>, it is important to compare it to at least one other piece of literature from the time. One of Shakespeare\'s most well known contemporaries and a fellow writer was Don Miguel de Cervantes Saavedra, who is famous for his book, <em>Don Quixote</em>. Compared to the whimsical, meandering story of the short-sighted and idealistic knight, Shakespeare\'s bloody story is almost a polar opposite. <em>Don Quixote</em> is satirical and full of poignant messages about life. Alonso Quixano completely reinvents himself, giving his horse a new name and polishing his grandfather\'s armor, then sets out to do great deeds as a knight-errant. There is a direct parallel in Don Quixote\'s voluntary insanity and the insanity that Titus feigns in order to fool Tamora and her sons into the trap he has set. Both characters are using the guise of insanity to reach a higher goal. Don Quixote seeks to reach the pinnacle of chivalry while Titus seeks to gain revenge. Another way in which both works are different is that Shakespeare sought to move away from the dark ages and the time of knights, instead seeking a return to the glorified ideas of the ancient world, re-telling tales from Greece and Rome the movement of intellectualism and enlightenment that personified the renaissance. Meanwhile Cervantes sought to present a romanticized vision of the more recent past and the times of knighthood and chivalry in order to keep alive those ideas.</div>\r\n<div>     When reviewing <em>Titus Andronicu</em>s it is most important to remember that this work was heavily based upon the <em>Metamorphosis</em> by Ovid, which is actually quoted in the play. Aside from being Shakespeare\'s first tragedy and a fine example of his work, this play is essentially a way for the mythos and figures of the ancient world to be presented to the masses, most of whom were unable to read the stories for themselves. <em>Titus Andronicu</em>s may be criticized as a violent play, but the works that were drawn upon for its creation are likewise bloody and bizarre. Regardless of anyone\'s personal opinions about the content, this play is historically important not just for the connection to the great playwright, but also for the connection to the original religious beliefs of the Greeks and Romans.</div>\r\n<div align=\"center\">__________________Works Cited_________________</div>\r\n<div align=\"left\">1. Northcote, James . <em>Life of Titan, with Anecdotes of the Distinguished Persons of His Times. 2 vols</em>. London; Colburn and Bentley, 1830.\r\n2. Flaxman, John. <em>Lectures on Sculpture, To which Are Now First Added, an Introductory Lecture, and Two Addresses...on the Death of Thomas Banks, in 1805</em>. London; Henry G. Bohn, 1838.\r\n3. Oxford Reference Online Premium [ A Dictionary of Shakespeare ] -- <a href=\"http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?entry=t57.e396\">http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?entry=t57.e396</a>\r\n4. Gillies, John. <em>Shakespeare and the geography of difference</em>. La Trobe University; 1947.\r\n5. John Wiley &amp; Sons, Inc.<em> Shakespeare\'s Minor Plays : Notes ...</em> 1991. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept. 2011.\r\n6. Sturman, Marianne, and Miguel de Cervantes Saavedra.<em> Don Quixote : Notes</em>. John Wiley &amp; Sons, Inc. (US), 1964. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept. 2011.</div>\r\n<div align=\"left\">\r\n\r\n7. Oxford Reference Online Premium [ A Dictionary of Shakespeare ] -- <a href=\"http://www.answers.com/topic/lord-chamberlain-s-men\" target=\"_blank\">http://www.answers.com/topic/lord-chamberlain-s-men</a>\r\n\r\n</div>','Titus Andronicus - Masterpiece or Rubbish Heap?','','publish','open','open','','titus-andronicus-masterpiece-or-rubbish-heap','','','2011-10-03 12:19:33','2011-10-03 18:19:33','',0,'http://jeanatacc.com/2011/?p=1644',0,'post','',7),(1645,48,'2011-09-21 02:32:42','2011-09-21 08:32:42','','Titus-Andronicus','0, handle not the theme, to talk of hands, lest we remember still that we have none.','inherit','open','open','','titus-andronicus-2003','','','2011-09-21 02:32:42','2011-09-21 08:32:42','',1644,'http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003.jpg',0,'attachment','image/jpeg',0),(1646,48,'2011-09-21 02:34:38','2011-09-21 08:34:38','[caption id=\"attachment_1645\" align=\"aligncenter\" width=\"200\" caption=\"0, handle not the theme, to talk of hands, lest we remember still that we have none.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003.jpg\"><img class=\"size-medium wp-image-1645\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\" /></a>[/caption]\n\n&nbsp;\n\n&nbsp;','Titus Andronicus - Masterpiece or Rubbish Heap?','','inherit','open','open','','1644-revision','','','2011-09-21 02:34:38','2011-09-21 08:34:38','',1644,'http://jeanatacc.com/2011/?p=1646',0,'revision','',0),(1648,48,'2011-09-21 02:37:14','2011-09-21 08:37:14','[caption id=\"attachment_1645\" align=\"aligncenter\" width=\"200\" caption=\"0, handle not the theme, to talk of hands, lest we remember still that we have none.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003.jpg\"><img class=\"size-medium wp-image-1645\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\" /></a>[/caption]\n\n&nbsp;','Titus Andronicus - Masterpiece or Rubbish Heap?','','inherit','open','open','','1644-revision-3','','','2011-09-21 02:37:14','2011-09-21 08:37:14','',1644,'http://jeanatacc.com/2011/?p=1648',0,'revision','',0),(1647,48,'2011-09-21 02:35:36','2011-09-21 08:35:36','[caption id=\"attachment_1645\" align=\"aligncenter\" width=\"200\" caption=\"0, handle not the theme, to talk of hands, lest we remember still that we have none.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003.jpg\"><img class=\"size-medium wp-image-1645\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\" /></a>[/caption]\r\n\r\n&nbsp;\r\n<pre>     When discussing English literature, there is no pinnacle higher, no name more recognized than that of William Shakespeare. Born into the height of the renaissance period, sometime roughly around 1564, Shakespeare authored and co-authored a large number of plays that are still known the world over today. One of his first tragedies, Titus Andronicus, was written between 1588 and 1593. It is a classic tale of revenge and the human struggle with morality, and heavily reflects the passion at the time for classic tales of passion and drama, especially ones drawn from the influence of ancient Greece and Rome. The fascination with subject matter from the classical world encompassed both art and literature, and many stories by Greek and Roman authors were being adapted for public consumption, including the writings of Ovid, is mentioned specifically in Titus Andronicus. It is the homage that Shakespeare pays to the authors of the past as well as the fact that Titus Andronicus is the first tragedy written by the famous playwright that makes it of such historical importance.\r\n\r\n     \"It was from the stores of Greek and Latin churches...that the monks had preserved the seeds of many arts, particularly the art of design, though in a very imperfect degree, but still sufficient, by cultivation, to produce effects of the greatest magnitude. In respect to the progress of refinement in Italy, it must be observed, that the little republic of Florence gave birth to many restorers of science, letters, and arts. Painting, sculpture, and architecture were advanced and perfected by the consecutive labors of well-employed artists, during the course of almost three hundred years, from Cimbaue to Leonardo da Vinci, Frau Bartolomeo to Michael Angelo\" ( Northcote 1: 393-394 ). Like most writers of his time, William Shakespeare was influenced heavily by the art and culture that surrounded him. Most subject matter had been brought over to England by the Romans that initially established the country, and because of this the art and writings focused heavily on the mythos of Greece and Rome, as well as religious subject matter. Many of the books at the time were written in languages such as Latin, and while there were certainly texts published in old English, the majority of the population at the time was illiterate. This is what motivated playwrights such as Shakespeare to take these stories and re-create them in a medium that the masses would be able to enjoy. At the same time painters such as Leonardo da Vinci and Michael Angelo were producing works that visually told stories in a way that didn\'t require a literate audience. \"Many works produced by English artists between the year 1200 and the reign of Henry the VII could be compared with the best Italian artists of the same time\" ( Flaxman 51 ).\r\n\r\n     It is difficult to dispute the greatness of Shakespeare, and part of what made his plays so wildly popular was their presentation by the Lord Chamberlain\'s Men in the famous Globe Theatre. In 1603, when James I succeeded Elizabeth, he gave the company a royal patent, and it became the King\'s Men. From 1603 to 1616 they played an average of twelve performances a year at Court. James supplied nine members, including Shakespeare, with four-and-a-half yards of red cloth each to make liveries to wear in his coronation procession. Titus Andronicus was the first of Shakespeare\'s tragedies and would have been the first of his tragedies performed by the theatre company, and likely also the first of Shakespeare\'s tragedies performed in the Globe theatre. Although it was a very lewd and violent play that was designed to appeal to the public, the way in which the theatre company presented it was different from any other play being produced at the time, and the work itself is innovative in that it was the first time Shakespeare broke away from writing comedies. \r\n\r\n     Edward Ravenscroft ( 1654-1707), was an English dramatist who is best known for criticizing Titus Andronicus foremost among Shakespeare\'s works. Ravenscroft originated the theory that Titus Andronicus wasn\'t actually written by Shakespeare, instead supposing that the playwright took an already existing story and re-worked it. Ravenscroft has been quoted at saying,\"... \'tis the most incorrect and indigested piece in all his Works, It seems rather a heap of Rubbish then a Structure\" ( 4 ). This is in direct conflict with more current opinions. Most are familiar with the unbiased reviewing of written material provided by Cliffnotes, which claims,\"As is true in all of Shakespeare\'s plays, Titus Andronicus is structured from conventions and traditions and philosophies which were well-known in Shakespeare\'s time; the play was not created in a vacuum, and although it is vulnerable to negative criticism, it contains some very good dramatic moments\" ( Wiley 63 ). While critics have developed more love for this particular play, the public has lost some of the stomach for the material it presents. At the time when the play was initially being performed, the state of affairs was completely opposite. Critics frowned upon Titus Andronicus because it was irreverent and created to appeal to the general public, who in turn were fascinated by the violence of the play.\r\n\r\n     My personal love for this play comes from the empathetic position which is given to Titus himself. Only wanting to do right and be honorable, the Roman general makes the grievous mistake of allowing his sons to sacrifice one of the captive sons of the Queen of the Goths. Although the motivation for this act is piety, it starts the chain reaction of revenge between Tamora and her sons and Titus\' family. Aaron is witty and provides a perfect antagonist, being a well written and vicious villain, and the various monologues are not only entertaining but beautifully written.\r\n\r\n     When talking about the masterful writing in Shakespeare\'s Titus Andronicus, it is important to compare it to at least one other piece of literature from the time. One of Shakespeare\'s most well known contemporaries and a fellow writer was Don Miguel de Cervantes Saavedra, who is famous for his book, Don Quixote. Compared to the whimsical, meandering story of the short-sighted and idealistic knight, Shakespeare\'s bloody story is almost a polar opposite. Don Quixote is satirical and full of poignant messages about life. Alonso Quixano completely reinvents himself, giving his horse a new name and polishing his grandfather\'s armor, then sets out to do great deeds as a knight-errant. There is a direct parallel in Don Quixote\'s voluntary insanity and the insanity that Titus feigns in order to fool Tamora and her sons into the trap he has set. Both characters are using the guise of insanity to reach a higher goal. Don Quixote seeks to reach the pinnacle of chivalry while Titus seeks to gain revenge. Another way in which both works are different is that Shakespeare sought to move away from the dark ages and the time of knights, instead seeking a return to the glorified ideas of the ancient world, re-telling tales from Greece and Rome the movement of intellectualism and enlightenment that personified the renaissance. Meanwhile Cervantes sought to present a romanticized vision of the more recent past and the times of knighthood and chivalry in order to keep alive those ideas.\r\n\r\n     When reviewing Titus Andronicus it is most important to remember that this work was heavily based upon the Metamorphosis by Ovid, which is actually quoted in the play. Aside from being Shakespeare\'s first tragedy and a fine example of his work, this play is essentially a way for the mythos and figures of the ancient world to be presented to the masses, most of whom were unable to read the stories for themselves. Titus Andronicus may be criticized as a violent piece of work, but the works that were drawn upon for its creation are likewise bloody and bizarre. Regardless of anyone\'s personal opinions about the content, this play is historically important not just for the connection to the great playwright, but also for the connection to the original religious beliefs of the Greeks and Romans. \r\n__________________Works Cited_________________ \r\n1. Northcote, James . Life of Titan, with Anecdotes of the Distinguished Persons of His Times. 2 vols. London; Colburn and Bentley, 1830. \r\n2. Flaxman, John. Lectures on Sculpture, To which Are Now First Added, an Introductory Lecture, and Two Addresses...on the Death of Thomas Banks, in 1805. London; Henry G. Bohn, 1838.\r\n3. Oxford Reference Online Premium [ A Dictionary of Shakespeare ] -- http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?entry=t57.e396\r\n4. Gillies, John. Shakespeare and the geography of difference. La Trobe University; 1947.\r\n5. John Wiley &amp; Sons, Inc. Shakespeare\'s Minor Plays : Notes ... 1991. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept. 2011.\r\n6. Sturman, Marianne, and Miguel de Cervantes Saavedra. Don Quixote : Notes. John Wiley &amp; Sons, Inc. (US), 1964. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept, 2011.</pre>','Titus Andronicus - Masterpiece or Rubbish Heap?','','inherit','open','open','','1644-revision-2','','','2011-09-21 02:35:36','2011-09-21 08:35:36','',1644,'http://jeanatacc.com/2011/?p=1647',0,'revision','',0),(1649,48,'2011-09-21 02:38:05','2011-09-21 08:38:05','[caption id=\"attachment_1645\" align=\"aligncenter\" width=\"200\" caption=\"0, handle not the theme, to talk of hands, lest we remember still that we have none.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003.jpg\"><img class=\"size-medium wp-image-1645\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\" /></a>[/caption]\r\n\r\n&nbsp;\r\n<div>     When discussing English literature, there is no pinnacle higher, no name more recognized than that of William Shakespeare. Born into the height of the renaissance period, sometime roughly around 1564, Shakespeare authored and co-authored a large number of plays that are still known the world over today. One of his first tragedies, Titus Andronicus, was written between 1588 and 1593. It is a classic tale of revenge and the human struggle with morality, and heavily reflects the passion at the time for classic tales of passion and drama, especially ones drawn from the influence of ancient Greece and Rome. The fascination with subject matter from the classical world encompassed both art and literature, and many stories by Greek and Roman authors were being adapted for public consumption, including the writings of Ovid, is mentioned specifically in Titus Andronicus. It is the homage that Shakespeare pays to the authors of the past as well as the fact that Titus Andronicus is the first tragedy written by the famous playwright that makes it of such historical importance.</div>\r\n<div></div>\r\n<div>\"It was from the stores of Greek and Latin churches...that the monks had preserved the seeds of many arts, particularly the art of design, though in a very imperfect degree, but still sufficient, by cultivation, to produce effects of the greatest magnitude. In respect to the progress of refinement in Italy, it must be observed, that the little republic of Florence gave birth to many restorers of science, letters, and arts. Painting, sculpture, and architecture were advanced and perfected by the consecutive labors of well-employed artists, during the course of almost three hundred years, from Cimbaue to Leonardo da Vinci, Frau Bartolomeo to Michael Angelo\" ( Northcote 1: 393-394 ). Like most writers of his time, William Shakespeare was influenced heavily by the art and culture that surrounded him. Most subject matter had been brought over to England by the Romans that initially established the country, and because of this the art and writings focused heavily on the mythos of Greece and Rome, as well as religious subject matter. Many of the books at the time were written in languages such as Latin, and while there were certainly texts published in old English, the majority of the population at the time was illiterate. This is what motivated playwrights such as Shakespeare to take these stories and re-create them in a medium that the masses would be able to enjoy. At the same time painters such as Leonardo da Vinci and Michael Angelo were producing works that visually told stories in a way that didn\'t require a literate audience. \"Many works produced by English artists between the year 1200 and the reign of Henry the VII could be compared with the best Italian artists of the same time\" ( Flaxman 51 ).</div>\r\n<div></div>\r\n<div>It is difficult to dispute the greatness of Shakespeare, and part of what made his plays so wildly popular was their presentation by the Lord Chamberlain\'s Men in the famous Globe Theatre. In 1603, when James I succeeded Elizabeth, he gave the company a royal patent, and it became the King\'s Men. From 1603 to 1616 they played an average of twelve performances a year at Court. James supplied nine members, including Shakespeare, with four-and-a-half yards of red cloth each to make liveries to wear in his coronation procession. Titus Andronicus was the first of Shakespeare\'s tragedies and would have been the first of his tragedies performed by the theatre company, and likely also the first of Shakespeare\'s tragedies performed in the Globe theatre. Although it was a very lewd and violent play that was designed to appeal to the public, the way in which the theatre company presented it was different from any other play being produced at the time, and the work itself is innovative in that it was the first time Shakespeare broke away from writing comedies.</div>\r\n<div></div>\r\n<div>Edward Ravenscroft ( 1654-1707), was an English dramatist who is best known for criticizing Titus Andronicus foremost among Shakespeare\'s works. Ravenscroft originated the theory that Titus Andronicus wasn\'t actually written by Shakespeare, instead supposing that the playwright took an already existing story and re-worked it. Ravenscroft has been quoted at saying,\"... \'tis the most incorrect and indigested piece in all his Works, It seems rather a heap of Rubbish then a Structure\" ( 4 ). This is in direct conflict with more current opinions. Most are familiar with the unbiased reviewing of written material provided by Cliffnotes, which claims,\"As is true in all of Shakespeare\'s plays, Titus Andronicus is structured from conventions and traditions and philosophies which were well-known in Shakespeare\'s time; the play was not created in a vacuum, and although it is vulnerable to negative criticism, it contains some very good dramatic moments\" ( Wiley 63 ). While critics have developed more love for this particular play, the public has lost some of the stomach for the material it presents. At the time when the play was initially being performed, the state of affairs was completely opposite. Critics frowned upon Titus Andronicus because it was irreverent and created to appeal to the general public, who in turn were fascinated by the violence of the play.</div>\r\n<div></div>\r\n<div>My personal love for this play comes from the empathetic position which is given to Titus himself. Only wanting to do right and be honorable, the Roman general makes the grievous mistake of allowing his sons to sacrifice one of the captive sons of the Queen of the Goths. Although the motivation for this act is piety, it starts the chain reaction of revenge between Tamora and her sons and Titus\' family. Aaron is witty and provides a perfect antagonist, being a well written and vicious villain, and the various monologues are not only entertaining but beautifully written.</div>\r\n<div></div>\r\n<div>When talking about the masterful writing in Shakespeare\'s Titus Andronicus, it is important to compare it to at least one other piece of literature from the time. One of Shakespeare\'s most well known contemporaries and a fellow writer was Don Miguel de Cervantes Saavedra, who is famous for his book, Don Quixote. Compared to the whimsical, meandering story of the short-sighted and idealistic knight, Shakespeare\'s bloody story is almost a polar opposite. Don Quixote is satirical and full of poignant messages about life. Alonso Quixano completely reinvents himself, giving his horse a new name and polishing his grandfather\'s armor, then sets out to do great deeds as a knight-errant. There is a direct parallel in Don Quixote\'s voluntary insanity and the insanity that Titus feigns in order to fool Tamora and her sons into the trap he has set. Both characters are using the guise of insanity to reach a higher goal. Don Quixote seeks to reach the pinnacle of chivalry while Titus seeks to gain revenge. Another way in which both works are different is that Shakespeare sought to move away from the dark ages and the time of knights, instead seeking a return to the glorified ideas of the ancient world, re-telling tales from Greece and Rome the movement of intellectualism and enlightenment that personified the renaissance. Meanwhile Cervantes sought to present a romanticized vision of the more recent past and the times of knighthood and chivalry in order to keep alive those ideas.</div>\r\n<div></div>\r\n<div>When reviewing Titus Andronicus it is most important to remember that this work was heavily based upon the Metamorphosis by Ovid, which is actually quoted in the play. Aside from being Shakespeare\'s first tragedy and a fine example of his work, this play is essentially a way for the mythos and figures of the ancient world to be presented to the masses, most of whom were unable to read the stories for themselves. Titus Andronicus may be criticized as a violent piece of work, but the works that were drawn upon for its creation are likewise bloody and bizarre. Regardless of anyone\'s personal opinions about the content, this play is historically important not just for the connection to the great playwright, but also for the connection to the original religious beliefs of the Greeks and Romans.</div>\r\n<div></div>\r\n<div align=\"center\">\r\n__________________Works Cited_________________</div>\r\n<div align=\"left\">\r\n1. Northcote, James . Life of Titan, with Anecdotes of the Distinguished Persons of His Times. 2 vols. London; Colburn and Bentley, 1830.\r\n2. Flaxman, John. Lectures on Sculpture, To which Are Now First Added, an Introductory Lecture, and Two Addresses...on the Death of Thomas Banks, in 1805. London; Henry G. Bohn, 1838.\r\n3. Oxford Reference Online Premium [ A Dictionary of Shakespeare ] -- <a href=\"http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?entry=t57.e396\">http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?entry=t57.e396</a>\r\n4. Gillies, John. Shakespeare and the geography of difference. La Trobe University; 1947.\r\n5. John Wiley &amp; Sons, Inc. Shakespeare\'s Minor Plays : Notes ... 1991. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept. 2011.\r\n6. Sturman, Marianne, and Miguel de Cervantes Saavedra. Don Quixote : Notes. John Wiley &amp; Sons, Inc. (US), 1964. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept. 2011.</div>\r\n&nbsp;','Titus Andronicus - Masterpiece or Rubbish Heap?','','inherit','open','open','','1644-revision-4','','','2011-09-21 02:38:05','2011-09-21 08:38:05','',1644,'http://jeanatacc.com/2011/?p=1649',0,'revision','',0),(1650,48,'2011-09-21 02:42:23','2011-09-21 08:42:23','[caption id=\"attachment_1645\" align=\"aligncenter\" width=\"200\" caption=\"0, handle not the theme, to talk of hands, lest we remember still that we have none.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003.jpg\"><img class=\"size-medium wp-image-1645\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\" /></a>[/caption]\n\n&nbsp;\n<div>     When discussing English literature, there is no pinnacle higher, no name more recognized than that of William Shakespeare. Born into the height of the renaissance period, sometime roughly around 1564, Shakespeare authored and co-authored a large number of plays that are still known the world over today. One of his first tragedies, <em>Titus Andronicus</em>, was written between 1588 and 1593. It is a classic tale of revenge and the human struggle with morality, and heavily reflects the passion at the time for classic tales of passion and drama, especially ones drawn from the influence of ancient Greece and Rome. The fascination with subject matter from the classical world encompassed both art and literature, and many stories by Greek and Roman authors were being adapted for public consumption, including the writings of Ovid, is mentioned specifically in <em>Titus Andronicus</em>. It is the homage that Shakespeare pays to the authors of the past as well as the fact that<em> Titus Andronicus</em> is the first tragedy written by the famous playwright that makes it of such historical importance.</div>\n<div>     \"It was from the stores of Greek and Latin churches...that the monks had preserved the seeds of many arts, particularly the art of design, though in a very imperfect degree, but still sufficient, by cultivation, to produce effects of the greatest magnitude. In respect to the progress of refinement in Italy, it must be observed, that the little republic of Florence gave birth to many restorers of science, letters, and arts. Painting, sculpture, and architecture were advanced and perfected by the consecutive labors of well-employed artists, during the course of almost three hundred years, from Cimbaue to Leonardo da Vinci, Frau Bartolomeo to Michael Angelo\" ( Northcote 1: 393-394 ). Like most writers of his time, William Shakespeare was influenced heavily by the art and culture that surrounded him. Most subject matter had been brought over to England by the Romans that initially established the country, and because of this the art and writings focused heavily on the mythos of Greece and Rome, as well as religious subject matter. Many of the books at the time were written in languages such as Latin, and while there were certainly texts published in old English, the majority of the population at the time was illiterate. This is what motivated playwrights such as Shakespeare to take these stories and re-create them in a medium that the masses would be able to enjoy. At the same time painters such as Leonardo da Vinci and Michael Angelo were producing works that visually told stories in a way that didn\'t require a literate audience. \"Many works produced by English artists between the year 1200 and the reign of Henry the VII could be compared with the best Italian artists of the same time\" ( Flaxman 51 ).</div>\n<div>     It is difficult to dispute the greatness of Shakespeare, and part of what made his plays so wildly popular was their presentation by the Lord Chamberlain\'s Men in the famous Globe Theatre. In 1603, when James I succeeded Elizabeth, he gave the company a royal patent, and it became the King\'s Men. From 1603 to 1616 they played an average of twelve performances a year at Court. James supplied nine members, including Shakespeare, with four-and-a-half yards of red cloth each to make liveries to wear in his coronation procession. <em>Titus Andronicus</em> was the first of Shakespeare\'s tragedies and would have been the first of his tragedies performed by the theatre company, and likely also the first of Shakespeare\'s tragedies performed in the Globe theatre. Although it was a very lewd and violent play that was designed to appeal to the public, the way in which the theatre company presented it was different from any other play being produced at the time, and the work itself is innovative in that it was the first time Shakespeare broke away from writing comedies.</div>\n<div>     Edward Ravenscroft ( 1654-1707), was an English dramatist who is best known for criticizing <em>Titus Andronicus</em> foremost among Shakespeare\'s works. Ravenscroft originated the theory that<em> Titus Andronicus</em> wasn\'t actually written by Shakespeare, instead supposing that the playwright took an already existing story and re-worked it. Ravenscroft has been quoted at saying,\"... \'tis the most incorrect and indigested piece in all his Works, It seems rather a heap of Rubbish then a Structure\" ( 4 ). This is in direct conflict with more current opinions. Most are familiar with the unbiased reviewing of written material provided by Cliffnotes, which claims,\"As is true in all of Shakespeare\'s plays,<em> Titus Andronicu</em>s is structured from conventions and traditions and philosophies which were well-known in Shakespeare\'s time; the play was not created in a vacuum, and although it is vulnerable to negative criticism, it contains some very good dramatic moments\" ( Wiley 63 ). While critics have developed more love for this particular play, the public has lost some of the stomach for the material it presents. At the time when the play was initially being performed, the state of affairs was completely opposite. Critics frowned upon <em>Titus Andronicus</em> because it was irreverent and created to appeal to the general public, who in turn were fascinated by the violence of the play.</div>\n<div>     My personal love for this play comes from the empathetic position which is given to Titus himself. Only wanting to do right and be honorable, the Roman general makes the grievous mistake of allowing his sons to sacrifice one of the captive sons of the Queen of the Goths. Although the motivation for this act is piety, it starts the chain reaction of revenge between Tamora and her sons and Titus\' family. Aaron is witty and provides a perfect antagonist, being a well written and vicious villain, and the various monologues are not only entertaining but beautifully written.</div>\n<div>     When talking about the masterful writing in Shakespeare\'s <em>Titus Andronicus</em>, it is important to compare it to at least one other piece of literature from the time. One of Shakespeare\'s most well known contemporaries and a fellow writer was Don Miguel de Cervantes Saavedra, who is famous for his book, <em>Don Quixote</em>. Compared to the whimsical, meandering story of the short-sighted and idealistic knight, Shakespeare\'s bloody story is almost a polar opposite. <em>Don Quixote</em> is satirical and full of poignant messages about life. Alonso Quixano completely reinvents himself, giving his horse a new name and polishing his grandfather\'s armor, then sets out to do great deeds as a knight-errant. There is a direct parallel in Don Quixote\'s voluntary insanity and the insanity that Titus feigns in order to fool Tamora and her sons into the trap he has set. Both characters are using the guise of insanity to reach a higher goal. Don Quixote seeks to reach the pinnacle of chivalry while Titus seeks to gain revenge. Another way in which both works are different is that Shakespeare sought to move away from the dark ages and the time of knights, instead seeking a return to the glorified ideas of the ancient world, re-telling tales from Greece and Rome the movement of intellectualism and enlightenment that personified the renaissance. Meanwhile Cervantes sought to present a romanticized vision of the more recent past and the times of knighthood and chivalry in order to keep alive those ideas.</div>\n<div>     When reviewing <em>Titus Andronicu</em>s it is most important to remember that this work was heavily based upon the <em>Metamorphosis</em> by Ovid, which is actually quoted in the play. Aside from being Shakespeare\'s first tragedy and a fine example of his work, this play is essentially a way for the mythos and figures of the ancient world to be presented to the masses, most of whom were unable to read the stories for themselves. <em>Titus Andronicu</em>s may be criticized as a violent play, but the works that were drawn upon for its creation are likewise bloody and bizarre. Regardless of anyone\'s personal opinions about the content, this play is historically important not just for the connection to the great playwright, but also for the connection to the original religious beliefs of the Greeks and Romans.</div>\n<div align=\"center\">__________________Works Cited_________________</div>\n<div align=\"left\">1. Northcote, James . <em>Life of Titan, with Anecdotes of the Distinguished Persons of His Times. 2 vols</em>. London; Colburn and Bentley, 1830.\n2. Flaxman, John. <em>Lectures on Sculpture, To which Are Now First Added, an Introductory Lecture, and Two Addresses...on the Death of Thomas Banks, in 1805</em>. London; Henry G. Bohn, 1838.\n3. Oxford Reference Online Premium [ A Dictionary of Shakespeare ] -- <a href=\"http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?entry=t57.e396\">http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?entry=t57.e396</a>\n4. Gillies, John. <em>Shakespeare and the geography of difference</em>. La Trobe University; 1947.\n5. John Wiley &amp; Sons, Inc. Shakespeare\'s Minor Plays : Notes ... 1991. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept. 2011.\n6. Sturman, Marianne, and Miguel de Cervantes Saavedra. Don Quixote : Notes. John Wiley &amp; Sons, Inc. (US), 1964. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept. 2011.</div>\n&nbsp;','Titus Andronicus - Masterpiece or Rubbish Heap?','','inherit','open','open','','1644-revision-5','','','2011-09-21 02:42:23','2011-09-21 08:42:23','',1644,'http://jeanatacc.com/2011/?p=1650',0,'revision','',0),(1651,48,'2011-09-21 02:42:40','2011-09-21 08:42:40','[caption id=\"attachment_1645\" align=\"aligncenter\" width=\"200\" caption=\"0, handle not the theme, to talk of hands, lest we remember still that we have none.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003.jpg\"><img class=\"size-medium wp-image-1645\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\" /></a>[/caption]\r\n\r\n&nbsp;\r\n<div>     When discussing English literature, there is no pinnacle higher, no name more recognized than that of William Shakespeare. Born into the height of the renaissance period, sometime roughly around 1564, Shakespeare authored and co-authored a large number of plays that are still known the world over today. One of his first tragedies, <em>Titus Andronicus</em>, was written between 1588 and 1593. It is a classic tale of revenge and the human struggle with morality, and heavily reflects the passion at the time for classic tales of passion and drama, especially ones drawn from the influence of ancient Greece and Rome. The fascination with subject matter from the classical world encompassed both art and literature, and many stories by Greek and Roman authors were being adapted for public consumption, including the writings of Ovid, is mentioned specifically in <em>Titus Andronicus</em>. It is the homage that Shakespeare pays to the authors of the past as well as the fact that<em> Titus Andronicus</em> is the first tragedy written by the famous playwright that makes it of such historical importance.</div>\r\n<div>     \"It was from the stores of Greek and Latin churches...that the monks had preserved the seeds of many arts, particularly the art of design, though in a very imperfect degree, but still sufficient, by cultivation, to produce effects of the greatest magnitude. In respect to the progress of refinement in Italy, it must be observed, that the little republic of Florence gave birth to many restorers of science, letters, and arts. Painting, sculpture, and architecture were advanced and perfected by the consecutive labors of well-employed artists, during the course of almost three hundred years, from Cimbaue to Leonardo da Vinci, Frau Bartolomeo to Michael Angelo\" ( Northcote 1: 393-394 ). Like most writers of his time, William Shakespeare was influenced heavily by the art and culture that surrounded him. Most subject matter had been brought over to England by the Romans that initially established the country, and because of this the art and writings focused heavily on the mythos of Greece and Rome, as well as religious subject matter. Many of the books at the time were written in languages such as Latin, and while there were certainly texts published in old English, the majority of the population at the time was illiterate. This is what motivated playwrights such as Shakespeare to take these stories and re-create them in a medium that the masses would be able to enjoy. At the same time painters such as Leonardo da Vinci and Michael Angelo were producing works that visually told stories in a way that didn\'t require a literate audience. \"Many works produced by English artists between the year 1200 and the reign of Henry the VII could be compared with the best Italian artists of the same time\" ( Flaxman 51 ).</div>\r\n<div>     It is difficult to dispute the greatness of Shakespeare, and part of what made his plays so wildly popular was their presentation by the Lord Chamberlain\'s Men in the famous Globe Theatre. In 1603, when James I succeeded Elizabeth, he gave the company a royal patent, and it became the King\'s Men. From 1603 to 1616 they played an average of twelve performances a year at Court. James supplied nine members, including Shakespeare, with four-and-a-half yards of red cloth each to make liveries to wear in his coronation procession. <em>Titus Andronicus</em> was the first of Shakespeare\'s tragedies and would have been the first of his tragedies performed by the theatre company, and likely also the first of Shakespeare\'s tragedies performed in the Globe theatre. Although it was a very lewd and violent play that was designed to appeal to the public, the way in which the theatre company presented it was different from any other play being produced at the time, and the work itself is innovative in that it was the first time Shakespeare broke away from writing comedies.</div>\r\n<div>     Edward Ravenscroft ( 1654-1707), was an English dramatist who is best known for criticizing <em>Titus Andronicus</em> foremost among Shakespeare\'s works. Ravenscroft originated the theory that<em> Titus Andronicus</em> wasn\'t actually written by Shakespeare, instead supposing that the playwright took an already existing story and re-worked it. Ravenscroft has been quoted at saying,\"... \'tis the most incorrect and indigested piece in all his Works, It seems rather a heap of Rubbish then a Structure\" ( 4 ). This is in direct conflict with more current opinions. Most are familiar with the unbiased reviewing of written material provided by Cliffnotes, which claims,\"As is true in all of Shakespeare\'s plays,<em> Titus Andronicu</em>s is structured from conventions and traditions and philosophies which were well-known in Shakespeare\'s time; the play was not created in a vacuum, and although it is vulnerable to negative criticism, it contains some very good dramatic moments\" ( Wiley 63 ). While critics have developed more love for this particular play, the public has lost some of the stomach for the material it presents. At the time when the play was initially being performed, the state of affairs was completely opposite. Critics frowned upon <em>Titus Andronicus</em> because it was irreverent and created to appeal to the general public, who in turn were fascinated by the violence of the play.</div>\r\n<div>     My personal love for this play comes from the empathetic position which is given to Titus himself. Only wanting to do right and be honorable, the Roman general makes the grievous mistake of allowing his sons to sacrifice one of the captive sons of the Queen of the Goths. Although the motivation for this act is piety, it starts the chain reaction of revenge between Tamora and her sons and Titus\' family. Aaron is witty and provides a perfect antagonist, being a well written and vicious villain, and the various monologues are not only entertaining but beautifully written.</div>\r\n<div>     When talking about the masterful writing in Shakespeare\'s <em>Titus Andronicus</em>, it is important to compare it to at least one other piece of literature from the time. One of Shakespeare\'s most well known contemporaries and a fellow writer was Don Miguel de Cervantes Saavedra, who is famous for his book, <em>Don Quixote</em>. Compared to the whimsical, meandering story of the short-sighted and idealistic knight, Shakespeare\'s bloody story is almost a polar opposite. <em>Don Quixote</em> is satirical and full of poignant messages about life. Alonso Quixano completely reinvents himself, giving his horse a new name and polishing his grandfather\'s armor, then sets out to do great deeds as a knight-errant. There is a direct parallel in Don Quixote\'s voluntary insanity and the insanity that Titus feigns in order to fool Tamora and her sons into the trap he has set. Both characters are using the guise of insanity to reach a higher goal. Don Quixote seeks to reach the pinnacle of chivalry while Titus seeks to gain revenge. Another way in which both works are different is that Shakespeare sought to move away from the dark ages and the time of knights, instead seeking a return to the glorified ideas of the ancient world, re-telling tales from Greece and Rome the movement of intellectualism and enlightenment that personified the renaissance. Meanwhile Cervantes sought to present a romanticized vision of the more recent past and the times of knighthood and chivalry in order to keep alive those ideas.</div>\r\n<div>     When reviewing <em>Titus Andronicu</em>s it is most important to remember that this work was heavily based upon the <em>Metamorphosis</em> by Ovid, which is actually quoted in the play. Aside from being Shakespeare\'s first tragedy and a fine example of his work, this play is essentially a way for the mythos and figures of the ancient world to be presented to the masses, most of whom were unable to read the stories for themselves. <em>Titus Andronicu</em>s may be criticized as a violent play, but the works that were drawn upon for its creation are likewise bloody and bizarre. Regardless of anyone\'s personal opinions about the content, this play is historically important not just for the connection to the great playwright, but also for the connection to the original religious beliefs of the Greeks and Romans.</div>\r\n<div align=\"center\">__________________Works Cited_________________</div>\r\n<div align=\"left\">1. Northcote, James . <em>Life of Titan, with Anecdotes of the Distinguished Persons of His Times. 2 vols</em>. London; Colburn and Bentley, 1830.\r\n2. Flaxman, John. <em>Lectures on Sculpture, To which Are Now First Added, an Introductory Lecture, and Two Addresses...on the Death of Thomas Banks, in 1805</em>. London; Henry G. Bohn, 1838.\r\n3. Oxford Reference Online Premium [ A Dictionary of Shakespeare ] -- <a href=\"http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?entry=t57.e396\">http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?entry=t57.e396</a>\r\n4. Gillies, John. <em>Shakespeare and the geography of difference</em>. La Trobe University; 1947.\r\n5. John Wiley &amp; Sons, Inc.<em> Shakespeare\'s Minor Plays : Notes ...</em> 1991. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept. 2011.\r\n6. Sturman, Marianne, and Miguel de Cervantes Saavedra.<em> Don Quixote : Notes</em>. John Wiley &amp; Sons, Inc. (US), 1964. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept. 2011.</div>\r\n&nbsp;','Titus Andronicus - Masterpiece or Rubbish Heap?','','inherit','open','open','','1644-revision-6','','','2011-09-21 02:42:40','2011-09-21 08:42:40','',1644,'http://jeanatacc.com/2011/?p=1651',0,'revision','',0),(1652,48,'2011-09-21 02:44:37','2011-09-21 08:44:37','[caption id=\"attachment_1645\" align=\"aligncenter\" width=\"200\" caption=\"0, handle not the theme, to talk of hands, lest we remember still that we have none.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003.jpg\"><img class=\"size-medium wp-image-1645\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\" /></a>[/caption]\r\n\r\n&nbsp;\r\n<div>     When discussing English literature, there is no pinnacle higher, no name more recognized than that of William Shakespeare. Born into the height of the renaissance period, sometime roughly around 1564, Shakespeare authored and co-authored a large number of plays that are still known the world over today. One of his first tragedies, <em>Titus Andronicus</em>, was written between 1588 and 1593. It is a classic tale of revenge and the human struggle with morality, and heavily reflects the fascination at the time for classic tales of passion and drama, especially ones drawn from the influence of ancient Greece and Rome. The fascination with subject matter from the classical world encompassed both art and literature, and many stories by Greek and Roman authors were being adapted for public consumption, including the writings of Ovid, is mentioned specifically in <em>Titus Andronicus</em>. It is the homage that Shakespeare pays to the authors of the past as well as the fact that<em> Titus Andronicus</em> is the first tragedy written by the famous playwright that makes it of such historical importance.</div>\r\n<div>     \"It was from the stores of Greek and Latin churches...that the monks had preserved the seeds of many arts, particularly the art of design, though in a very imperfect degree, but still sufficient, by cultivation, to produce effects of the greatest magnitude. In respect to the progress of refinement in Italy, it must be observed, that the little republic of Florence gave birth to many restorers of science, letters, and arts. Painting, sculpture, and architecture were advanced and perfected by the consecutive labors of well-employed artists, during the course of almost three hundred years, from Cimbaue to Leonardo da Vinci, Frau Bartolomeo to Michael Angelo\" ( Northcote 1: 393-394 ). Like most writers of his time, William Shakespeare was influenced heavily by the art and culture that surrounded him. Most subject matter had been brought over to England by the Romans that initially established the country, and because of this the art and writings focused heavily on the mythos of Greece and Rome, as well as religious subject matter. Many of the books at the time were written in languages such as Latin, and while there were certainly texts published in old English, the majority of the population at the time was illiterate. This is what motivated playwrights such as Shakespeare to take these stories and re-create them in a medium that the masses would be able to enjoy. At the same time painters such as Leonardo da Vinci and Michael Angelo were producing works that visually told stories in a way that didn\'t require a literate audience. \"Many works produced by English artists between the year 1200 and the reign of Henry the VII could be compared with the best Italian artists of the same time\" ( Flaxman 51 ).</div>\r\n<div>     It is difficult to dispute the greatness of Shakespeare, and part of what made his plays so wildly popular was their presentation by the Lord Chamberlain\'s Men in the famous Globe Theatre. In 1603, when James I succeeded Elizabeth, he gave the company a royal patent, and it became the King\'s Men. From 1603 to 1616 they played an average of twelve performances a year at Court. James supplied nine members, including Shakespeare, with four-and-a-half yards of red cloth each to make liveries to wear in his coronation procession. <em>Titus Andronicus</em> was the first of Shakespeare\'s tragedies and would have been the first of his tragedies performed by the theatre company, and likely also the first of Shakespeare\'s tragedies performed in the Globe theatre. Although it was a very lewd and violent play that was designed to appeal to the public, the way in which the theatre company presented it was different from any other play being produced at the time, and the work itself is innovative in that it was the first time Shakespeare broke away from writing comedies.</div>\r\n<div>     Edward Ravenscroft ( 1654-1707), was an English dramatist who is best known for criticizing <em>Titus Andronicus</em> foremost among Shakespeare\'s works. Ravenscroft originated the theory that<em> Titus Andronicus</em> wasn\'t actually written by Shakespeare, instead supposing that the playwright took an already existing story and re-worked it. Ravenscroft has been quoted at saying,\"... \'tis the most incorrect and indigested piece in all his Works, It seems rather a heap of Rubbish then a Structure\" ( 4 ). This is in direct conflict with more current opinions. Most are familiar with the unbiased reviewing of written material provided by Cliffnotes, which claims,\"As is true in all of Shakespeare\'s plays,<em> Titus Andronicu</em>s is structured from conventions and traditions and philosophies which were well-known in Shakespeare\'s time; the play was not created in a vacuum, and although it is vulnerable to negative criticism, it contains some very good dramatic moments\" ( Wiley 63 ). While critics have developed more love for this particular play, the public has lost some of the stomach for the material it presents. At the time when the play was initially being performed, the state of affairs was completely opposite. Critics frowned upon <em>Titus Andronicus</em> because it was irreverent and created to appeal to the general public, who in turn were fascinated by the violence of the play.</div>\r\n<div>     My personal love for this play comes from the empathetic position which is given to Titus himself. Only wanting to do right and be honorable, the Roman general makes the grievous mistake of allowing his sons to sacrifice one of the captive sons of the Queen of the Goths. Although the motivation for this act is piety, it starts the chain reaction of revenge between Tamora and her sons and Titus\' family. Aaron is witty and provides a perfect antagonist, being a well written and vicious villain, and the various monologues are not only entertaining but beautifully written.</div>\r\n<div>     When talking about the masterful writing in Shakespeare\'s <em>Titus Andronicus</em>, it is important to compare it to at least one other piece of literature from the time. One of Shakespeare\'s most well known contemporaries and a fellow writer was Don Miguel de Cervantes Saavedra, who is famous for his book, <em>Don Quixote</em>. Compared to the whimsical, meandering story of the short-sighted and idealistic knight, Shakespeare\'s bloody story is almost a polar opposite. <em>Don Quixote</em> is satirical and full of poignant messages about life. Alonso Quixano completely reinvents himself, giving his horse a new name and polishing his grandfather\'s armor, then sets out to do great deeds as a knight-errant. There is a direct parallel in Don Quixote\'s voluntary insanity and the insanity that Titus feigns in order to fool Tamora and her sons into the trap he has set. Both characters are using the guise of insanity to reach a higher goal. Don Quixote seeks to reach the pinnacle of chivalry while Titus seeks to gain revenge. Another way in which both works are different is that Shakespeare sought to move away from the dark ages and the time of knights, instead seeking a return to the glorified ideas of the ancient world, re-telling tales from Greece and Rome the movement of intellectualism and enlightenment that personified the renaissance. Meanwhile Cervantes sought to present a romanticized vision of the more recent past and the times of knighthood and chivalry in order to keep alive those ideas.</div>\r\n<div>     When reviewing <em>Titus Andronicu</em>s it is most important to remember that this work was heavily based upon the <em>Metamorphosis</em> by Ovid, which is actually quoted in the play. Aside from being Shakespeare\'s first tragedy and a fine example of his work, this play is essentially a way for the mythos and figures of the ancient world to be presented to the masses, most of whom were unable to read the stories for themselves. <em>Titus Andronicu</em>s may be criticized as a violent play, but the works that were drawn upon for its creation are likewise bloody and bizarre. Regardless of anyone\'s personal opinions about the content, this play is historically important not just for the connection to the great playwright, but also for the connection to the original religious beliefs of the Greeks and Romans.</div>\r\n<div align=\"center\">__________________Works Cited_________________</div>\r\n<div align=\"left\">1. Northcote, James . <em>Life of Titan, with Anecdotes of the Distinguished Persons of His Times. 2 vols</em>. London; Colburn and Bentley, 1830.\r\n2. Flaxman, John. <em>Lectures on Sculpture, To which Are Now First Added, an Introductory Lecture, and Two Addresses...on the Death of Thomas Banks, in 1805</em>. London; Henry G. Bohn, 1838.\r\n3. Oxford Reference Online Premium [ A Dictionary of Shakespeare ] -- <a href=\"http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?entry=t57.e396\">http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?entry=t57.e396</a>\r\n4. Gillies, John. <em>Shakespeare and the geography of difference</em>. La Trobe University; 1947.\r\n5. John Wiley &amp; Sons, Inc.<em> Shakespeare\'s Minor Plays : Notes ...</em> 1991. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept. 2011.\r\n6. Sturman, Marianne, and Miguel de Cervantes Saavedra.<em> Don Quixote : Notes</em>. John Wiley &amp; Sons, Inc. (US), 1964. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept. 2011.</div>\r\n&nbsp;','Titus Andronicus - Masterpiece or Rubbish Heap?','','inherit','open','open','','1644-revision-7','','','2011-09-21 02:44:37','2011-09-21 08:44:37','',1644,'http://jeanatacc.com/2011/?p=1652',0,'revision','',0),(1653,1,'2011-09-19 18:52:04','2011-09-20 00:52:04','<div class=\"mceTemp\" style=\"text-align: center;\"><dl><dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/don-quixote.jpg\"><img class=\"size-medium wp-image-1569\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/don-quixote-220x300.jpg\" alt=\"\" width=\"220\" height=\"300\" /></a></dt><dd>http://brothersjudd.com/index.cfm/fuseaction/reviews.detail/book_id/223</dd></dl></div>\r\n“Don Quijote de la Mancha” written by Miguel de Cervantes in two parts published in 1605 and 1615; it is the first of its style and one of the first to mark the beginning of renaissance literature in Western Europe. “Don Quixote is a book for all seasons”( Stavans, Ilan) with its comical anti-romantic theme that influenced many writers and has become one of the most translated books after the bible(Cook, James Wyatt. \"Don Quixote.\").  Cervantes manage to write this entertaining novel that veer away from the usual medieval romantic literature and used Don Quixote as a figure that mock the romantic medieval knight. “Don Quixote” is an entertaining novel that should be preserved in order to influence all future generations to be original and not usual.<!--more-->\r\n\r\nCervantes manage to write his best novel at the end of his failed writing career. In 1605 Miguel de Cervantes, after a disappointing literary career, convinces a printer to publish his novel (Cook, James Wyatt. \"Don Quixote.\"). “Don Quixote” is the story of a gentleman called Quejana that owns a bookstore filled with chivalric romances. After becoming more and more submerged in the stories of knights and quests, Signor Quejana makes an illusive world in which he becomes Don Quixote, a knight, who has come to fight evil, and restore the world to the Golden Age (Cook, James Wyatt. \"Don Quixote.\"). Don Quixote with his trusted side kick, Sancho Panza, set out to fight giants which are actually windmills and armies that actually are flocks of sheep (Fiero). “Don Quixote is the first novel of the western prose tradition to reflect in fiction the psychological growth and change that persons experienced in real life.”( Cook, James Wyatt. \"Don Quixote.\")\r\n\r\nThe war for Spain was inevitable with the Turks occupying Cyprus in 1570, and a young Cervantes would join this battle. Even though there were many counts of Cervantes courage during battle, there were also many tragic events which shaped his novel “Don Quixote”. Cervantes fought heroically in the battle of Lepanto in 1571 but was injured and lost full use of his left hand, on his return to Spain, his voyage was attacked and captured by pirates (Encyclopædia Britannica). Cervantes was released after his ransom had been paid, but he had spent 5 years in slavery. Finding little success working as a writer in Spain and working as a tax collector, Cervantes was imprisoned for shortcomings in his accounts. The illusion of a romantic heroism shattered by war, slavery, and incarceration showed the disappointing reality that Cervantes reflected in his novel (Burt, Daniel S. \"Don Quixote.\").\r\n\r\nThe insightful novel of the human mind created by Cervantes is an innovation of its era, as More’s Utopia which reflected individualism and Shakespeare searching for what makes us human. Although, Spain remained in a society which reflected medieval values, wealth was changing its social classes, and Spain was on the verge of a modern world. For Cervantes this was the perfect setting to use his modern novel to criticize the romantic medieval values instilled on Spain (Fiero). Don Quixote was not typical of its era; it was an innovation of its era to change the values of a country.\r\n\r\nNevertheless, Cervantes had created his masterpiece, after years of failure as a writer; Don Quixote was “an immediate success.”( Encyclopædia Britannica) Even though, Cervantes had sold the publishing right, and made little profit on the first part of Don Quixote that was published in January of 1605, and by August of the same year there were editions in Madrid, Lisbon, and Valencia. By 1612 the novel had been translated by Thomas Shelton and Cervantes had become as popular in England, France, and Italy, as he was in Spain. (Encyclopædia Britannica) Cervantes had become so popular that a fraudulent second part to his novel had appeared by 1614 with stolen material from Cervantes unpublished second part. In 1615 Cervantes published his second part exposing the fake in his novel (Cook, James Wyatt. \"Don Quixote.\"). When published, “Don Quixote” suffered minor changes due to the Spanish inquisition which confiscated any work with heretical ideas and condemned any artist to death. Cervantes once said “I would have made the book more amusing had it not been for the holy office.”(\"Censorship History of Don Quixote.\") In 1640 the book had again been changed for a single sentence that reflected Lutheran beliefs, but it wasn’t till 1981 that the book had completely been censured in Chile by General Pinochet “because it supported individual freedom and attacks authority.”(\"Censorship History of Don Quixote.\")\r\n\r\nShakespeare and Cervantes were two innovative writers of their time, who shift the literary world of their time. As they both searched for the realistic human emotions and found ways to entertain their audience using an exaggerated reality of the human life. They both change the literary world, although, Shakespeare surpasses Cervantes as a writer (Turgeniev, Ivan. \"Hamlet and Don Quixote.\"). “Hamlet” (1602) had already been published by the time Cervantes was working on “Don Quixote.” The similarities in Hamlet and Don Quixote are vast even thought they both served different themes, as “Don Quixote” in a comical novel, and “Hamlet” is a tragic drama. Both of these characters serve as an insight into the defects of human and the realistic world we live, they are the two parts of what every human being are (Turgeniev, Ivan. \"Hamlet and Don Quixote.\").). Hamlet motivated by revenge, with his egoistic attitude that only lives for himself, and by his own doing hurts himself. Then there is the comical Don Quixote who has fallen far into a web of stories created by society that has played with his mind, and motivated by courage, but deceived by his illusions. “It awakened a series of thoughts in us. In these two types there are embodied two opposite fundamental characteristics of a human being, - the axis around which the nature of man moves. All men belong, to some extent, to one of these two types; almost every one of us possesses the character of either Hamlet or Don Quixote. It is true that in our times there are far more Hamlets than Don Quixotes; but even Don Quixotes are not waiting.” (Turgeniev, Ivan. \"Hamlet and Don Quixote.\").)\r\n\r\nIn the history of a novel, there has not been one with so many translations in so many different versions; Don Quixote is the second best selling book in history after the Bible. (Burt, Daniel S. \"Don Quixote.\") Today, the story of Don Quixote has only grown in popularity, as Miguel de Unamuno once said, “there scarcely exist a person of even average education who does not have an idea of Don Quixote and Sancho.”( Burt, Daniel S. \"Don Quixote.\") Don Quixote has served as an influence for many writers, has showed up in the works of Mark Twain and Ernest Hemingway, and even in the tongue of Shakespeare in 1612 as the “witty knight.”( Stavans, Ilan) Don Quixote and Sancho Panza will continue to influence those stories to come and bring laughter to future generation. Don Quixote is “the Bible of humanity,” as once said by the 19th century historian Sainte-Beuve.( Burt, Daniel S. \"Don Quixote.\")\r\n\r\nThe story of “Don Quixote” has captivated my attention trough my education as the noble yet illusive character that was manipulated by the fictional stories he possessed. It is a novel filled with laughter as an old man rite a dying horse into battle against his own dilutions. Don Quixote is a character that should be remembered and preserved for the entertainment of future generation; this book will inspire next generations to remember the past and to change for the future.\r\n\r\n&nbsp;\r\n\r\nWork Cited\r\n\r\n--Fiero, Gloria K. “The Humanistic Tradition” Sixth Edition. The McGraw-Hill Companies, 2011.\r\n\r\n--Miguel de Cervantes.\" Encyclopædia Britannica. Encyclopædia Britannica Online Academic Edition. Encyclopædia Britannica, 2011. Web. 19 Sep. 2011. &lt;<a href=\"http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/103673/Miguel-de-Cervantes\">http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/103673/Miguel-de-Cervantes</a>&gt;.\r\n\r\n--Cook, James Wyatt. \"Don Quixote.\" Encyclopedia of Renaissance Literature. New York: Facts On File, Inc., 2006. Bloom\'s Literary Reference Online. Facts On File, Inc. <a href=\"http://www.fofweb.com/activelink2.asp?ItemID=WE54&amp;SID=5&amp;iPin\">http://www.fofweb.com/activelink2.asp?ItemID=WE54&amp;SID=5&amp;iPin</a>= ERL213&amp;SingleRecord=True\r\n\r\n--Stavans, Ilan.”One master, many Cervantes Don Quixote” copyright of humanities 2001\r\n\r\n--Bald, Margaret. \"Censorship History of Don Quixote.\" Banned Books: Literature Suppressed on Religious Grounds, Revised Edition. New York: Facts On File, Inc., 2006. Bloom\'s Literary Reference Online. Facts On File, Inc. <a href=\"http://www.fofweb.com/activelink2.asp?ItemID=WE54&amp;SID=5&amp;iPin\">http://www.fofweb.com/activelink2.asp?ItemID=WE54&amp;SID=5&amp;iPin</a>= BBR0056&amp;SingleRecord=True\r\n\r\n--Burt, Daniel S. \"Don Quixote.\" The Novel 100: A Ranking of the Most Influential Novels of All Time, Revised Edition. New York: Chelsea House Publishing, 2010. Bloom\'s Literary Reference Online. Facts On File, Inc. <a href=\"http://www.fofweb.com/activelink2.asp?ItemID=WE54&amp;SID=5&amp;iPin\">http://www.fofweb.com/activelink2.asp?ItemID=WE54&amp;SID=5&amp;iPin</a>= NOVLR001&amp;SingleRecord=True\r\n\r\n-- Turgeniev, Ivan. \"Hamlet and Don Quixote.\" Trans. Josef Firi Král and Pavel Durdík. Poet-Lore 4.4 (15 Apr. 1892): 169-184. Rpt. in Literature Criticism from 1400 to 1800. Ed. James E. Person, Jr. Vol. 6. Detroit: Gale Research, 1987. Literature Resource Center. <a href=\"http://go.galegroup.com/ps/i.do?&amp;id=GALE%7CH1420011991&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=LitRC&amp;sw=w\">http://go.galegroup.com/ps/i.do?&amp;id=GALE%7CH1420011991&amp;v=2.1&amp;u=txshracd2487&amp;it=r&amp;p=LitRC&amp;sw=w</a>\r\n\r\n&nbsp;','Don Quixote de la Mancha','','inherit','open','open','','1568-revision-8','','','2011-09-19 18:52:04','2011-09-20 00:52:04','',1568,'http://jeanatacc.com/2011/?p=1653',0,'revision','',0),(1738,48,'2011-09-26 12:14:30','2011-09-26 18:14:30','<div class=\"mceTemp mceIEcenter\"><dl><dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003.jpg\"><img class=\"size-medium wp-image-1645 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\" /></a></dt><dd>0, handle not the theme, to talk of hands, lest we remember still that we have none.</dd></dl>\r\n<p style=\"text-align: center\"><a href=\"http://www.pilgrimways.com/window/2010/06/01/street-galleries/\">http://www.pilgrimways.com/window/2010/06/01/street-galleries/</a></p>\r\n\r\n</div>\r\n&nbsp;\r\n<div>     When discussing English literature, there is no pinnacle higher, no name more recognized than that of William Shakespeare. Born into the height of the renaissance period, sometime roughly around 1564, Shakespeare authored and co-authored a large number of plays that are still known the world over today. One of his first tragedies, <em>Titus Andronicus</em>, was written between 1588 and 1593. It is a classic tale of revenge and the human struggle with morality, and heavily reflects the fascination at the time for classic tales of passion and drama, especially ones drawn from the influence of ancient Greece and Rome. The fascination with subject matter from the classical world encompassed both art and literature, and many stories by Greek and Roman authors were being adapted for public consumption, including the writings of Ovid, is mentioned specifically in <em>Titus Andronicus</em>. It is the homage that Shakespeare pays to the authors of the past as well as the fact that<em> Titus Andronicus</em> is the first tragedy written by the famous playwright that makes it of such historical importance.<!--more--></div>\r\n<div>     \"It was from the stores of Greek and Latin churches...that the monks had preserved the seeds of many arts, particularly the art of design, though in a very imperfect degree, but still sufficient, by cultivation, to produce effects of the greatest magnitude. In respect to the progress of refinement in Italy, it must be observed, that the little republic of Florence gave birth to many restorers of science, letters, and arts. Painting, sculpture, and architecture were advanced and perfected by the consecutive labors of well-employed artists, during the course of almost three hundred years, from Cimbaue to Leonardo da Vinci, Frau Bartolomeo to Michael Angelo\" ( Northcote 1: 393-394 ). Like most writers of his time, William Shakespeare was influenced heavily by the art and culture that surrounded him. Most subject matter had been brought over to England by the Romans that initially established the country, and because of this the art and writings focused heavily on the mythos of Greece and Rome, as well as religious subject matter. Many of the books at the time were written in languages such as Latin, and while there were certainly texts published in old English, the majority of the population at the time was illiterate. This is what motivated playwrights such as Shakespeare to take these stories and re-create them in a medium that the masses would be able to enjoy. At the same time painters such as Leonardo da Vinci and Michael Angelo were producing works that visually told stories in a way that didn\'t require a literate audience. \"Many works produced by English artists between the year 1200 and the reign of Henry the VII could be compared with the best Italian artists of the same time\" ( Flaxman 51 ).</div>\r\n<div>     It is difficult to dispute the greatness of Shakespeare, and part of what made his plays so wildly popular was their presentation by the Lord Chamberlain\'s Men in the famous Globe Theatre. In 1603, when James I succeeded Elizabeth, he gave the company a royal patent, and it became the King\'s Men. From 1603 to 1616 they played an average of twelve performances a year at Court. James supplied nine members, including Shakespeare, with four-and-a-half yards of red cloth each to make liveries to wear in his coronation procession. <em>Titus Andronicus</em> was the first of Shakespeare\'s tragedies and would have been the first of his tragedies performed by the theatre company, and likely also the first of Shakespeare\'s tragedies performed in the Globe theatre. Although it was a very lewd and violent play that was designed to appeal to the public, the way in which the theatre company presented it was different from any other play being produced at the time, and the work itself is innovative in that it was the first time Shakespeare broke away from writing comedies.</div>\r\n<div>     Edward Ravenscroft ( 1654-1707), was an English dramatist who is best known for criticizing <em>Titus Andronicus</em> foremost among Shakespeare\'s works. Ravenscroft originated the theory that<em> Titus Andronicus</em> wasn\'t actually written by Shakespeare, instead supposing that the playwright took an already existing story and re-worked it. Ravenscroft has been quoted at saying,\"... \'tis the most incorrect and indigested piece in all his Works, It seems rather a heap of Rubbish then a Structure\" ( 4 ). This is in direct conflict with more current opinions. Most are familiar with the unbiased reviewing of written material provided by Cliffnotes, which claims,\"As is true in all of Shakespeare\'s plays,<em> Titus Andronicu</em>s is structured from conventions and traditions and philosophies which were well-known in Shakespeare\'s time; the play was not created in a vacuum, and although it is vulnerable to negative criticism, it contains some very good dramatic moments\" ( Wiley 63 ). While critics have developed more love for this particular play, the public has lost some of the stomach for the material it presents. At the time when the play was initially being performed, the state of affairs was completely opposite. Critics frowned upon <em>Titus Andronicus</em> because it was irreverent and created to appeal to the general public, who in turn were fascinated by the violence of the play.</div>\r\n<div>     My personal love for this play comes from the empathetic position which is given to Titus himself. Only wanting to do right and be honorable, the Roman general makes the grievous mistake of allowing his sons to sacrifice one of the captive sons of the Queen of the Goths. Although the motivation for this act is piety, it starts the chain reaction of revenge between Tamora and her sons and Titus\' family. Aaron is witty and provides a perfect antagonist, being a well written and vicious villain, and the various monologues are not only entertaining but beautifully written.</div>\r\n<div>     When talking about the masterful writing in Shakespeare\'s <em>Titus Andronicus</em>, it is important to compare it to at least one other piece of literature from the time. One of Shakespeare\'s most well known contemporaries and a fellow writer was Don Miguel de Cervantes Saavedra, who is famous for his book, <em>Don Quixote</em>. Compared to the whimsical, meandering story of the short-sighted and idealistic knight, Shakespeare\'s bloody story is almost a polar opposite. <em>Don Quixote</em> is satirical and full of poignant messages about life. Alonso Quixano completely reinvents himself, giving his horse a new name and polishing his grandfather\'s armor, then sets out to do great deeds as a knight-errant. There is a direct parallel in Don Quixote\'s voluntary insanity and the insanity that Titus feigns in order to fool Tamora and her sons into the trap he has set. Both characters are using the guise of insanity to reach a higher goal. Don Quixote seeks to reach the pinnacle of chivalry while Titus seeks to gain revenge. Another way in which both works are different is that Shakespeare sought to move away from the dark ages and the time of knights, instead seeking a return to the glorified ideas of the ancient world, re-telling tales from Greece and Rome the movement of intellectualism and enlightenment that personified the renaissance. Meanwhile Cervantes sought to present a romanticized vision of the more recent past and the times of knighthood and chivalry in order to keep alive those ideas.</div>\r\n<div>     When reviewing <em>Titus Andronicu</em>s it is most important to remember that this work was heavily based upon the <em>Metamorphosis</em> by Ovid, which is actually quoted in the play. Aside from being Shakespeare\'s first tragedy and a fine example of his work, this play is essentially a way for the mythos and figures of the ancient world to be presented to the masses, most of whom were unable to read the stories for themselves. <em>Titus Andronicu</em>s may be criticized as a violent play, but the works that were drawn upon for its creation are likewise bloody and bizarre. Regardless of anyone\'s personal opinions about the content, this play is historically important not just for the connection to the great playwright, but also for the connection to the original religious beliefs of the Greeks and Romans.</div>\r\n<div align=\"center\">__________________Works Cited_________________</div>\r\n<div align=\"left\">1. Northcote, James . <em>Life of Titan, with Anecdotes of the Distinguished Persons of His Times. 2 vols</em>. London; Colburn and Bentley, 1830.\r\n2. Flaxman, John. <em>Lectures on Sculpture, To which Are Now First Added, an Introductory Lecture, and Two Addresses...on the Death of Thomas Banks, in 1805</em>. London; Henry G. Bohn, 1838.\r\n3. Oxford Reference Online Premium [ A Dictionary of Shakespeare ] -- <a href=\"http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?entry=t57.e396\">http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?entry=t57.e396</a>\r\n4. Gillies, John. <em>Shakespeare and the geography of difference</em>. La Trobe University; 1947.\r\n5. John Wiley &amp; Sons, Inc.<em> Shakespeare\'s Minor Plays : Notes ...</em> 1991. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept. 2011.\r\n6. Sturman, Marianne, and Miguel de Cervantes Saavedra.<em> Don Quixote : Notes</em>. John Wiley &amp; Sons, Inc. (US), 1964. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept. 2011.</div>\r\n&nbsp;','Titus Andronicus - Masterpiece or Rubbish Heap?','','inherit','open','open','','1644-revision-12','','','2011-09-26 12:14:30','2011-09-26 18:14:30','',1644,'http://jeanatacc.com/2011/?p=1738',0,'revision','',0),(1658,41,'2011-09-20 17:25:53','2011-09-20 23:25:53','<h3><span style=\"color: #605f00\">Citizens revolt against plans to demolish the embodiment of Renaissance Civil Architecture.</span></h3>\r\n<p align=\"left\">By Jill Brockmann<strong>,</strong> ONN Contributor, Italy, Florence -- (ONN Bureau)</p>\r\n<p align=\"left\">September 19, 2011 12:05 p.m. EDT</p>\r\n\r\n\r\n[caption id=\"attachment_1604\" align=\"alignleft\" width=\"290\" caption=\"The Medici Palazzo - Image found: http://otherworldmystery.com/tag/rosicrucianism\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\"><img class=\"size-full wp-image-1604\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\" alt=\"The Medici Palazzo\" width=\"290\" height=\"117\" /></a>[/caption]\r\n<p align=\"left\">Riots broke out in Tuscany\'s capital today, as the polizia tried to hold back protesters in front of the Palazzo Medici Riccardi, the epitome and gold standard of Renaissance Civil Architecture. Hundreds of protesters congregated in front of the strong, yet grim, exterior of the cube-shaped building that was once the most persuasive symbol of the political and cultural authority of the Medici banking family in Florence.<sup>2 </sup> Protesters believe that the building should be preserved because of its long history of provoking ardent political discourse, its owners promoted the preservation of rare art and they shared their priceless pieces in an effort to enhance the community\'s love of the arts. The City Council is attempting to exert their power <!--more-->of emminent domain and destroy the building, replacing it with a high-rise apartment complex that would include tax-generating commercial space on the first floor. The building was built by the Italian architect and sculptor, Michelozzo di Bartolomeo Michelozzi (1396–1472) and was commissioned by the head of the Medici banking family, Cosimo de\' Medici, between the years of 1445-1460. Today, the building is known as the Palazzo Medici Riccardi, after Gabbriello Riccardi purchased it and expanded its footprint in 1659.<sup>1</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1609\" align=\"alignright\" width=\"198\" caption=\"Courtyard at the Medici Palazzo  Image found: http://www.goingthroughitaly.com/500/medici-riccardi-palace/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\"><img class=\"size-full wp-image-1609\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\" alt=\"Courtyard at the Medici Palazzo\" width=\"198\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">Florentine citizens are protesting the demolition of the building, which they consider the foremost example of the classic theory of magnificence, touted by Aristotle in his famed literary work, <em>Nicomachean Ethics</em>. Aristotle\'s theory held that \"men of means had a moral duty to live in magnificent palaces for the benefit of themselves, their family and society.\"<sup>2 </sup>Florentinians of today agree with this theory and see the building as an ideal model of political order, civic harmony, and pride.<sup>1</sup> At one time, the Medici Palazzo (palace) was said to be \"one of the noblest specimens of Italian fifteenth-century architecture, in which the great taste and skill of the architect has combined with the delicate lightness of earlier Italian Gothic style and with the massive stateliness of the classical style.\" <sup>2</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1606\" align=\"alignleft\" width=\"482\" caption=\"                         Example of biforal (left) and Gothic triforal (right) windows                                 Images found: http://www.florence-gallery.com/monuments/  and http://santatatiana.wordpress.com/2011/07/06/the-magnificent-palace-of-priors-in-perugia\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\"><img class=\"size-full wp-image-1606 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\" alt=\"Medici Palazzo (left) and Prior\'s Palace (right) window examples \" width=\"482\" height=\"151\" /></a>[/caption]\r\n<p align=\"left\"> When compared to the Prior\'s Palace, in Perugia, the Medici Palace offers many considerations of similarity and contrast.<sup> 2</sup> The Prior\'s Palace was constructed during the same time period and held fast to the custom of resting double-arch (biforal) windows on classic cornices, which echoed ecclesiastical architecture.<sup>2</sup></p>\r\n<p align=\"left\">Medici Palazzo is designed with double-arch windows on the second and third floors. However, the rounded-arches of the windows in the Medici Palazzo deviate from the Prior\'s Palace windows in that they do not have the classic Gothic point at the top.<sup>2</sup> This rounded-style arch was first seen in a residence when Michelozzo designed the Medici Palazzo to look more secular.<sup>2</sup></p>\r\n<p align=\"left\">An additional architectural differentiation from buildings of its time, including the Prior\'s Palace, was the optical illusion created when the building is viewed from street level.<sup>2</sup> The stone surfaces from bottom-to-top change in texture from rough to smooth, and the stories are scaled from taller on the bottom level to shorter on the upper levels.<sup>2</sup> This transition of surfaces and story height creates the illusion that the structure looms even taller than it actually is. The cornice along the top of the building, projecting out six feet past the façade, serves as a type of crown for the building and its ornate moldings, coffers, rosettes and flutes further speak to the Medici\'s preoccupation with social and political status.<sup>2,4</sup></p>\r\n<p align=\"left\">Spokesperson for the uprising, Leona Battista Alberti, (descendent of author Leon Battista Alberti, who penned <em>On the Art of Building in Ten Books</em>) stated that the Medici family monopolized Florentine politics and all things cultural from 1434 to 1494.<sup>5</sup>  Alberti claims that Cosimo Medici was a humanist, had amassed a large fortune, and had successfully managed to outwit his political enemies to become the <em>de facto</em> ruler of Florence.<sup>3</sup> Under his rule, Medici took advantage of the open trade routes, throughout much of the world, to bring precious objects to Florence and this enhanced honor and pride within the community. She further stated that the objects he imported  included priceless paintings, rare books, elaborate sculptures, fine tapestries, unusual plants, splendid inlaid marble floor tiles and much more.<sup>3</sup> Alberti clearly prayed that the Medici Palace remain standing as a respectful tribute to the illustrious Medici family and all of the rare treasures they brought to the Florentine citizens.</p>\r\n\r\n\r\n[caption id=\"attachment_1611\" align=\"alignright\" width=\"245\" caption=\"Statue of Cosimo de&#039; Medici - Image found: http://www.flickr.com/photos/19178753@N04/5093773149/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\"><img class=\"size-full wp-image-1611 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\" alt=\"Statue of Cosimo de Medici\" width=\"245\" height=\"194\" /></a>[/caption]\r\n<p align=\"left\">Opponent of the protest, Frank Pazzi, (descendant of Francesco de\' Pazzi) spoke of the political unrest that swirled around the Medici family during the time immediately before and after the construction of the Medici Palazzo. The rising wealth among the merchant class was infringing upon the authority of the Papacy and creating tension within the Church. He spoke of the fact that Medici purposefully chose the unusual design and appearance of the building\'s façade because he had just returned from exile and was conscientious about upsetting the delicate political climate of the time and arousing envy among the citizens of Florence. Pazzi\'s family had been political rivals of the Medici family in the 1400s and he noted that one of his ancestors had been hanged at the Palace.<sup>3</sup> Pazzi viewed the Palace as a place of great heartache, political unrest, and the reminded him of the social manipulation running rampant at the time. He stated that he wished the building \"had been flattened years ago.\"</p>\r\n<p align=\"left\">Since the Medici vs. Pazzi family rivalry ended with the Medici\'s prevailing, the construction of the Medici Palace represented a celebration or re-birth of sorts, and therefor, the building was in a brand-new style.<sup>3</sup>  According to the Curator of the present-day Medici Museum, the Medici Palace was the first private residence in Florence to have an all-stone exterior, elements such as moldings, round-headed arches, elegant wedge-shaped stones in the arches, (called \"voussoirs\") and the prominent display of the family coat-of-arms.<sup>2  </sup>The Curator further explained that although there were some characteristics of this building that were classically Roman in nature, the predominant reason to preserve this structure was that it was the first time a residence included a gracious nod to civic harmony and lower-class inclusiveness among the wealthy. For example, he stated that Medici placed stone benches, wrought-iron hitching rings for horses, and torch holders on the exterior as a means of welcoming visitors.</p>\r\n<p align=\"left\">Perhaps the welcoming ambience of the Palace was the seed of change and now, present day architects use it in their designs. The Medici were the first to incorporate these community-related elements in to their design and nowadays nearly every building in existence has some sort of bench, railing, fountain, garden, or welcoming landscape. Saying that a building is \"inviting\" is considered a great accomplishment among commercial architects today. Is it possible that the Medici were the first example of this community-minded trend? If so, this fact alone may be reason enough to preserve the building.</p>\r\n\r\n\r\n[caption id=\"attachment_1614\" align=\"alignleft\" width=\"230\" caption=\"Alterpiece in the Chapel of the Medici Palazzo ~ Image found: http://hoocher.com/Agnolo_Bronzino/Agnolo_Bronzino.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\"><img class=\"size-full wp-image-1614\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\" alt=\"Alterpiece in the chapel of The Medici Palazzo\" width=\"230\" height=\"320\" /></a>[/caption]\r\n<p align=\"left\">When interviewed, present-day Florentine Architect, Phillip Brunelleschi, (descendant of architect, Filippo Brunelleschi) noted that at the time Medici Palazzo was constructed, building façades had a distinct asymmetry to the placement of the center courtyard and the doors. This created a lack of alignment between the doors and the upper windows.<sup>2</sup> He went on to speak of the misalignment of the doors and upper-story windows of the Medici Palazzo. Despite this similarity to buildings of the day, it was Brunelleschi\'s opinion that the center courtyard of Medici Palazzo is designed to \"evoke a cloister-like sacred space\"<sup>2</sup> and this tranquil element was non-existent in other palaces of that time. The Medici incorporated their own chapel within the walls of the Palace. What did having their own church say about their connection to God? Most people in Florence had to walk to church. The Medici could have simply walked into their chapel and hired their own priest. Their social and religious stature must have irritated the Church and that would have further inflamed their political standing in town.</p>\r\n<p align=\"left\">Protest organizer, Loren Vecchio, (descendant of Cosimo Medici) advocates the preservation of the building due to the historic accomplishments of the Medici family in relation to education. Vecchio stressed that under the patronage of the Medici family, the Platonic Academy in Florence was founded in 1462. In 1480, The Medici opened the Garden of Lorenzo de’ Medici. Vecchio noted that the library of St. Lorenzo (Bibliotheca Laurenziana) made</p>\r\n\r\n\r\n[caption id=\"attachment_1616\" align=\"alignright\" width=\"190\" caption=\"Laurentian Library Foyer     Image found: http://www.museumsinflorence.com/musei/Laurentian_Library.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\"><img class=\"size-full wp-image-1616\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\" alt=\"Laurentian Library inside The Medici Palazzo\" width=\"190\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">available to the public the immense Medici collection of books and manuscripts, and that this one act proved that the Medici\'s had devoted their lives to the colossal undertaking of educating and promoting the appreciation of the arts for generations to come.<sup>4</sup></p>\r\n<p align=\"left\">One of the protesters, Marisa Ficino, (descendent of Marsilio Ficino), mentioned that one of her ancestors had been hired by Cosimo to translate the works of Plato into Latin and that Medici was a huge patron of the arts and literature. She commented that, according to family stories, the Medici were the first family to use their personal residences to display vast art and cultural collections.<sup>4</sup> Ficino indicated that the practice of inviting guests to visit the Palace was politically innovative at the time because guests were only shown rooms that equaled their favor with the family. Viewing the enormous collection of rare and priceless artifacts became an inducement that led guests to do the bidding of the family. Certain precious pieces were only shown to those members of society that, according to the Medici family, were worthy.<sup>4</sup> At the time, this custom created envy among some circles while delighting others. Could it be that the same practice still exists, in some form, in our society today?</p>\r\n\r\n\r\n[caption id=\"attachment_1615\" align=\"alignleft\" width=\"194\" caption=\"Medici Palazzo Ceremonial Hall  Image found: http://www.museumsinflorence.com/musei/medici_riccardi_palace.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\"><img class=\"size-full wp-image-1615\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\" alt=\"Medici Palazzo Ceremonial Hall\" width=\"194\" height=\"259\" /></a>[/caption]\r\n<p align=\"left\">Today, the Palace holds the offices of the Provincial Governor, the Florentine Provincial Authority, the Istituto Storico dellaRes istenza and the Biblioteca Moreniana. Upon researching this article, the author found almost three million listings for the Medici Palazzo that were academic in n</p>\r\n<p align=\"left\">ature or bespoke of its architectural prestige and dominance in the civil architecture movement of the Renaissance. In the humble opinion of this author, it appears that this extraordinary work of architecture is worth preserving and hopefully the Florence City Council will realize the multi-layered historical importance and, keep the building in order to give the protestors what they want.</p>\r\n\r\n<h2></h2>\r\n&nbsp;\r\n<h2><em><span style=\"color: #605f00\">Works Cited List:</span></em></h2>\r\n<p align=\"left\">1. The Medici Palazzo - The Chronology. http://www.palazzo-medici.it/eng/sez_storia/medici.htm Website accessed August 26, 2011.</p>\r\n<p align=\"left\">2. Partridge, Loren W.<span style=\"text-decoration: underline\"> Art of Renaissance Florence, 1400-1600 </span>. Imprint Berkeley : University of California Press, c2009.</p>\r\n<p align=\"left\">3. Martinez, Lauro. <span style=\"text-decoration: underline\">April blood : Florence and the plot against the Medici.</span> Imprint Oxford ; New York : Oxford University Press, 2003.</p>\r\n<p align=\"left\">4. Neher, Gabriele. <a title=\"Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace.\" href=\"http://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/viewarticle?data=dGJyMPPp44rp2%2fdV0%2bnjisfk5Ie41%2fOL8t%2fsRuvX54as2%2baH8eq%2bUK2prkewpq9JnqeuUrGsuEy1lr9lpOrweezp33vy3%2b2G59q7RbCmsEyxq7BJsKqkhN%2fk5VXj5KR84LPfUeac8nnls79mpNfsVbCvsVCxrrBIpNztiuvX8lXk6%2bqE8tv2jAAA&amp;hid=5\">Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace. </a><em>Art Book</em>, Feb2008, Vol. 15 Issue 1, p9-10, 2p;</p>\r\n<p align=\"left\">5. Matthews, T., DeWitt Platt, F., Noble, Thomas F.X., <span style=\"text-decoration: underline\">The Western Humanities</span>, McGraw-Hill, New York, 2011, Seventh Edition, Volume II, p307-308; p312;</p>\r\n<p align=\"left\">6.Equestrian statue of Cosimo Medici. Website:  http://www.flickr.com/photos/19178753@N04/5093773149/. Accessed September 8, 2011.</p>\r\n<p align=\"left\">7. Medici-Riccardi Palace courtyard, Florence. Italy. Website: http://www.goingthroughitaly.com/500/medici-riccardi-palace/. Accessed September 5, 2011.</p>\r\n<p align=\"left\">8. Laurentian Library. The Museums of Florence. Website: http://www.museumsinflorence.com/musei/Laurentian_Library.html. Accessed September 7, 2011.</p>\r\n<p align=\"left\">9.  Mediateca di Palazzo Medici Riccardi. <a href=\"http://www.provincia.fi.it/\">Provincia di Firenze</a>. Palazzo Medici-Riccardi Today.\r\nWebsite: http://www.palazzo-medici.it/mediateca/en/cronologia.php#3. Accessed September 6, 2011.</p>\r\n<p align=\"left\">10. Comune di Perugia. Palazzo dei Priori. Website: http://www.comune.perugia.it. Accessed: September 16, 2011.</p>','Protest at the Palazzo','','inherit','open','open','','1593-revision-30','','','2011-09-20 17:25:53','2011-09-20 23:25:53','',1593,'http://jeanatacc.com/2011/?p=1658',0,'revision','',0),(1659,41,'2011-09-22 08:55:14','2011-09-22 14:55:14','<h3><span style=\"color: #605f00\">Citizens revolt against plans to demolish the embodiment of Renaissance Civil Architecture.</span></h3>\r\n<p align=\"left\">By Jill Brockmann<strong>,</strong> ONN Contributor, Italy, Florence -- (ONN Bureau)</p>\r\n<p align=\"left\">September 19, 2011 12:05 p.m. EDT</p>\r\n\r\n\r\n[caption id=\"attachment_1604\" align=\"alignleft\" width=\"290\" caption=\"The Medici Palazzo - Image found: http://otherworldmystery.com/tag/rosicrucianism\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\"><img class=\"size-full wp-image-1604\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\" alt=\"The Medici Palazzo\" width=\"290\" height=\"117\" /></a>[/caption]\r\n<p align=\"left\">Riots broke out in Tuscany\'s capital today, as the polizia tried to hold back protesters in front of the Palazzo Medici Riccardi, the epitome and gold standard of Renaissance Civil Architecture. Hundreds of protesters congregated in front of the strong, yet grim, exterior of the cube-shaped building that was once the most persuasive symbol of the political and cultural authority of the Medici banking family in Florence.<sup>2 </sup> Protesters believe that the building should be preserved because of its long history of provoking ardent political discourse, its owners promoted the preservation of rare art and they shared their priceless pieces in an effort to enhance the community\'s love of the arts. <!--more--></p>\r\n<p align=\"left\">The City Council is attempting to exert their power of emminent domain and destroy the building, replacing it with a high-rise apartment complex that would include tax-generating commercial space on the first floor. The building was built by the Italian architect and sculptor, Michelozzo di Bartolomeo Michelozzi (1396–1472) and was commissioned by the head of the Medici banking family, Cosimo de\' Medici, between the years of 1445-1460. Today, the building is known as the Palazzo Medici Riccardi, after Gabbriello Riccardi purchased it and expanded its footprint in 1659.<sup>1</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1609\" align=\"alignright\" width=\"198\" caption=\"Courtyard at the Medici Palazzo  Image found: http://www.goingthroughitaly.com/500/medici-riccardi-palace/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\"><img class=\"size-full wp-image-1609\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\" alt=\"Courtyard at the Medici Palazzo\" width=\"198\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">Florentine citizens are protesting the demolition of the building, which they consider the foremost example of the classic theory of magnificence, touted by Aristotle in his famed literary work, <em>Nicomachean Ethics</em>. Aristotle\'s theory held that \"men of means had a moral duty to live in magnificent palaces for the benefit of themselves, their family and society.\"<sup>2 </sup>Florentinians of today agree with this theory and see the building as an ideal model of political order, civic harmony, and pride.<sup>1</sup> At one time, the Medici Palazzo (palace) was said to be \"one of the noblest specimens of Italian fifteenth-century architecture, in which the great taste and skill of the architect has combined with the delicate lightness of earlier Italian Gothic style and with the massive stateliness of the classical style.\" <sup>2</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1606\" align=\"alignleft\" width=\"482\" caption=\"                         Example of biforal (left) and Gothic triforal (right) windows                                 Images found: http://www.florence-gallery.com/monuments/  and http://santatatiana.wordpress.com/2011/07/06/the-magnificent-palace-of-priors-in-perugia\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\"><img class=\"size-full wp-image-1606 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\" alt=\"Medici Palazzo (left) and Prior\'s Palace (right) window examples \" width=\"482\" height=\"151\" /></a>[/caption]\r\n<p align=\"left\"> When compared to the Prior\'s Palace, in Perugia, the Medici Palace offers many considerations of similarity and contrast.<sup> 2</sup> The Prior\'s Palace was constructed during the same time period and held fast to the custom of resting double-arch (biforal) windows on classic cornices, which echoed ecclesiastical architecture.<sup>2</sup></p>\r\n<p align=\"left\">Medici Palazzo is designed with double-arch windows on the second and third floors. However, the rounded-arches of the windows in the Medici Palazzo deviate from the Prior\'s Palace windows in that they do not have the classic Gothic point at the top.<sup>2</sup> This rounded-style arch was first seen in a residence when Michelozzo designed the Medici Palazzo to look more secular.<sup>2</sup></p>\r\n<p align=\"left\">An additional architectural differentiation from buildings of its time, including the Prior\'s Palace, was the optical illusion created when the building is viewed from street level.<sup>2</sup> The stone surfaces from bottom-to-top change in texture from rough to smooth, and the stories are scaled from taller on the bottom level to shorter on the upper levels.<sup>2</sup> This transition of surfaces and story height creates the illusion that the structure looms even taller than it actually is. The cornice along the top of the building, projecting out six feet past the façade, serves as a type of crown for the building and its ornate moldings, coffers, rosettes and flutes further speak to the Medici\'s preoccupation with social and political status.<sup>2,4</sup></p>\r\n<p align=\"left\">Spokesperson for the uprising, Leona Battista Alberti, (descendent of author Leon Battista Alberti, who penned <em>On the Art of Building in Ten Books</em>) stated that the Medici family monopolized Florentine politics and all things cultural from 1434 to 1494.<sup>5</sup>  Alberti claims that Cosimo Medici was a humanist, had amassed a large fortune, and had successfully managed to outwit his political enemies to become the <em>de facto</em> ruler of Florence.<sup>3</sup> Under his rule, Medici took advantage of the open trade routes, throughout much of the world, to bring precious objects to Florence and this enhanced honor and pride within the community. She further stated that the objects he imported  included priceless paintings, rare books, elaborate sculptures, fine tapestries, unusual plants, splendid inlaid marble floor tiles and much more.<sup>3</sup> Alberti clearly prayed that the Medici Palace remain standing as a respectful tribute to the illustrious Medici family and all of the rare treasures they brought to the Florentine citizens.</p>\r\n\r\n\r\n[caption id=\"attachment_1611\" align=\"alignright\" width=\"245\" caption=\"Statue of Cosimo de&#039; Medici - Image found: http://www.flickr.com/photos/19178753@N04/5093773149/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\"><img class=\"size-full wp-image-1611 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\" alt=\"Statue of Cosimo de Medici\" width=\"245\" height=\"194\" /></a>[/caption]\r\n<p align=\"left\">Opponent of the protest, Frank Pazzi, (descendant of Francesco de\' Pazzi) spoke of the political unrest that swirled around the Medici family during the time immediately before and after the construction of the Medici Palazzo. The rising wealth among the merchant class was infringing upon the authority of the Papacy and creating tension within the Church. He spoke of the fact that Medici purposefully chose the unusual design and appearance of the building\'s façade because he had just returned from exile and was conscientious about upsetting the delicate political climate of the time and arousing envy among the citizens of Florence. Pazzi\'s family had been political rivals of the Medici family in the 1400s and he noted that one of his ancestors had been hanged at the Palace.<sup>3</sup> Pazzi viewed the Palace as a place of great heartache, political unrest, and the reminded him of the social manipulation running rampant at the time. He stated that he wished the building \"had been flattened years ago.\"</p>\r\n<p align=\"left\">Since the Medici vs. Pazzi family rivalry ended with the Medici\'s prevailing, the construction of the Medici Palace represented a celebration or re-birth of sorts, and therefor, the building was in a brand-new style.<sup>3</sup>  According to the Curator of the present-day Medici Museum, the Medici Palace was the first private residence in Florence to have an all-stone exterior, elements such as moldings, round-headed arches, elegant wedge-shaped stones in the arches, (called \"voussoirs\") and the prominent display of the family coat-of-arms.<sup>2  </sup>The Curator further explained that although there were some characteristics of this building that were classically Roman in nature, the predominant reason to preserve this structure was that it was the first time a residence included a gracious nod to civic harmony and lower-class inclusiveness among the wealthy. For example, he stated that Medici placed stone benches, wrought-iron hitching rings for horses, and torch holders on the exterior as a means of welcoming visitors.</p>\r\n<p align=\"left\">Perhaps the welcoming ambience of the Palace was the seed of change and now, present day architects use it in their designs. The Medici were the first to incorporate these community-related elements in to their design and nowadays nearly every building in existence has some sort of bench, railing, fountain, garden, or welcoming landscape. Saying that a building is \"inviting\" is considered a great accomplishment among commercial architects today. Is it possible that the Medici were the first example of this community-minded trend? If so, this fact alone may be reason enough to preserve the building.</p>\r\n\r\n\r\n[caption id=\"attachment_1614\" align=\"alignleft\" width=\"230\" caption=\"Alterpiece in the Chapel of the Medici Palazzo ~ Image found: http://hoocher.com/Agnolo_Bronzino/Agnolo_Bronzino.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\"><img class=\"size-full wp-image-1614\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\" alt=\"Alterpiece in the chapel of The Medici Palazzo\" width=\"230\" height=\"320\" /></a>[/caption]\r\n<p align=\"left\">When interviewed, present-day Florentine Architect, Phillip Brunelleschi, (descendant of architect, Filippo Brunelleschi) noted that at the time Medici Palazzo was constructed, building façades had a distinct asymmetry to the placement of the center courtyard and the doors. This created a lack of alignment between the doors and the upper windows.<sup>2</sup> He went on to speak of the misalignment of the doors and upper-story windows of the Medici Palazzo. Despite this similarity to buildings of the day, it was Brunelleschi\'s opinion that the center courtyard of Medici Palazzo is designed to \"evoke a cloister-like sacred space\"<sup>2</sup> and this tranquil element was non-existent in other palaces of that time. The Medici incorporated their own chapel within the walls of the Palace. What did having their own church say about their connection to God? Most people in Florence had to walk to church. The Medici could have simply walked into their chapel and hired their own priest. Their social and religious stature must have irritated the Church and that would have further inflamed their political standing in town.</p>\r\n<p align=\"left\">Protest organizer, Loren Vecchio, (descendant of Cosimo Medici) advocates the preservation of the building due to the historic accomplishments of the Medici family in relation to education. Vecchio stressed that under the patronage of the Medici family, the Platonic Academy in Florence was founded in 1462. In 1480, The Medici opened the Garden of Lorenzo de’ Medici. Vecchio noted that the library of St. Lorenzo (Bibliotheca Laurenziana) made</p>\r\n\r\n\r\n[caption id=\"attachment_1616\" align=\"alignright\" width=\"190\" caption=\"Laurentian Library Foyer     Image found: http://www.museumsinflorence.com/musei/Laurentian_Library.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\"><img class=\"size-full wp-image-1616\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\" alt=\"Laurentian Library inside The Medici Palazzo\" width=\"190\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">available to the public the immense Medici collection of books and manuscripts, and that this one act proved that the Medici\'s had devoted their lives to the colossal undertaking of educating and promoting the appreciation of the arts for generations to come.<sup>4</sup></p>\r\n<p align=\"left\">One of the protesters, Marisa Ficino, (descendent of Marsilio Ficino), mentioned that one of her ancestors had been hired by Cosimo to translate the works of Plato into Latin and that Medici was a huge patron of the arts and literature. She commented that, according to family stories, the Medici were the first family to use their personal residences to display vast art and cultural collections.<sup>4</sup> Ficino indicated that the practice of inviting guests to visit the Palace was politically innovative at the time because guests were only shown rooms that equaled their favor with the family. Viewing the enormous collection of rare and priceless artifacts became an inducement that led guests to do the bidding of the family. Certain precious pieces were only shown to those members of society that, according to the Medici family, were worthy.<sup>4</sup> At the time, this custom created envy among some circles while delighting others. Could it be that the same practice still exists, in some form, in our society today?</p>\r\n\r\n\r\n[caption id=\"attachment_1615\" align=\"alignleft\" width=\"194\" caption=\"Medici Palazzo Ceremonial Hall  Image found: http://www.museumsinflorence.com/musei/medici_riccardi_palace.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\"><img class=\"size-full wp-image-1615\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\" alt=\"Medici Palazzo Ceremonial Hall\" width=\"194\" height=\"259\" /></a>[/caption]\r\n<p align=\"left\">Today, the Palace holds the offices of the Provincial Governor, the Florentine Provincial Authority, the Istituto Storico dellaRes istenza and the Biblioteca Moreniana. Upon researching this article, the author found almost three million listings for the Medici Palazzo that were academic in n</p>\r\n<p align=\"left\">ature or bespoke of its architectural prestige and dominance in the civil architecture movement of the Renaissance. In the humble opinion of this author, it appears that this extraordinary work of architecture is worth preserving and hopefully the Florence City Council will realize the multi-layered historical importance and, keep the building in order to give the protestors what they want.</p>\r\n\r\n<h2></h2>\r\n&nbsp;\r\n<h2><em><span style=\"color: #605f00\">Works Cited List:</span></em></h2>\r\n<p align=\"left\">1. The Medici Palazzo - The Chronology. http://www.palazzo-medici.it/eng/sez_storia/medici.htm Website accessed August 26, 2011.</p>\r\n<p align=\"left\">2. Partridge, Loren W.<span style=\"text-decoration: underline\"> Art of Renaissance Florence, 1400-1600 </span>. Imprint Berkeley : University of California Press, c2009.</p>\r\n<p align=\"left\">3. Martinez, Lauro. <span style=\"text-decoration: underline\">April blood : Florence and the plot against the Medici.</span> Imprint Oxford ; New York : Oxford University Press, 2003.</p>\r\n<p align=\"left\">4. Neher, Gabriele. <a title=\"Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace.\" href=\"http://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/viewarticle?data=dGJyMPPp44rp2%2fdV0%2bnjisfk5Ie41%2fOL8t%2fsRuvX54as2%2baH8eq%2bUK2prkewpq9JnqeuUrGsuEy1lr9lpOrweezp33vy3%2b2G59q7RbCmsEyxq7BJsKqkhN%2fk5VXj5KR84LPfUeac8nnls79mpNfsVbCvsVCxrrBIpNztiuvX8lXk6%2bqE8tv2jAAA&amp;hid=5\">Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace. </a><em>Art Book</em>, Feb2008, Vol. 15 Issue 1, p9-10, 2p;</p>\r\n<p align=\"left\">5. Matthews, T., DeWitt Platt, F., Noble, Thomas F.X., <span style=\"text-decoration: underline\">The Western Humanities</span>, McGraw-Hill, New York, 2011, Seventh Edition, Volume II, p307-308; p312;</p>\r\n<p align=\"left\">6.Equestrian statue of Cosimo Medici. Website:  http://www.flickr.com/photos/19178753@N04/5093773149/. Accessed September 8, 2011.</p>\r\n<p align=\"left\">7. Medici-Riccardi Palace courtyard, Florence. Italy. Website: http://www.goingthroughitaly.com/500/medici-riccardi-palace/. Accessed September 5, 2011.</p>\r\n<p align=\"left\">8. Laurentian Library. The Museums of Florence. Website: http://www.museumsinflorence.com/musei/Laurentian_Library.html. Accessed September 7, 2011.</p>\r\n<p align=\"left\">9.  Mediateca di Palazzo Medici Riccardi. <a href=\"http://www.provincia.fi.it/\">Provincia di Firenze</a>. Palazzo Medici-Riccardi Today.\r\nWebsite: http://www.palazzo-medici.it/mediateca/en/cronologia.php#3. Accessed September 6, 2011.</p>\r\n<p align=\"left\">10. Comune di Perugia. Palazzo dei Priori. Website: http://www.comune.perugia.it. Accessed: September 16, 2011.</p>','Protest at the Palazzo','','inherit','open','open','','1593-revision-31','','','2011-09-22 08:55:14','2011-09-22 14:55:14','',1593,'http://jeanatacc.com/2011/?p=1659',0,'revision','',0),(1662,41,'2011-09-22 09:05:59','2011-09-22 15:05:59','<h3><span style=\"color: #605f00\">Citizens revolt against plans to demolish the embodiment of Renaissance Civil Architecture.</span></h3>\r\n<p align=\"left\">By Jill Brockmann<strong>,</strong> ONN Contributor, Italy, Florence -- (ONN Bureau)</p>\r\n<p align=\"left\">September 19, 2011 12:05 p.m. EDT</p>\r\n\r\n\r\n[caption id=\"attachment_1604\" align=\"alignleft\" width=\"290\" caption=\"The Medici Palazzo - Image found: http://otherworldmystery.com/tag/rosicrucianism\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\"><img class=\"size-full wp-image-1604\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\" alt=\"The Medici Palazzo\" width=\"290\" height=\"117\" /></a>[/caption]\r\n<p align=\"left\">Riots broke out in Tuscany\'s capital today, as the polizia tried to hold back protesters in front of the Palazzo Medici Riccardi, the epitome and gold standard of Renaissance Civil Architecture. Hundreds of protesters congregated in front of the strong, yet grim, exterior of the cube-shaped building that was once the most persuasive symbol of the political and cultural authority of the Medici banking family in Florence.<sup>2 </sup> Protesters believe that the building should be preserved because of its long history of provoking ardent political discourse, its owners promoted the preservation of rare art and they shared their priceless pieces in an effort to enhance the community\'s love of the arts. <!--more--></p>\r\n<p align=\"left\">The City Council is attempting to exert their power of emminent domain and destroy the building, replacing it with a high-rise apartment complex that would include tax-generating commercial space on the first floor. The building was built by the Italian architect and sculptor, Michelozzo di Bartolomeo Michelozzi (1396–1472) and was commissioned by the head of the Medici banking family, Cosimo de\' Medici, between the years of 1445-1460. Today, the building is known as the Palazzo Medici Riccardi, after Gabbriello Riccardi purchased it and expanded its footprint in 1659.<sup>1</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1609\" align=\"alignright\" width=\"198\" caption=\"Courtyard at the Medici Palazzo  Image found: http://www.goingthroughitaly.com/500/medici-riccardi-palace/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\"><img class=\"size-full wp-image-1609\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\" alt=\"Courtyard at the Medici Palazzo\" width=\"198\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">Florentine citizens are protesting the demolition of the building, which they consider the foremost example of the classic theory of magnificence, touted by Aristotle in his famed literary work, <em>Nicomachean Ethics</em>. Aristotle\'s theory held that \"men of means had a moral duty to live in magnificent palaces for the benefit of themselves, their family and society.\"<sup>2 </sup>Florentinians of today agree with this theory and see the building as an ideal model of political order, civic harmony, and pride.<sup>1</sup> At one time, the Medici Palazzo (palace) was said to be \"one of the noblest specimens of Italian fifteenth-century architecture, in which the great taste and skill of the architect has combined with the delicate lightness of earlier Italian Gothic style and with the massive stateliness of the classical style.\" <sup>2</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1606\" align=\"alignleft\" width=\"482\" caption=\"                         Example of biforal (left) and Gothic triforal (right) windows                                 Images found: http://www.florence-gallery.com/monuments/  and http://santatatiana.wordpress.com/2011/07/06/the-magnificent-palace-of-priors-in-perugia\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\"><img class=\"size-full wp-image-1606 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\" alt=\"Medici Palazzo (left) and Prior\'s Palace (right) window examples \" width=\"482\" height=\"151\" /></a>[/caption]\r\n<p align=\"left\"> When compared to the Prior\'s Palace, in Perugia, the Medici Palace offers many considerations of similarity and contrast.<sup> 2</sup> The Prior\'s Palace was constructed during the same time period and held fast to the custom of resting double-arch (biforal) windows on classic cornices, which echoed ecclesiastical architecture.<sup>2</sup></p>\r\n<p align=\"left\">Medici Palazzo is designed with double-arch windows on the second and third floors. However, the rounded-arches of the windows in the Medici Palazzo deviate from the Prior\'s Palace windows in that they do not have the classic Gothic point at the top.<sup>2</sup> This rounded-style arch was first seen in a residence when Michelozzo designed the Medici Palazzo to look more secular.<sup>2</sup></p>\r\n<p align=\"left\">An additional architectural differentiation from buildings of its time, including the Prior\'s Palace, was the optical illusion created when the building is viewed from street level.<sup>2</sup> The stone surfaces from bottom-to-top change in texture from rough to smooth, and the stories are scaled from taller on the bottom level to shorter on the upper levels.<sup>2</sup> This transition of surfaces and story height creates the illusion that the structure looms even taller than it actually is. The cornice along the top of the building, projecting out six feet past the façade, serves as a type of crown for the building and its ornate moldings, coffers, rosettes and flutes further speak to the Medici\'s preoccupation with social and political status.<sup>2,4</sup></p>\r\n<p align=\"left\">Spokesperson for the uprising, Leona Battista Alberti, (descendent of author Leon Battista Alberti, who penned <em>On the Art of Building in Ten Books</em>) stated that the Medici family monopolized Florentine politics and all things cultural from 1434 to 1494.<sup>5</sup>  Alberti claims that Cosimo Medici was a humanist, had amassed a large fortune, and had successfully managed to outwit his political enemies to become the <em>de facto</em> ruler of Florence.<sup>3</sup> Under his rule, Medici took advantage of the open trade routes, throughout much of the world, to bring precious objects to Florence and this enhanced honor and pride within the community. She further stated that the objects he imported  included priceless paintings, rare books, elaborate sculptures, fine tapestries, unusual plants, splendid inlaid marble floor tiles and much more.<sup>3</sup> Alberti clearly prayed that the Medici Palace remain standing as a respectful tribute to the illustrious Medici family and all of the rare treasures they brought to the Florentine citizens.</p>\r\n\r\n\r\n[caption id=\"attachment_1611\" align=\"alignright\" width=\"245\" caption=\"Statue of Cosimo de&#039; Medici - Image found: http://www.flickr.com/photos/19178753@N04/5093773149/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\"><img class=\"size-full wp-image-1611 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\" alt=\"Statue of Cosimo de Medici\" width=\"245\" height=\"194\" /></a>[/caption]\r\n<p align=\"left\">Opponent of the protest, Frank Pazzi, (descendant of Francesco de\' Pazzi) spoke of the political unrest that swirled around the Medici family during the time immediately before and after the construction of the Medici Palazzo. The rising wealth among the merchant class was infringing upon the authority of the Papacy and creating tension within the Church. He spoke of the fact that Medici purposefully chose the unusual design and appearance of the building\'s façade because he had just returned from exile and was conscientious about upsetting the delicate political climate of the time and arousing envy among the citizens of Florence. Pazzi\'s family had been political rivals of the Medici family in the 1400s and he noted that one of his ancestors had been hanged at the Palace.<sup>3</sup> Pazzi viewed the Palace as a place of great heartache, political unrest, and that it reminded him of the social manipulation running rampant at the time. He stated that he wished the building \"had been flattened years ago.\"</p>\r\n<p align=\"left\">Since the Medici vs. Pazzi family rivalry ended with the Medici\'s prevailing, the construction of the Medici Palace represented a celebration or re-birth of sorts, and therefor, the building was in a brand-new style.<sup>3</sup>  According to the Curator of the present-day Medici Museum, the Medici Palace was the first private residence in Florence to have an all-stone exterior, elements such as moldings, round-headed arches, elegant wedge-shaped stones in the arches, (called \"voussoirs\") and the prominent display of the family coat-of-arms.<sup>2  </sup>The Curator further explained that although there were some characteristics of this building that were classically Roman in nature, the predominant reason to preserve this structure was that it was the first time a residence included a gracious nod to civic harmony and lower-class inclusiveness among the wealthy. For example, he stated that Medici placed stone benches, wrought-iron hitching rings for horses, and torch holders on the exterior as a means of welcoming visitors.</p>\r\n<p align=\"left\">Perhaps the welcoming ambience of the Palace was the seed of change and now, present day architects use it in their designs. The Medici were the first to incorporate these community-related elements in to their design and nowadays nearly every building in existence has some sort of bench, railing, fountain, garden, or welcoming landscape. Saying that a building is \"inviting\" is considered a great accomplishment among commercial architects today. Is it possible that the Medici were the first example of this community-minded trend? If so, this fact alone may be reason enough to preserve the building.</p>\r\n\r\n\r\n[caption id=\"attachment_1614\" align=\"alignleft\" width=\"230\" caption=\"Alterpiece in the Chapel of the Medici Palazzo ~ Image found: http://hoocher.com/Agnolo_Bronzino/Agnolo_Bronzino.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\"><img class=\"size-full wp-image-1614\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\" alt=\"Alterpiece in the chapel of The Medici Palazzo\" width=\"230\" height=\"320\" /></a>[/caption]\r\n<p align=\"left\">When interviewed, present-day Florentine Architect, Phillip Brunelleschi, (descendant of architect, Filippo Brunelleschi) noted that at the time Medici Palazzo was constructed, building façades had a distinct asymmetry to the placement of the center courtyard and the doors. This created a lack of alignment between the doors and the upper windows.<sup>2</sup> He went on to speak of the misalignment of the doors and upper-story windows of the Medici Palazzo. Despite this similarity to buildings of the day, it was Brunelleschi\'s opinion that the center courtyard of Medici Palazzo is designed to \"evoke a cloister-like sacred space\"<sup>2</sup> and this tranquil element was non-existent in other palaces of that time. The Medici incorporated their own chapel within the walls of the Palace. What did having their own church say about their connection to God? Most people in Florence had to walk to church. The Medici could have simply walked into their chapel and hired their own priest. Their social and religious stature must have irritated the Church and that would have further inflamed their political standing in town.</p>\r\n<p align=\"left\">Protest organizer, Loren Vecchio, (descendant of Cosimo Medici) advocates the preservation of the building due to the historic accomplishments of the Medici family in relation to education. Vecchio stressed that under the patronage of the Medici family, the Platonic Academy in Florence was founded in 1462. In 1480, The Medici opened the Garden of Lorenzo de’ Medici. Vecchio noted that the library of St. Lorenzo (Bibliotheca Laurenziana) made</p>\r\n\r\n\r\n[caption id=\"attachment_1616\" align=\"alignright\" width=\"190\" caption=\"Laurentian Library Foyer     Image found: http://www.museumsinflorence.com/musei/Laurentian_Library.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\"><img class=\"size-full wp-image-1616\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\" alt=\"Laurentian Library inside The Medici Palazzo\" width=\"190\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">available to the public the immense Medici collection of books and manuscripts, and that this one act proved that the Medici\'s had devoted their lives to the colossal undertaking of educating and promoting the appreciation of the arts for generations to come.<sup>4</sup></p>\r\n<p align=\"left\">One of the protesters, Marisa Ficino, (descendent of Marsilio Ficino), mentioned that one of her ancestors had been hired by Cosimo to translate the works of Plato into Latin and that Medici was a huge patron of the arts and literature. She commented that, according to family stories, the Medici were the first family to use their personal residences to display vast art and cultural collections.<sup>4</sup> Ficino indicated that the practice of inviting guests to visit the Palace was politically innovative at the time because guests were only shown rooms that equaled their favor with the family. Viewing the enormous collection of rare and priceless artifacts became an inducement that led guests to do the bidding of the family. Certain precious pieces were only shown to those members of society that, according to the Medici family, were worthy.<sup>4</sup> At the time, this custom created envy among some circles while delighting others. Could it be that the same practice still exists, in some form, in our society today?</p>\r\n\r\n\r\n[caption id=\"attachment_1615\" align=\"alignleft\" width=\"194\" caption=\"Medici Palazzo Ceremonial Hall  Image found: http://www.museumsinflorence.com/musei/medici_riccardi_palace.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\"><img class=\"size-full wp-image-1615\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\" alt=\"Medici Palazzo Ceremonial Hall\" width=\"194\" height=\"259\" /></a>[/caption]\r\n<p align=\"left\">Today, the Palace holds the offices of the Provincial Governor, the Florentine Provincial Authority, the Istituto Storico dellaRes istenza and the Biblioteca Moreniana. Upon researching this article, the author found almost three million listings for the Medici Palazzo that were academic in nature or bespoke of its architectural prestige and dominance in the civil architecture movement of the Renaissance. In the humble opinion of this author, it appears that this extraordinary work of architecture is worth preserving and hopefully the Florence City Council will realize the multi-layered historical importance and, keep the building in order to give the protestors what they want.</p>\r\n\r\n<h2></h2>\r\n&nbsp;\r\n<h2><em><span style=\"color: #605f00\">Works Cited List:</span></em></h2>\r\n<p align=\"left\">1. The Medici Palazzo - The Chronology. http://www.palazzo-medici.it/eng/sez_storia/medici.htm Website accessed August 26, 2011.</p>\r\n<p align=\"left\">2. Partridge, Loren W.<span style=\"text-decoration: underline\"> Art of Renaissance Florence, 1400-1600 </span>. Imprint Berkeley : University of California Press, c2009.</p>\r\n<p align=\"left\">3. Martinez, Lauro. <span style=\"text-decoration: underline\">April blood : Florence and the plot against the Medici.</span> Imprint Oxford ; New York : Oxford University Press, 2003.</p>\r\n<p align=\"left\">4. Neher, Gabriele. <a title=\"Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace.\" href=\"http://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/viewarticle?data=dGJyMPPp44rp2%2fdV0%2bnjisfk5Ie41%2fOL8t%2fsRuvX54as2%2baH8eq%2bUK2prkewpq9JnqeuUrGsuEy1lr9lpOrweezp33vy3%2b2G59q7RbCmsEyxq7BJsKqkhN%2fk5VXj5KR84LPfUeac8nnls79mpNfsVbCvsVCxrrBIpNztiuvX8lXk6%2bqE8tv2jAAA&amp;hid=5\">Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace. </a><em>Art Book</em>, Feb2008, Vol. 15 Issue 1, p9-10, 2p;</p>\r\n<p align=\"left\">5. Matthews, T., DeWitt Platt, F., Noble, Thomas F.X., <span style=\"text-decoration: underline\">The Western Humanities</span>, McGraw-Hill, New York, 2011, Seventh Edition, Volume II, p307-308; p312;</p>\r\n<p align=\"left\">6.Equestrian statue of Cosimo Medici. Website:  http://www.flickr.com/photos/19178753@N04/5093773149/. Accessed September 8, 2011.</p>\r\n<p align=\"left\">7. Medici-Riccardi Palace courtyard, Florence. Italy. Website: http://www.goingthroughitaly.com/500/medici-riccardi-palace/. Accessed September 5, 2011.</p>\r\n<p align=\"left\">8. Laurentian Library. The Museums of Florence. Website: http://www.museumsinflorence.com/musei/Laurentian_Library.html. Accessed September 7, 2011.</p>\r\n<p align=\"left\">9.  Mediateca di Palazzo Medici Riccardi. <a href=\"http://www.provincia.fi.it/\">Provincia di Firenze</a>. Palazzo Medici-Riccardi Today.\r\nWebsite: http://www.palazzo-medici.it/mediateca/en/cronologia.php#3. Accessed September 6, 2011.</p>\r\n<p align=\"left\">10. Comune di Perugia. Palazzo dei Priori. Website: http://www.comune.perugia.it. Accessed: September 16, 2011.</p>','Protest at the Palazzo','','inherit','open','open','','1593-revision-34','','','2011-09-22 09:05:59','2011-09-22 15:05:59','',1593,'http://jeanatacc.com/2011/?p=1662',0,'revision','',0),(1660,41,'2011-09-22 09:01:00','2011-09-22 15:01:00','<h3><span style=\"color: #605f00\">Citizens revolt against plans to demolish the embodiment of Renaissance Civil Architecture.</span></h3>\r\n<p align=\"left\">By Jill Brockmann<strong>,</strong> ONN Contributor, Italy, Florence -- (ONN Bureau)</p>\r\n<p align=\"left\">September 19, 2011 12:05 p.m. EDT</p>\r\n\r\n\r\n[caption id=\"attachment_1604\" align=\"alignleft\" width=\"290\" caption=\"The Medici Palazzo - Image found: http://otherworldmystery.com/tag/rosicrucianism\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\"><img class=\"size-full wp-image-1604\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\" alt=\"The Medici Palazzo\" width=\"290\" height=\"117\" /></a>[/caption]\r\n<p align=\"left\">Riots broke out in Tuscany\'s capital today, as the polizia tried to hold back protesters in front of the Palazzo Medici Riccardi, the epitome and gold standard of Renaissance Civil Architecture. Hundreds of protesters congregated in front of the strong, yet grim, exterior of the cube-shaped building that was once the most persuasive symbol of the political and cultural authority of the Medici banking family in Florence.<sup>2 </sup> Protesters believe that the building should be preserved because of its long history of provoking ardent political discourse, its owners promoted the preservation of rare art and they shared their priceless pieces in an effort to enhance the community\'s love of the arts. <!--more--></p>\r\n<p align=\"left\">The City Council is attempting to exert their power of emminent domain and destroy the building, replacing it with a high-rise apartment complex that would include tax-generating commercial space on the first floor. The building was built by the Italian architect and sculptor, Michelozzo di Bartolomeo Michelozzi (1396–1472) and was commissioned by the head of the Medici banking family, Cosimo de\' Medici, between the years of 1445-1460. Today, the building is known as the Palazzo Medici Riccardi, after Gabbriello Riccardi purchased it and expanded its footprint in 1659.<sup>1</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1609\" align=\"alignright\" width=\"198\" caption=\"Courtyard at the Medici Palazzo  Image found: http://www.goingthroughitaly.com/500/medici-riccardi-palace/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\"><img class=\"size-full wp-image-1609\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\" alt=\"Courtyard at the Medici Palazzo\" width=\"198\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">Florentine citizens are protesting the demolition of the building, which they consider the foremost example of the classic theory of magnificence, touted by Aristotle in his famed literary work, <em>Nicomachean Ethics</em>. Aristotle\'s theory held that \"men of means had a moral duty to live in magnificent palaces for the benefit of themselves, their family and society.\"<sup>2 </sup>Florentinians of today agree with this theory and see the building as an ideal model of political order, civic harmony, and pride.<sup>1</sup> At one time, the Medici Palazzo (palace) was said to be \"one of the noblest specimens of Italian fifteenth-century architecture, in which the great taste and skill of the architect has combined with the delicate lightness of earlier Italian Gothic style and with the massive stateliness of the classical style.\" <sup>2</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1606\" align=\"alignleft\" width=\"482\" caption=\"                         Example of biforal (left) and Gothic triforal (right) windows                                 Images found: http://www.florence-gallery.com/monuments/  and http://santatatiana.wordpress.com/2011/07/06/the-magnificent-palace-of-priors-in-perugia\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\"><img class=\"size-full wp-image-1606 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\" alt=\"Medici Palazzo (left) and Prior\'s Palace (right) window examples \" width=\"482\" height=\"151\" /></a>[/caption]\r\n<p align=\"left\"> When compared to the Prior\'s Palace, in Perugia, the Medici Palace offers many considerations of similarity and contrast.<sup> 2</sup> The Prior\'s Palace was constructed during the same time period and held fast to the custom of resting double-arch (biforal) windows on classic cornices, which echoed ecclesiastical architecture.<sup>2</sup></p>\r\n<p align=\"left\">Medici Palazzo is designed with double-arch windows on the second and third floors. However, the rounded-arches of the windows in the Medici Palazzo deviate from the Prior\'s Palace windows in that they do not have the classic Gothic point at the top.<sup>2</sup> This rounded-style arch was first seen in a residence when Michelozzo designed the Medici Palazzo to look more secular.<sup>2</sup></p>\r\n<p align=\"left\">An additional architectural differentiation from buildings of its time, including the Prior\'s Palace, was the optical illusion created when the building is viewed from street level.<sup>2</sup> The stone surfaces from bottom-to-top change in texture from rough to smooth, and the stories are scaled from taller on the bottom level to shorter on the upper levels.<sup>2</sup> This transition of surfaces and story height creates the illusion that the structure looms even taller than it actually is. The cornice along the top of the building, projecting out six feet past the façade, serves as a type of crown for the building and its ornate moldings, coffers, rosettes and flutes further speak to the Medici\'s preoccupation with social and political status.<sup>2,4</sup></p>\r\n<p align=\"left\">Spokesperson for the uprising, Leona Battista Alberti, (descendent of author Leon Battista Alberti, who penned <em>On the Art of Building in Ten Books</em>) stated that the Medici family monopolized Florentine politics and all things cultural from 1434 to 1494.<sup>5</sup>  Alberti claims that Cosimo Medici was a humanist, had amassed a large fortune, and had successfully managed to outwit his political enemies to become the <em>de facto</em> ruler of Florence.<sup>3</sup> Under his rule, Medici took advantage of the open trade routes, throughout much of the world, to bring precious objects to Florence and this enhanced honor and pride within the community. She further stated that the objects he imported  included priceless paintings, rare books, elaborate sculptures, fine tapestries, unusual plants, splendid inlaid marble floor tiles and much more.<sup>3</sup> Alberti clearly prayed that the Medici Palace remain standing as a respectful tribute to the illustrious Medici family and all of the rare treasures they brought to the Florentine citizens.</p>\r\n\r\n\r\n[caption id=\"attachment_1611\" align=\"alignright\" width=\"245\" caption=\"Statue of Cosimo de&#039; Medici - Image found: http://www.flickr.com/photos/19178753@N04/5093773149/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\"><img class=\"size-full wp-image-1611 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\" alt=\"Statue of Cosimo de Medici\" width=\"245\" height=\"194\" /></a>[/caption]\r\n<p align=\"left\">Opponent of the protest, Frank Pazzi, (descendant of Francesco de\' Pazzi) spoke of the political unrest that swirled around the Medici family during the time immediately before and after the construction of the Medici Palazzo. The rising wealth among the merchant class was infringing upon the authority of the Papacy and creating tension within the Church. He spoke of the fact that Medici purposefully chose the unusual design and appearance of the building\'s façade because he had just returned from exile and was conscientious about upsetting the delicate political climate of the time and arousing envy among the citizens of Florence. Pazzi\'s family had been political rivals of the Medici family in the 1400s and he noted that one of his ancestors had been hanged at the Palace.<sup>3</sup> Pazzi viewed the Palace as a place of great heartache, political unrest, and that it  reminded him of the social manipulation running rampant at the time. He stated that he wished the building \"had been flattened years ago.\"</p>\r\n<p align=\"left\">Since the Medici vs. Pazzi family rivalry ended with the Medici\'s prevailing, the construction of the Medici Palace represented a celebration or re-birth of sorts, and therefor, the building was in a brand-new style.<sup>3</sup>  According to the Curator of the present-day Medici Museum, the Medici Palace was the first private residence in Florence to have an all-stone exterior, elements such as moldings, round-headed arches, elegant wedge-shaped stones in the arches, (called \"voussoirs\") and the prominent display of the family coat-of-arms.<sup>2  </sup>The Curator further explained that although there were some characteristics of this building that were classically Roman in nature, the predominant reason to preserve this structure was that it was the first time a residence included a gracious nod to civic harmony and lower-class inclusiveness among the wealthy. For example, he stated that Medici placed stone benches, wrought-iron hitching rings for horses, and torch holders on the exterior as a means of welcoming visitors.</p>\r\n<p align=\"left\">Perhaps the welcoming ambience of the Palace was the seed of change and now, present day architects use it in their designs. The Medici were the first to incorporate these community-related elements in to their design and nowadays nearly every building in existence has some sort of bench, railing, fountain, garden, or welcoming landscape. Saying that a building is \"inviting\" is considered a great accomplishment among commercial architects today. Is it possible that the Medici were the first example of this community-minded trend? If so, this fact alone may be reason enough to preserve the building.</p>\r\n\r\n\r\n[caption id=\"attachment_1614\" align=\"alignleft\" width=\"230\" caption=\"Alterpiece in the Chapel of the Medici Palazzo ~ Image found: http://hoocher.com/Agnolo_Bronzino/Agnolo_Bronzino.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\"><img class=\"size-full wp-image-1614\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\" alt=\"Alterpiece in the chapel of The Medici Palazzo\" width=\"230\" height=\"320\" /></a>[/caption]\r\n<p align=\"left\">When interviewed, present-day Florentine Architect, Phillip Brunelleschi, (descendant of architect, Filippo Brunelleschi) noted that at the time Medici Palazzo was constructed, building façades had a distinct asymmetry to the placement of the center courtyard and the doors. This created a lack of alignment between the doors and the upper windows.<sup>2</sup> He went on to speak of the misalignment of the doors and upper-story windows of the Medici Palazzo. Despite this similarity to buildings of the day, it was Brunelleschi\'s opinion that the center courtyard of Medici Palazzo is designed to \"evoke a cloister-like sacred space\"<sup>2</sup> and this tranquil element was non-existent in other palaces of that time. The Medici incorporated their own chapel within the walls of the Palace. What did having their own church say about their connection to God? Most people in Florence had to walk to church. The Medici could have simply walked into their chapel and hired their own priest. Their social and religious stature must have irritated the Church and that would have further inflamed their political standing in town.</p>\r\n<p align=\"left\">Protest organizer, Loren Vecchio, (descendant of Cosimo Medici) advocates the preservation of the building due to the historic accomplishments of the Medici family in relation to education. Vecchio stressed that under the patronage of the Medici family, the Platonic Academy in Florence was founded in 1462. In 1480, The Medici opened the Garden of Lorenzo de’ Medici. Vecchio noted that the library of St. Lorenzo (Bibliotheca Laurenziana) made</p>\r\n\r\n\r\n[caption id=\"attachment_1616\" align=\"alignright\" width=\"190\" caption=\"Laurentian Library Foyer     Image found: http://www.museumsinflorence.com/musei/Laurentian_Library.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\"><img class=\"size-full wp-image-1616\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\" alt=\"Laurentian Library inside The Medici Palazzo\" width=\"190\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">available to the public the immense Medici collection of books and manuscripts, and that this one act proved that the Medici\'s had devoted their lives to the colossal undertaking of educating and promoting the appreciation of the arts for generations to come.<sup>4</sup></p>\r\n<p align=\"left\">One of the protesters, Marisa Ficino, (descendent of Marsilio Ficino), mentioned that one of her ancestors had been hired by Cosimo to translate the works of Plato into Latin and that Medici was a huge patron of the arts and literature. She commented that, according to family stories, the Medici were the first family to use their personal residences to display vast art and cultural collections.<sup>4</sup> Ficino indicated that the practice of inviting guests to visit the Palace was politically innovative at the time because guests were only shown rooms that equaled their favor with the family. Viewing the enormous collection of rare and priceless artifacts became an inducement that led guests to do the bidding of the family. Certain precious pieces were only shown to those members of society that, according to the Medici family, were worthy.<sup>4</sup> At the time, this custom created envy among some circles while delighting others. Could it be that the same practice still exists, in some form, in our society today?</p>\r\n\r\n\r\n[caption id=\"attachment_1615\" align=\"alignleft\" width=\"194\" caption=\"Medici Palazzo Ceremonial Hall  Image found: http://www.museumsinflorence.com/musei/medici_riccardi_palace.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\"><img class=\"size-full wp-image-1615\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\" alt=\"Medici Palazzo Ceremonial Hall\" width=\"194\" height=\"259\" /></a>[/caption]\r\n<p align=\"left\">Today, the Palace holds the offices of the Provincial Governor, the Florentine Provincial Authority, the Istituto Storico dellaRes istenza and the Biblioteca Moreniana. Upon researching this article, the author found almost three million listings for the Medici Palazzo that were academic in n</p>\r\n<p align=\"left\">ature or bespoke of its architectural prestige and dominance in the civil architecture movement of the Renaissance. In the humble opinion of this author, it appears that this extraordinary work of architecture is worth preserving and hopefully the Florence City Council will realize the multi-layered historical importance and, keep the building in order to give the protestors what they want.</p>\r\n\r\n<h2></h2>\r\n&nbsp;\r\n<h2><em><span style=\"color: #605f00\">Works Cited List:</span></em></h2>\r\n<p align=\"left\">1. The Medici Palazzo - The Chronology. http://www.palazzo-medici.it/eng/sez_storia/medici.htm Website accessed August 26, 2011.</p>\r\n<p align=\"left\">2. Partridge, Loren W.<span style=\"text-decoration: underline\"> Art of Renaissance Florence, 1400-1600 </span>. Imprint Berkeley : University of California Press, c2009.</p>\r\n<p align=\"left\">3. Martinez, Lauro. <span style=\"text-decoration: underline\">April blood : Florence and the plot against the Medici.</span> Imprint Oxford ; New York : Oxford University Press, 2003.</p>\r\n<p align=\"left\">4. Neher, Gabriele. <a title=\"Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace.\" href=\"http://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/viewarticle?data=dGJyMPPp44rp2%2fdV0%2bnjisfk5Ie41%2fOL8t%2fsRuvX54as2%2baH8eq%2bUK2prkewpq9JnqeuUrGsuEy1lr9lpOrweezp33vy3%2b2G59q7RbCmsEyxq7BJsKqkhN%2fk5VXj5KR84LPfUeac8nnls79mpNfsVbCvsVCxrrBIpNztiuvX8lXk6%2bqE8tv2jAAA&amp;hid=5\">Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace. </a><em>Art Book</em>, Feb2008, Vol. 15 Issue 1, p9-10, 2p;</p>\r\n<p align=\"left\">5. Matthews, T., DeWitt Platt, F., Noble, Thomas F.X., <span style=\"text-decoration: underline\">The Western Humanities</span>, McGraw-Hill, New York, 2011, Seventh Edition, Volume II, p307-308; p312;</p>\r\n<p align=\"left\">6.Equestrian statue of Cosimo Medici. Website:  http://www.flickr.com/photos/19178753@N04/5093773149/. Accessed September 8, 2011.</p>\r\n<p align=\"left\">7. Medici-Riccardi Palace courtyard, Florence. Italy. Website: http://www.goingthroughitaly.com/500/medici-riccardi-palace/. Accessed September 5, 2011.</p>\r\n<p align=\"left\">8. Laurentian Library. The Museums of Florence. Website: http://www.museumsinflorence.com/musei/Laurentian_Library.html. Accessed September 7, 2011.</p>\r\n<p align=\"left\">9.  Mediateca di Palazzo Medici Riccardi. <a href=\"http://www.provincia.fi.it/\">Provincia di Firenze</a>. Palazzo Medici-Riccardi Today.\r\nWebsite: http://www.palazzo-medici.it/mediateca/en/cronologia.php#3. Accessed September 6, 2011.</p>\r\n<p align=\"left\">10. Comune di Perugia. Palazzo dei Priori. Website: http://www.comune.perugia.it. Accessed: September 16, 2011.</p>','Protest at the Palazzo','','inherit','open','open','','1593-revision-32','','','2011-09-22 09:01:00','2011-09-22 15:01:00','',1593,'http://jeanatacc.com/2011/?p=1660',0,'revision','',0),(1661,41,'2011-09-22 09:01:34','2011-09-22 15:01:34','<h3><span style=\"color: #605f00\">Citizens revolt against plans to demolish the embodiment of Renaissance Civil Architecture.</span></h3>\r\n<p align=\"left\">By Jill Brockmann<strong>,</strong> ONN Contributor, Italy, Florence -- (ONN Bureau)</p>\r\n<p align=\"left\">September 19, 2011 12:05 p.m. EDT</p>\r\n\r\n\r\n[caption id=\"attachment_1604\" align=\"alignleft\" width=\"290\" caption=\"The Medici Palazzo - Image found: http://otherworldmystery.com/tag/rosicrucianism\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\"><img class=\"size-full wp-image-1604\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\" alt=\"The Medici Palazzo\" width=\"290\" height=\"117\" /></a>[/caption]\r\n<p align=\"left\">Riots broke out in Tuscany\'s capital today, as the polizia tried to hold back protesters in front of the Palazzo Medici Riccardi, the epitome and gold standard of Renaissance Civil Architecture. Hundreds of protesters congregated in front of the strong, yet grim, exterior of the cube-shaped building that was once the most persuasive symbol of the political and cultural authority of the Medici banking family in Florence.<sup>2 </sup> Protesters believe that the building should be preserved because of its long history of provoking ardent political discourse, its owners promoted the preservation of rare art and they shared their priceless pieces in an effort to enhance the community\'s love of the arts. <!--more--></p>\r\n<p align=\"left\">The City Council is attempting to exert their power of emminent domain and destroy the building, replacing it with a high-rise apartment complex that would include tax-generating commercial space on the first floor. The building was built by the Italian architect and sculptor, Michelozzo di Bartolomeo Michelozzi (1396–1472) and was commissioned by the head of the Medici banking family, Cosimo de\' Medici, between the years of 1445-1460. Today, the building is known as the Palazzo Medici Riccardi, after Gabbriello Riccardi purchased it and expanded its footprint in 1659.<sup>1</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1609\" align=\"alignright\" width=\"198\" caption=\"Courtyard at the Medici Palazzo  Image found: http://www.goingthroughitaly.com/500/medici-riccardi-palace/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\"><img class=\"size-full wp-image-1609\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\" alt=\"Courtyard at the Medici Palazzo\" width=\"198\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">Florentine citizens are protesting the demolition of the building, which they consider the foremost example of the classic theory of magnificence, touted by Aristotle in his famed literary work, <em>Nicomachean Ethics</em>. Aristotle\'s theory held that \"men of means had a moral duty to live in magnificent palaces for the benefit of themselves, their family and society.\"<sup>2 </sup>Florentinians of today agree with this theory and see the building as an ideal model of political order, civic harmony, and pride.<sup>1</sup> At one time, the Medici Palazzo (palace) was said to be \"one of the noblest specimens of Italian fifteenth-century architecture, in which the great taste and skill of the architect has combined with the delicate lightness of earlier Italian Gothic style and with the massive stateliness of the classical style.\" <sup>2</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1606\" align=\"alignleft\" width=\"482\" caption=\"                         Example of biforal (left) and Gothic triforal (right) windows                                 Images found: http://www.florence-gallery.com/monuments/  and http://santatatiana.wordpress.com/2011/07/06/the-magnificent-palace-of-priors-in-perugia\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\"><img class=\"size-full wp-image-1606 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\" alt=\"Medici Palazzo (left) and Prior\'s Palace (right) window examples \" width=\"482\" height=\"151\" /></a>[/caption]\r\n<p align=\"left\"> When compared to the Prior\'s Palace, in Perugia, the Medici Palace offers many considerations of similarity and contrast.<sup> 2</sup> The Prior\'s Palace was constructed during the same time period and held fast to the custom of resting double-arch (biforal) windows on classic cornices, which echoed ecclesiastical architecture.<sup>2</sup></p>\r\n<p align=\"left\">Medici Palazzo is designed with double-arch windows on the second and third floors. However, the rounded-arches of the windows in the Medici Palazzo deviate from the Prior\'s Palace windows in that they do not have the classic Gothic point at the top.<sup>2</sup> This rounded-style arch was first seen in a residence when Michelozzo designed the Medici Palazzo to look more secular.<sup>2</sup></p>\r\n<p align=\"left\">An additional architectural differentiation from buildings of its time, including the Prior\'s Palace, was the optical illusion created when the building is viewed from street level.<sup>2</sup> The stone surfaces from bottom-to-top change in texture from rough to smooth, and the stories are scaled from taller on the bottom level to shorter on the upper levels.<sup>2</sup> This transition of surfaces and story height creates the illusion that the structure looms even taller than it actually is. The cornice along the top of the building, projecting out six feet past the façade, serves as a type of crown for the building and its ornate moldings, coffers, rosettes and flutes further speak to the Medici\'s preoccupation with social and political status.<sup>2,4</sup></p>\r\n<p align=\"left\">Spokesperson for the uprising, Leona Battista Alberti, (descendent of author Leon Battista Alberti, who penned <em>On the Art of Building in Ten Books</em>) stated that the Medici family monopolized Florentine politics and all things cultural from 1434 to 1494.<sup>5</sup>  Alberti claims that Cosimo Medici was a humanist, had amassed a large fortune, and had successfully managed to outwit his political enemies to become the <em>de facto</em> ruler of Florence.<sup>3</sup> Under his rule, Medici took advantage of the open trade routes, throughout much of the world, to bring precious objects to Florence and this enhanced honor and pride within the community. She further stated that the objects he imported  included priceless paintings, rare books, elaborate sculptures, fine tapestries, unusual plants, splendid inlaid marble floor tiles and much more.<sup>3</sup> Alberti clearly prayed that the Medici Palace remain standing as a respectful tribute to the illustrious Medici family and all of the rare treasures they brought to the Florentine citizens.</p>\r\n\r\n\r\n[caption id=\"attachment_1611\" align=\"alignright\" width=\"245\" caption=\"Statue of Cosimo de&#039; Medici - Image found: http://www.flickr.com/photos/19178753@N04/5093773149/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\"><img class=\"size-full wp-image-1611 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\" alt=\"Statue of Cosimo de Medici\" width=\"245\" height=\"194\" /></a>[/caption]\r\n<p align=\"left\">Opponent of the protest, Frank Pazzi, (descendant of Francesco de\' Pazzi) spoke of the political unrest that swirled around the Medici family during the time immediately before and after the construction of the Medici Palazzo. The rising wealth among the merchant class was infringing upon the authority of the Papacy and creating tension within the Church. He spoke of the fact that Medici purposefully chose the unusual design and appearance of the building\'s façade because he had just returned from exile and was conscientious about upsetting the delicate political climate of the time and arousing envy among the citizens of Florence. Pazzi\'s family had been political rivals of the Medici family in the 1400s and he noted that one of his ancestors had been hanged at the Palace.<sup>3</sup> Pazzi viewed the Palace as a place of great heartache, political unrest, and that it  reminded him of the social manipulation running rampant at the time. He stated that he wished the building \"had been flattened years ago.\"</p>\r\n<p align=\"left\">Since the Medici vs. Pazzi family rivalry ended with the Medici\'s prevailing, the construction of the Medici Palace represented a celebration or re-birth of sorts, and therefor, the building was in a brand-new style.<sup>3</sup>  According to the Curator of the present-day Medici Museum, the Medici Palace was the first private residence in Florence to have an all-stone exterior, elements such as moldings, round-headed arches, elegant wedge-shaped stones in the arches, (called \"voussoirs\") and the prominent display of the family coat-of-arms.<sup>2  </sup>The Curator further explained that although there were some characteristics of this building that were classically Roman in nature, the predominant reason to preserve this structure was that it was the first time a residence included a gracious nod to civic harmony and lower-class inclusiveness among the wealthy. For example, he stated that Medici placed stone benches, wrought-iron hitching rings for horses, and torch holders on the exterior as a means of welcoming visitors.</p>\r\n<p align=\"left\">Perhaps the welcoming ambience of the Palace was the seed of change and now, present day architects use it in their designs. The Medici were the first to incorporate these community-related elements in to their design and nowadays nearly every building in existence has some sort of bench, railing, fountain, garden, or welcoming landscape. Saying that a building is \"inviting\" is considered a great accomplishment among commercial architects today. Is it possible that the Medici were the first example of this community-minded trend? If so, this fact alone may be reason enough to preserve the building.</p>\r\n\r\n\r\n[caption id=\"attachment_1614\" align=\"alignleft\" width=\"230\" caption=\"Alterpiece in the Chapel of the Medici Palazzo ~ Image found: http://hoocher.com/Agnolo_Bronzino/Agnolo_Bronzino.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\"><img class=\"size-full wp-image-1614\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\" alt=\"Alterpiece in the chapel of The Medici Palazzo\" width=\"230\" height=\"320\" /></a>[/caption]\r\n<p align=\"left\">When interviewed, present-day Florentine Architect, Phillip Brunelleschi, (descendant of architect, Filippo Brunelleschi) noted that at the time Medici Palazzo was constructed, building façades had a distinct asymmetry to the placement of the center courtyard and the doors. This created a lack of alignment between the doors and the upper windows.<sup>2</sup> He went on to speak of the misalignment of the doors and upper-story windows of the Medici Palazzo. Despite this similarity to buildings of the day, it was Brunelleschi\'s opinion that the center courtyard of Medici Palazzo is designed to \"evoke a cloister-like sacred space\"<sup>2</sup> and this tranquil element was non-existent in other palaces of that time. The Medici incorporated their own chapel within the walls of the Palace. What did having their own church say about their connection to God? Most people in Florence had to walk to church. The Medici could have simply walked into their chapel and hired their own priest. Their social and religious stature must have irritated the Church and that would have further inflamed their political standing in town.</p>\r\n<p align=\"left\">Protest organizer, Loren Vecchio, (descendant of Cosimo Medici) advocates the preservation of the building due to the historic accomplishments of the Medici family in relation to education. Vecchio stressed that under the patronage of the Medici family, the Platonic Academy in Florence was founded in 1462. In 1480, The Medici opened the Garden of Lorenzo de’ Medici. Vecchio noted that the library of St. Lorenzo (Bibliotheca Laurenziana) made</p>\r\n\r\n\r\n[caption id=\"attachment_1616\" align=\"alignright\" width=\"190\" caption=\"Laurentian Library Foyer     Image found: http://www.museumsinflorence.com/musei/Laurentian_Library.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\"><img class=\"size-full wp-image-1616\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\" alt=\"Laurentian Library inside The Medici Palazzo\" width=\"190\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">available to the public the immense Medici collection of books and manuscripts, and that this one act proved that the Medici\'s had devoted their lives to the colossal undertaking of educating and promoting the appreciation of the arts for generations to come.<sup>4</sup></p>\r\n<p align=\"left\">One of the protesters, Marisa Ficino, (descendent of Marsilio Ficino), mentioned that one of her ancestors had been hired by Cosimo to translate the works of Plato into Latin and that Medici was a huge patron of the arts and literature. She commented that, according to family stories, the Medici were the first family to use their personal residences to display vast art and cultural collections.<sup>4</sup> Ficino indicated that the practice of inviting guests to visit the Palace was politically innovative at the time because guests were only shown rooms that equaled their favor with the family. Viewing the enormous collection of rare and priceless artifacts became an inducement that led guests to do the bidding of the family. Certain precious pieces were only shown to those members of society that, according to the Medici family, were worthy.<sup>4</sup> At the time, this custom created envy among some circles while delighting others. Could it be that the same practice still exists, in some form, in our society today?</p>\r\n\r\n\r\n[caption id=\"attachment_1615\" align=\"alignleft\" width=\"194\" caption=\"Medici Palazzo Ceremonial Hall  Image found: http://www.museumsinflorence.com/musei/medici_riccardi_palace.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\"><img class=\"size-full wp-image-1615\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\" alt=\"Medici Palazzo Ceremonial Hall\" width=\"194\" height=\"259\" /></a>[/caption]\r\n<p align=\"left\">Today, the Palace holds the offices of the Provincial Governor, the Florentine Provincial Authority, the Istituto Storico dellaRes istenza and the Biblioteca Moreniana. Upon researching this article, the author found almost three million listings for the Medici Palazzo that were academic in n</p>\r\n<p align=\"left\">ature or bespoke of its architectural prestige and dominance in the civil architecture movement of the Renaissance. In the humble opinion of this author, it appears that this extraordinary work of architecture is worth preserving and hopefully the Florence City Council will realize the multi-layered historical importance and, keep the building in order to give the protestors what they want.</p>\r\n\r\n<h2></h2>\r\n&nbsp;\r\n<h2><em><span style=\"color: #605f00\">Works Cited List:</span></em></h2>\r\n<p align=\"left\">1. The Medici Palazzo - The Chronology. http://www.palazzo-medici.it/eng/sez_storia/medici.htm Website accessed August 26, 2011.</p>\r\n<p align=\"left\">2. Partridge, Loren W.<span style=\"text-decoration: underline\"> Art of Renaissance Florence, 1400-1600 </span>. Imprint Berkeley : University of California Press, c2009.</p>\r\n<p align=\"left\">3. Martinez, Lauro. <span style=\"text-decoration: underline\">April blood : Florence and the plot against the Medici.</span> Imprint Oxford ; New York : Oxford University Press, 2003.</p>\r\n<p align=\"left\">4. Neher, Gabriele. <a title=\"Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace.\" href=\"http://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/viewarticle?data=dGJyMPPp44rp2%2fdV0%2bnjisfk5Ie41%2fOL8t%2fsRuvX54as2%2baH8eq%2bUK2prkewpq9JnqeuUrGsuEy1lr9lpOrweezp33vy3%2b2G59q7RbCmsEyxq7BJsKqkhN%2fk5VXj5KR84LPfUeac8nnls79mpNfsVbCvsVCxrrBIpNztiuvX8lXk6%2bqE8tv2jAAA&amp;hid=5\">Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace. </a><em>Art Book</em>, Feb2008, Vol. 15 Issue 1, p9-10, 2p;</p>\r\n<p align=\"left\">5. Matthews, T., DeWitt Platt, F., Noble, Thomas F.X., <span style=\"text-decoration: underline\">The Western Humanities</span>, McGraw-Hill, New York, 2011, Seventh Edition, Volume II, p307-308; p312;</p>\r\n<p align=\"left\">6.Equestrian statue of Cosimo Medici. Website:  http://www.flickr.com/photos/19178753@N04/5093773149/. Accessed September 8, 2011.</p>\r\n<p align=\"left\">7. Medici-Riccardi Palace courtyard, Florence. Italy. Website: http://www.goingthroughitaly.com/500/medici-riccardi-palace/. Accessed September 5, 2011.</p>\r\n<p align=\"left\">8. Laurentian Library. The Museums of Florence. Website: http://www.museumsinflorence.com/musei/Laurentian_Library.html. Accessed September 7, 2011.</p>\r\n<p align=\"left\">9.  Mediateca di Palazzo Medici Riccardi. <a href=\"http://www.provincia.fi.it/\">Provincia di Firenze</a>. Palazzo Medici-Riccardi Today.\r\nWebsite: http://www.palazzo-medici.it/mediateca/en/cronologia.php#3. Accessed September 6, 2011.</p>\r\n<p align=\"left\">10. Comune di Perugia. Palazzo dei Priori. Website: http://www.comune.perugia.it. Accessed: September 16, 2011.</p>','Protest at the Palazzo','','inherit','open','open','','1593-revision-33','','','2011-09-22 09:01:34','2011-09-22 15:01:34','',1593,'http://jeanatacc.com/2011/?p=1661',0,'revision','',0),(1663,41,'2011-09-22 09:07:14','2011-09-22 15:07:14','<h3><span style=\"color: #605f00\">Citizens revolt against plans to demolish the embodiment of Renaissance Civil Architecture.</span></h3>\r\n<p align=\"left\">By Jill Brockmann<strong>,</strong> ONN Contributor, Italy, Florence -- (ONN Bureau)</p>\r\n<p align=\"left\">September 19, 2011 12:05 p.m. EDT</p>\r\n\r\n\r\n[caption id=\"attachment_1604\" align=\"alignleft\" width=\"290\" caption=\"The Medici Palazzo - Image found: http://otherworldmystery.com/tag/rosicrucianism\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\"><img class=\"size-full wp-image-1604\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior4.jpg\" alt=\"The Medici Palazzo\" width=\"290\" height=\"117\" /></a>[/caption]\r\n<p align=\"left\">Riots broke out in Tuscany\'s capital today, as the polizia tried to hold back protesters in front of the Palazzo Medici Riccardi, the epitome and gold standard of Renaissance Civil Architecture. Hundreds of protesters congregated in front of the strong, yet grim, exterior of the cube-shaped building that was once the most persuasive symbol of the political and cultural authority of the Medici banking family in Florence.<sup>2 </sup> Protesters believe that the building should be preserved because of its long history of provoking ardent political discourse, its owners promoted the preservation of rare art and they shared their priceless pieces in an effort to enhance the community\'s love of the arts. <!--more--></p>\r\n<p align=\"left\">The City Council is attempting to exert their power of emminent domain and destroy the building, replacing it with a high-rise apartment complex that would include tax-generating commercial space on the first floor. The building was built by the Italian architect and sculptor, Michelozzo di Bartolomeo Michelozzi (1396–1472) and was commissioned by the head of the Medici banking family, Cosimo de\' Medici, between the years of 1445-1460. Today, the building is known as the Palazzo Medici Riccardi, after Gabbriello Riccardi purchased it and expanded its footprint in 1659.<sup>1</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1609\" align=\"alignright\" width=\"198\" caption=\"Courtyard at the Medici Palazzo  Image found: http://www.goingthroughitaly.com/500/medici-riccardi-palace/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\"><img class=\"size-full wp-image-1609\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_courtyard.jpg\" alt=\"Courtyard at the Medici Palazzo\" width=\"198\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">Florentine citizens are protesting the demolition of the building, which they consider the foremost example of the classic theory of magnificence, touted by Aristotle in his famed literary work, <em>Nicomachean Ethics</em>. Aristotle\'s theory held that \"men of means had a moral duty to live in magnificent palaces for the benefit of themselves, their family and society.\"<sup>2 </sup>Florentinians of today agree with this theory and see the building as an ideal model of political order, civic harmony, and pride.<sup>1</sup> At one time, the Medici Palazzo (palace) was said to be \"one of the noblest specimens of Italian fifteenth-century architecture, in which the great taste and skill of the architect has combined with the delicate lightness of earlier Italian Gothic style and with the massive stateliness of the classical style.\" <sup>2</sup></p>\r\n\r\n\r\n[caption id=\"attachment_1606\" align=\"alignleft\" width=\"482\" caption=\"                         Example of biforal (left) and Gothic triforal (right) windows                                 Images found: http://www.florence-gallery.com/monuments/  and http://santatatiana.wordpress.com/2011/07/06/the-magnificent-palace-of-priors-in-perugia\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\"><img class=\"size-full wp-image-1606 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows1.jpg\" alt=\"Medici Palazzo (left) and Prior\'s Palace (right) window examples \" width=\"482\" height=\"151\" /></a>[/caption]\r\n<p align=\"left\"> When compared to the Prior\'s Palace, in Perugia, the Medici Palace offers many considerations of similarity and contrast.<sup> 2</sup> The Prior\'s Palace was constructed during the same time period and held fast to the custom of resting double-arch (biforal) windows on classic cornices, which echoed ecclesiastical architecture.<sup>2</sup></p>\r\n<p align=\"left\">Medici Palazzo is designed with double-arch windows on the second and third floors. However, the rounded-arches of the windows in the Medici Palazzo deviate from the Prior\'s Palace windows in that they do not have the classic Gothic point at the top.<sup>2</sup> This rounded-style arch was first seen in a residence when Michelozzo designed the Medici Palazzo to look more secular.<sup>2</sup></p>\r\n<p align=\"left\">An additional architectural differentiation from buildings of its time, including the Prior\'s Palace, was the optical illusion created when the building is viewed from street level.<sup>2</sup> The stone surfaces from bottom-to-top change in texture from rough to smooth, and the stories are scaled from taller on the bottom level to shorter on the upper levels.<sup>2</sup> This transition of surfaces and story height creates the illusion that the structure looms even taller than it actually is. The cornice along the top of the building, projecting out six feet past the façade, serves as a type of crown for the building and its ornate moldings, coffers, rosettes and flutes further speak to the Medici\'s preoccupation with social and political status.<sup>2,4</sup></p>\r\n<p align=\"left\">Spokesperson for the uprising, Leona Battista Alberti, (descendent of author Leon Battista Alberti, who penned <em>On the Art of Building in Ten Books</em>) stated that the Medici family monopolized Florentine politics and all things cultural from 1434 to 1494.<sup>5</sup>  Alberti claims that Cosimo Medici was a humanist, had amassed a large fortune, and had successfully managed to outwit his political enemies to become the <em>de facto</em> ruler of Florence.<sup>3</sup> Under his rule, Medici took advantage of the open trade routes, throughout much of the world, to bring precious objects to Florence and this enhanced honor and pride within the community. She further stated that the objects he imported  included priceless paintings, rare books, elaborate sculptures, fine tapestries, unusual plants, splendid inlaid marble floor tiles and much more.<sup>3</sup> Alberti clearly prayed that the Medici Palace remain standing as a respectful tribute to the illustrious Medici family and all of the rare treasures they brought to the Florentine citizens.</p>\r\n\r\n\r\n[caption id=\"attachment_1611\" align=\"alignright\" width=\"245\" caption=\"Statue of Cosimo de&#039; Medici - Image found: http://www.flickr.com/photos/19178753@N04/5093773149/\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\"><img class=\"size-full wp-image-1611 \" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici-statue1.jpg\" alt=\"Statue of Cosimo de Medici\" width=\"245\" height=\"194\" /></a>[/caption]\r\n<p align=\"left\">Opponent of the protest, Frank Pazzi, (descendant of Francesco de\' Pazzi) spoke of the political unrest that swirled around the Medici family during the time immediately before and after the construction of the Medici Palazzo. The rising wealth among the merchant class was infringing upon the authority of the Papacy and creating tension within the Church. He spoke of the fact that Medici purposefully chose the unusual design and appearance of the building\'s façade because he had just returned from exile and was conscientious about upsetting the delicate political climate of the time and arousing envy among the citizens of Florence. Pazzi\'s family had been political rivals of the Medici family in the 1400s and he noted that one of his ancestors had been hanged at the Palace.<sup>3</sup> Pazzi viewed the Palace as a place of great heartache, political unrest, and that it reminded him of the social manipulation running rampant at the time. He stated that he wished the building \"had been flattened years ago.\"</p>\r\n<p align=\"left\">Since the Medici vs. Pazzi family rivalry ended with the Medici\'s prevailing, the construction of the Medici Palace represented a celebration or re-birth of sorts, and therefor, the building was in a brand-new style.<sup>3</sup>  According to the Curator of the present-day Medici Museum, the Medici Palace was the first private residence in Florence to have an all-stone exterior, elements such as moldings, round-headed arches, elegant wedge-shaped stones in the arches, (called \"voussoirs\") and the prominent display of the family coat-of-arms.<sup>2  </sup>The Curator further explained that although there were some characteristics of this building that were classically Roman in nature, the predominant reason to preserve this structure was that it was the first time a residence included a gracious nod to civic harmony and lower-class inclusiveness among the wealthy. For example, he stated that Medici placed stone benches, wrought-iron hitching rings for horses, and torch holders on the exterior as a means of welcoming visitors.</p>\r\n<p align=\"left\">Perhaps the welcoming ambience of the Palace was the seed of change and now, present day architects use it in their designs. The Medici were the first to incorporate these community-related elements in to their design and nowadays nearly every building in existence has some sort of bench, railing, fountain, garden, or welcoming landscape. Saying that a building is \"inviting\" is considered a great accomplishment among commercial architects today. Is it possible that the Medici were the first example of this community-minded trend? If so, this fact alone may be reason enough to preserve the building.</p>\r\n\r\n\r\n[caption id=\"attachment_1614\" align=\"alignleft\" width=\"230\" caption=\"Alterpiece in the Chapel of the Medici Palazzo ~ Image found: http://hoocher.com/Agnolo_Bronzino/Agnolo_Bronzino.htm\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\"><img class=\"size-full wp-image-1614\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting4.jpg\" alt=\"Alterpiece in the chapel of The Medici Palazzo\" width=\"230\" height=\"320\" /></a>[/caption]\r\n<p align=\"left\">When interviewed, present-day Florentine Architect, Phillip Brunelleschi, (descendant of architect, Filippo Brunelleschi) noted that at the time Medici Palazzo was constructed, building façades had a distinct asymmetry to the placement of the center courtyard and the doors. This created a lack of alignment between the doors and the upper windows.<sup>2</sup> He went on to speak of the misalignment of the doors and upper-story windows of the Medici Palazzo. Despite this similarity to buildings of the day, it was Brunelleschi\'s opinion that the center courtyard of Medici Palazzo is designed to \"evoke a cloister-like sacred space\"<sup>2</sup> and this tranquil element was non-existent in other palaces of that time. The Medici incorporated their own chapel within the walls of the Palace. What did having their own church say about their connection to God? Most people in Florence had to walk to church. The Medici could have simply walked into their chapel and hired their own priest. Their social and religious stature must have irritated the Church and that would have further inflamed their political standing in town.</p>\r\n<p align=\"left\">Protest organizer, Loren Vecchio, (descendant of Cosimo Medici) advocates the preservation of the building due to the historic accomplishments of the Medici family in relation to education. Vecchio stressed that under the patronage of the Medici family, the Platonic Academy in Florence was founded in 1462. In 1480, The Medici opened the Garden of Lorenzo de’ Medici. Vecchio noted that the library of St. Lorenzo (Bibliotheca Laurenziana) made</p>\r\n\r\n\r\n[caption id=\"attachment_1616\" align=\"alignright\" width=\"190\" caption=\"Laurentian Library Foyer     Image found: http://www.museumsinflorence.com/musei/Laurentian_Library.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\"><img class=\"size-full wp-image-1616\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_lib.jpg\" alt=\"Laurentian Library inside The Medici Palazzo\" width=\"190\" height=\"187\" /></a>[/caption]\r\n<p align=\"left\">available to the public the immense Medici collection of books and manuscripts, and that this one act proved that the Medici\'s had devoted their lives to the colossal undertaking of educating and promoting the appreciation of the arts for generations to come.<sup>4</sup></p>\r\n<p align=\"left\">One of the protesters, Marisa Ficino, (descendent of Marsilio Ficino), mentioned that one of her ancestors had been hired by Cosimo to translate the works of Plato into Latin and that Medici was a huge patron of the arts and literature. She commented that, according to family stories, the Medici were the first family to use their personal residences to display vast art and cultural collections.<sup>4</sup> Ficino indicated that the practice of inviting guests to visit the Palace was politically innovative at the time because guests were only shown rooms that equaled their favor with the family. Viewing the enormous collection of rare and priceless artifacts became an inducement that led guests to do the bidding of the family. Certain precious pieces were only shown to those members of society that, according to the Medici family, were worthy.<sup>4</sup> At the time, this custom created envy among some circles while delighting others. Could it be that the same practice still exists, in some form, in our society today?</p>\r\n\r\n\r\n[caption id=\"attachment_1615\" align=\"alignleft\" width=\"194\" caption=\"Medici Palazzo Ceremonial Hall  Image found: http://www.museumsinflorence.com/musei/medici_riccardi_palace.html\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\"><img class=\"size-full wp-image-1615\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Med_pal_interior.jpg\" alt=\"Medici Palazzo Ceremonial Hall\" width=\"194\" height=\"259\" /></a>[/caption]\r\n<p align=\"left\">Today, the Palace holds the offices of the Provincial Governor, the Florentine Provincial Authority, the Istituto Storico dellaRes istenza and the Biblioteca Moreniana. Upon researching this article, the author found almost three million listings for the Medici Palazzo that were academic in nature or bespoke of its architectural prestige and dominance in the civil architecture movement of the Renaissance. In the humble opinion of this author, it appears that this extraordinary work of architecture is worth preserving and hopefully the Florence City Council will realize the multi-layered historical importance and keep the building in order to give the protestors what they want.</p>\r\n\r\n<h2></h2>\r\n&nbsp;\r\n<h2><em><span style=\"color: #605f00\">Works Cited List:</span></em></h2>\r\n<p align=\"left\">1. The Medici Palazzo - The Chronology. http://www.palazzo-medici.it/eng/sez_storia/medici.htm Website accessed August 26, 2011.</p>\r\n<p align=\"left\">2. Partridge, Loren W.<span style=\"text-decoration: underline\"> Art of Renaissance Florence, 1400-1600 </span>. Imprint Berkeley : University of California Press, c2009.</p>\r\n<p align=\"left\">3. Martinez, Lauro. <span style=\"text-decoration: underline\">April blood : Florence and the plot against the Medici.</span> Imprint Oxford ; New York : Oxford University Press, 2003.</p>\r\n<p align=\"left\">4. Neher, Gabriele. <a title=\"Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace.\" href=\"http://ehis.ebscohost.com.lsproxy.austincc.edu/ehost/viewarticle?data=dGJyMPPp44rp2%2fdV0%2bnjisfk5Ie41%2fOL8t%2fsRuvX54as2%2baH8eq%2bUK2prkewpq9JnqeuUrGsuEy1lr9lpOrweezp33vy3%2b2G59q7RbCmsEyxq7BJsKqkhN%2fk5VXj5KR84LPfUeac8nnls79mpNfsVbCvsVCxrrBIpNztiuvX8lXk6%2bqE8tv2jAAA&amp;hid=5\">Living it Up in Fifteenth-Century Florence: Magnificence, the Medici and the Renaissance Palace. </a><em>Art Book</em>, Feb2008, Vol. 15 Issue 1, p9-10, 2p;</p>\r\n<p align=\"left\">5. Matthews, T., DeWitt Platt, F., Noble, Thomas F.X., <span style=\"text-decoration: underline\">The Western Humanities</span>, McGraw-Hill, New York, 2011, Seventh Edition, Volume II, p307-308; p312;</p>\r\n<p align=\"left\">6.Equestrian statue of Cosimo Medici. Website:  http://www.flickr.com/photos/19178753@N04/5093773149/. Accessed September 8, 2011.</p>\r\n<p align=\"left\">7. Medici-Riccardi Palace courtyard, Florence. Italy. Website: http://www.goingthroughitaly.com/500/medici-riccardi-palace/. Accessed September 5, 2011.</p>\r\n<p align=\"left\">8. Laurentian Library. The Museums of Florence. Website: http://www.museumsinflorence.com/musei/Laurentian_Library.html. Accessed September 7, 2011.</p>\r\n<p align=\"left\">9.  Mediateca di Palazzo Medici Riccardi. <a href=\"http://www.provincia.fi.it/\">Provincia di Firenze</a>. Palazzo Medici-Riccardi Today.\r\nWebsite: http://www.palazzo-medici.it/mediateca/en/cronologia.php#3. Accessed September 6, 2011.</p>\r\n<p align=\"left\">10. Comune di Perugia. Palazzo dei Priori. Website: http://www.comune.perugia.it. Accessed: September 16, 2011.</p>','Protest at the Palazzo','','inherit','open','open','','1593-revision-35','','','2011-09-22 09:07:14','2011-09-22 15:07:14','',1593,'http://jeanatacc.com/2011/?p=1663',0,'revision','',0),(1665,49,'2011-09-22 17:34:56','2011-09-22 23:34:56','<p align=\"center\">Aztec Calendar Stone</p>\r\n          The Calendar Stone is a wonder sculpted by the ancient Aztec of Mesoamerica in\r\n\r\n1479.  Having been lost after the Spanish conquest, in 1790, the stone was found in the center of Mexico City also known as the “Zocallo”(<a href=\"http://www.aztec-history.com/\">www.aztec-history.com</a>). “The Aztecs exhibited many different styles of art, but the expression they favored most were sculptures” (<a href=\"http://www2.truman.edu/%7Emarc/webpages/nativesp99/aztecs/aztec_template.html\">http://www2.truman.edu/~marc/webpages/nativesp99/aztecs/aztec_template.html</a>) and “The sculptures served to communicate the concepts of Aztec religion and were part of complex rituals”. (http://www.metmuseum.org/toah/hd/azss/hd_azss.htm)<!--more-->\r\n\r\nThis preference holds true in this 25 ton basalt monster where the Sun God resides in the center. Within this calendar actually resides two. The first, the Xiuhpohualli and the Tonalpohualli.\r\n\r\nThe first, the Xiuhpohualli, literally means “the counting of years” (<a href=\"http://www.aztec-history.com/\">www.aztec-history.com</a>). This was a 365 day calendar and was used for predictiong seasons. This also included eighteen, twenty day months. The second calendar, the Tonalpohualli, is known for being the sacred calendar. This calendar had 260 days and there were 20 different signs and 13 numbers. Also, each week was ruled by a god. Every 52 years, these two calendars would align and it was believed to be a time of disaster.\r\n\r\nThis piece is typical of its time because at the time, gods were a common theme in Aztec art. I think this should be saved for a couple reasons. First, this massive sculpture is a monument to the lost Aztec civilization. Second, we base our own present calendar on this great calendar.\r\n\r\nWorks Cited\r\n\r\n\"Aztec Community.\" Xenon.truman.edu. Web. 11 Sept. 2011. &lt;http://www2.truman.edu/~marc/webpages/nativesp99/aztecs/aztec_template.html&gt;.\r\n\r\n\"Aztec Calendar - Sun Stone - Crystalinks.\" Crystalinks Home Page. Web. 11 Sept. 2011. &lt;http://www.crystalinks.com/aztecalendar.html&gt;.\r\n\r\nAztec Stone Sculpture | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art.\" The Metropolitan Museum of Art, New York: Metmuseum.org. Web. 11 Sept. 2011. http://www.metmuseum.org/toah/hd/azss/hd_azss.htm&gt;.&lt;\r\n\r\nAztec Stone Sculpture | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art.\" The Metropolitan Museum of Art, New York: Metmuseum.org. Web. 12 Sept. 2011. &lt;http://www.metmuseum.org/toah/hd/azss/hd_azss.htm&gt;.','Aztec Calendar Stone','','publish','open','open','','aztec-calendar-stone-2','','','2011-09-25 08:48:15','2011-09-25 14:48:15','',0,'http://jeanatacc.com/2011/?p=1665',0,'post','',12),(1666,49,'2011-09-22 17:32:12','2011-09-22 23:32:12','<p align=\"center\"></p>\n<p align=\"center\">Aztec Calendar Stone</p>\n<p align=\"center\"></p>\n          The Calendar Stone is a wonder sculpted by the ancient Aztec of Mesoamerica in\n\n1479.  Having been lost after the Spanish conquest, in 1790, the stone was found in the center of Mexico City also known as the “Zocallo”(<a href=\"http://www.aztec-history.com/\">www.aztec-history.com</a>). “The Aztecs exhibited many different styles of art, but the expression they favored most were sculptures” (<a href=\"http://www2.truman.edu/~marc/webpages/nativesp99/aztecs/aztec_template.html\">http://www2.truman.edu/~marc/webpages/nativesp99/aztecs/aztec_template.html</a>) and “The sculptures served to communicate the concepts of Aztec religion and were part of complex rituals”. (http://www.metmuseum.org/toah/hd/azss/hd_azss.htm)\n\nThis preference holds true in this 25 ton basalt monster where the Sun God resides in the center. Within this calendar actually resides two. The first, the Xiuhpohualli and the Tonalpohualli.\n\nThe first, the Xiuhpohualli, literally means “the counting of years” (<a href=\"http://www.aztec-history.com/\">www.aztec-history.com</a>). This was a 365 day calendar and was used for predictiong seasons. This also included eighteen, twenty day months. The second calendar, the Tonalpohualli, is known for being the sacred calendar. This calendar had 260 days and there were 20 different signs and 13 numbers. Also, each week was ruled by a god. Every 52 years, these two calendars would align and it was believed to be a time of disaster.\n\nThis piece is typical of its time because at the time, gods were a common theme in Aztec art. I think this should be saved for a couple reasons. First, this massive sculpture is a monument to the lost Aztec civilization. Second, we base our own present calendar on this great calendar.\n\nWorks Cited\n\n\"Aztec Community.\" Xenon.truman.edu. Web. 11 Sept. 2011. &lt;http://www2.truman.edu/~marc/webpages/nativesp99/aztecs/aztec_template.html&gt;.\n\n\"Aztec Calendar - Sun Stone - Crystalinks.\" Crystalinks Home Page. Web. 11 Sept. 2011. &lt;http://www.crystalinks.com/aztecalendar.html&gt;.\n\nAztec Stone Sculpture | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art.\" The Metropolitan Museum of Art, New York: Metmuseum.org. Web. 11 Sept. 2011. http://www.metmuseum.org/toah/hd/azss/hd_azss.htm&gt;.&lt;\n\nAztec Stone Sculpture | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art.\" The Metropolitan Museum of Art, New York: Metmuseum.org. Web. 12 Sept. 2011. &lt;http://www.metmuseum.org/toah/hd/azss/hd_azss.htm&gt;.','Aztec Calendar Stone','','inherit','open','open','','1665-revision','','','2011-09-22 17:32:12','2011-09-22 23:32:12','',1665,'http://jeanatacc.com/2011/?p=1666',0,'revision','',0),(1672,1,'2011-09-25 08:47:51','2011-09-25 14:47:51','<p align=\"center\">Aztec Calendar Stone</p>\r\n          The Calendar Stone is a wonder sculpted by the ancient Aztec of Mesoamerica in\r\n\r\n1479.  Having been lost after the Spanish conquest, in 1790, the stone was found in the center of Mexico City also known as the “Zocallo”(<a href=\"http://www.aztec-history.com/\">www.aztec-history.com</a>). “The Aztecs exhibited many different styles of art, but the expression they favored most were sculptures” (<a href=\"http://www2.truman.edu/~marc/webpages/nativesp99/aztecs/aztec_template.html\">http://www2.truman.edu/~marc/webpages/nativesp99/aztecs/aztec_template.html</a>) and “The sculptures served to communicate the concepts of Aztec religion and were part of complex rituals”. (http://www.metmuseum.org/toah/hd/azss/hd_azss.htm)\r\n\r\nThis preference holds true in this 25 ton basalt monster where the Sun God resides in the center. Within this calendar actually resides two. The first, the Xiuhpohualli and the Tonalpohualli.\r\n\r\nThe first, the Xiuhpohualli, literally means “the counting of years” (<a href=\"http://www.aztec-history.com/\">www.aztec-history.com</a>). This was a 365 day calendar and was used for predictiong seasons. This also included eighteen, twenty day months. The second calendar, the Tonalpohualli, is known for being the sacred calendar. This calendar had 260 days and there were 20 different signs and 13 numbers. Also, each week was ruled by a god. Every 52 years, these two calendars would align and it was believed to be a time of disaster.\r\n\r\nThis piece is typical of its time because at the time, gods were a common theme in Aztec art. I think this should be saved for a couple reasons. First, this massive sculpture is a monument to the lost Aztec civilization. Second, we base our own present calendar on this great calendar.\r\n\r\nWorks Cited\r\n\r\n\"Aztec Community.\" Xenon.truman.edu. Web. 11 Sept. 2011. &lt;http://www2.truman.edu/~marc/webpages/nativesp99/aztecs/aztec_template.html&gt;.\r\n\r\n\"Aztec Calendar - Sun Stone - Crystalinks.\" Crystalinks Home Page. Web. 11 Sept. 2011. &lt;http://www.crystalinks.com/aztecalendar.html&gt;.\r\n\r\nAztec Stone Sculpture | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art.\" The Metropolitan Museum of Art, New York: Metmuseum.org. Web. 11 Sept. 2011. http://www.metmuseum.org/toah/hd/azss/hd_azss.htm&gt;.&lt;\r\n\r\nAztec Stone Sculpture | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art.\" The Metropolitan Museum of Art, New York: Metmuseum.org. Web. 12 Sept. 2011. &lt;http://www.metmuseum.org/toah/hd/azss/hd_azss.htm&gt;.','Aztec Calendar Stone','','inherit','open','open','','1665-revision-3','','','2011-09-25 08:47:51','2011-09-25 14:47:51','',1665,'http://jeanatacc.com/2011/?p=1672',0,'revision','',0),(1667,45,'2011-09-26 12:05:37','2011-09-26 18:05:37','<p align=\"center\">(Thomas More’s\r\nUtopia)</p>\r\n <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Utopia.jpg\"><img class=\"size-medium wp-image-1680 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Utopia-209x300.jpg\" alt=\"\" width=\"209\" height=\"300\" /></a>\r\n<p style=\"text-align: center\"><a href=\"http://www.joh.cam.ac.uk/library/special_collections/early_books/pix/utopia.htm\">http://www.joh.cam.ac.uk/library/special_collections/early_books/pix/utopia.htm</a></p>\r\nSir Thomas More was born in England in 1478. He was a Christian who depended heavily (almost solely) upon himself. He believed in religious tolerance and charity, but refused to compromise his beliefs as a Catholic. For most of his life, Thomas More was unsure of whether to stay true to the king, or to continue his path of philosophy. He was executed for treason in 1535.\r\n\r\n<!--more-->In 1516, he wrote Utopia (which comes from the Greek words <em>ou</em> and <em>topos</em> (“no place”)). It was the first writings pertaining to a “perfect state” since Plato’s “Republic” (although many believe that it is criticism of European society at that time). This story was mainly focused on Europe’s government and society. In Utopia’s society, everything and everyone, except slaves, were equal; and all citizens were wholly expected to uphold social justice.\r\n\r\nOne of the main points included in Utopia is that war is a fool’s action and pointless. Thomas More states, “Nothing is more inglorious than glory attained by war” (Fiero, 19). Eventually, knowing how people work, they will always be fighting over something with others, even with those who are supposedly their allies. Utopians value truces above pretty much everything.\r\n\r\nUtopia is filled with satires and idealisms. Here, family hierarchies are in place. Cities are divided equally into four separate areas, with a marketplace in the center of each. At said marketplace, people bring items they create and display them for others to have. The family finds only what is essential for their survival, however, despite that they do not need to pay anything. Greed and gluttony are nonexistent in this world and there is always an abundance of everything and anything. Therefore, Utopians do not require any form of currency.\r\n\r\nThanks to trade with foreign countries, the Utopians own an immense selection of metals, which they use anything requiring such materials. They have no enticement to do this since they have everything they need. On top of this, the people find such things near useless items, as they do not hold much towards their survival. If a Utopian obtains an object, which we would consider a luxury (such as precious metals); they most likely found it on accident. The person will simply give the item to their children as a present. The child will be overwhelmed with joy, but will lose interest in the bauble as it gets older, eventually understanding the lack of value that it really has.\r\n\r\nYet another reason it was believed that Thomas More wrote Utopia, was to escape the mayhem in his own country. King Henry VIII reigned without a care as to what it did to his people. He frittered away money the country didn’t have and did so without even spending towards any kind of economic support. Many of Thomas More’s theories were based on these hard times. The wealthy socialites were engrossed in items of value and status and concerned with petty details. Meanwhile, in their desperate attempts to stay alive, the poor resorted to stealing and killing each other.\r\n\r\nThomas More’s ideas (specifically that of Utopia) were unheard of and not anything anyone would have believed. Even if people did agreed with him, they would not openly agree with him and his work was still seen as severe criticism, if not blasphemy, towards his country. Thomas More was highly critical of his world, especially towards many of the economic changes. Utopia might have been something of a suggestion towards solutions to Europe’s problems. He showed the differences between the chaos of his corrupt society and the equality his idealistic one.\r\n\r\nThomas More might have been highly inspired by Plato’s “Republic.” In this work, Plato mentions how idealism involves the separation of mind and matter. He explains that someone may become prosperous and honorable through the benefits of both the individual and the society. Plato built an idealist society where people worked harmoniously and showed how being educated made them stronger. In this, Thomas More agrees and uses in his own work.\r\n\r\nI believe that everyone would agree that the word “Utopia” is still accurate with Thomas More’s idea of it: Paradise, Heaven, Wonderland, Nirvana, or whatever you wish to call it; somewhere utterly clean of violence or deceit. Thomas More was spot on when he wrote this novel mocking the idea that one can create a perfect world. No single person is perfect, much less is the society they live in. “Utopia” is merely a model of that which we desire. You can work towards it, but no one will ever be able to reach it.\r\n\r\nI agree with many of the ideals in “Utopia.” It makes many good points (and not to mention it would be nice to live in a world where things such as corruption and greed did not exist). I especially agree with More’s argument that war is needless. I have never figured out how people blindly killing one another can solve any problem. This proves that even though the world has progressed, it has only done so in a technological manner. I don’t believe we are any closer to our desired Utopia; moreover, we keep pushing ourselves further from it as society becomes more complex.\r\n\r\nHowever, some things still do not make sense. Some of the traditions the Utopians practiced (such as the ease of divorce, euthanasia and both married priests and female priests) seem to be polar opposites of More\'s beliefs and the teachings of the Catholic Church (of which he was completely committed to). You would think that Thomas More would have fully created them how he thought they should be (religiously speaking of course).\r\n\r\n“Utopia” should be preserved as a one of the greatest works of its time because everything in this book has (more or less) been well thought out and his story is elaborate. His morals and ideals paint the image of a world desired by every living creature; a world where everything is perfect and there is no reason to have things like thievery and murder.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<span style=\"text-decoration: underline\">Works Cited</span>:\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Priest\r\n&amp; Harold Martin. <em>More\'s Utopia &amp; Utopian Literature</em>. John Wiley\r\n&amp; Sons, Inc. (US), 1975. www.<strong>alicat.austincc.edu</strong>.\r\nWeb. 1 Sep. 2011.</li>\r\n</ul>\r\n&lt;http://alicat.austincc.edu/search~S1?/XMore%27s+Utopia&amp;searchscope=1&amp;SORT=D/XMore%27s+Utopia&amp;searchscope=1&amp;SORT=D&amp;SUBKEY=More\'s+Utopia/1%2C3%2C3%2CB/frameset&amp;FF=XMore%27s+Utopia&amp;searchscope=1&amp;SORT=D&amp;1%2C1%2C&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>\"<strong>utopia</strong>.\" <em>Encyclopedia\r\nBritannica. Encyclopedia Britannica Online Academic Edition</em>.\r\nEncyclopedia Britannica, 2011. Web. 01 Sep. 2011.</li>\r\n</ul>\r\n&lt;http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/620755/utopia&gt;.\r\n\r\n&nbsp;\r\n<ul>\r\n	<li><em>Dictionary\r\nof Literary Biography, Volume 136: Sixteenth-Century British Nondramatic\r\nWriters, Second Series</em>. A Bruccoli Clark Layman Book. Edited by David\r\nA. Richardson, Cleveland\r\nState University.\r\nGale Research, 1994. pp. 235-254.</li>\r\n</ul>\r\n&lt;http://galenet.galegroup.com.lsproxy.austincc.edu/servlet/GLD/hits?r=d&amp;origSearch=true&amp;o=DataType&amp;n=10&amp;l=d&amp;c=2&amp;locID=txshracd2487&amp;secondary=false&amp;u=DLB&amp;t=KW&amp;s=4&amp;NA=More&amp;TI=Utopia&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Fiero,\r\nGloria K. <em>The Humanistic Tradition</em>:\r\nMcGraw-Hill, 2011. Print.</li>\r\n</ul>\r\n&nbsp;\r\n<ul>\r\n	<li>More,\r\nThomas <em>Utopia</em>, 1516</li>\r\n</ul>','Thomas More\'s Utopia','','publish','open','open','','thomas-mores-utopia','','','2011-10-15 11:49:14','2011-10-15 17:49:14','',0,'http://jeanatacc.com/2011/?p=1667',0,'post','',14),(1668,45,'2011-09-23 10:52:52','2011-09-23 16:52:52','','More\'s Utopia','','inherit','open','open','','mores-utopia','','','2011-09-23 10:52:52','2011-09-23 16:52:52','',1667,'http://jeanatacc.com/2011/wp-content/uploads/2011/09/Mores-Utopia.jpg',0,'attachment','image/jpeg',0),(1669,45,'2011-09-23 11:00:38','2011-09-23 17:00:38','<p align=\"center\">(Thomas More’s\nUtopia)</p>\n&nbsp;\n<p style=\"text-align: center\"><a href=\"http://www.joh.cam.ac.uk/library/special_collections/early_books/pix/utopia.htm\">http://www.joh.cam.ac.uk/library/special_collections/early_books/pix/utopia.htm</a></p>\nSir Thomas More was born in Englandin 1478. He was a Christian who depended heavily (almost solely) upon himself. He believed\nin religious tolerance and charity, but refused to compromise his beliefs as a Catholic. For most of his life, Thomas More was unsure of whether to stay true to the king, or to continue his path of philosophy. He was executed for treason in 1535.\n\nIn 1516, he wrote Utopia (which comes from the Greek words <em>ou</em> and <em>topos</em> (“no place”)). It was the first writings pertaining to a “perfect state” since Plato’s “Republic” (although many believe that it is criticism of European society at that time). This story was mainly focused on Europe’s government and society. In Utopia’s society, everything and everyone, except slaves, were equal; and all citizens were wholly expected to uphold social justice.\n\nOne of the main points included in Utopia is that war is a fool’s action and pointless. Thomas More states, “Nothing is more inglorious than glory attained by war” (Fiero, 19). Eventually, knowing how people work, they will always be fighting over\nsomething with others, even with those who are supposedly their allies. Utopians value truces above pretty much everything.\n\nUtopia is filled with satires and idealisms. Here, family hierarchies are in place. Cities are divided equally\ninto four separate areas, with a marketplace in the center of each. At said marketplace, people bring items they create and display them for others to have. The family finds only what is essential for their survival, however, despite that they do not need to pay anything. Greed and gluttony are nonexistent in this world and there is always an abundance of everything and anything. Therefore, Utopians do not require any form of currency.\n\nThanks to trade with foreign countries, the Utopians own an immense selection of metals, which they use anything requiring such materials. They have no enticement to do this since they have everything they need. On top of this, the people find such things near useless items, as they do not hold much towards their survival. If a Utopian obtains an object, which we would consider a luxury (such as precious metals); they most likely found it on accident. The person will simply give the item to their children as a present. The child will be overwhelmed with joy, but will lose interest in the bauble as it gets older, eventually understanding the lack of value that it really has.\n\nYet another reason it was believed that Thomas More wrote Utopia, was to escape the mayhem in his own country. King Henry VIII reigned without a care as to what it did to his people. He frittered away money the country didn’t have and did so without even spending towards any kind of economic support. Many of Thomas More’s theories were based on these hard times. The wealthy socialites were engrossed in items of value and status and concerned with petty details. Meanwhile, in their desperate attempts to stay alive, the poor resorted to stealing and killing each other.\n\nThomas More’s ideas (specifically that of Utopia) were unheard of and not anything anyone would have believed. Even if people did agreed with him, they would not openly agree with him and his work was still seen as severe criticism, if not blasphemy, towards his country. Thomas More was highly critical of his world, especially towards many of the economic changes. Utopia might have been something of a suggestion towards solutions to Europe’s problems. He showed the differences between the chaos of his corrupt society and the equality his idealistic one.\n\nThomas More might have been highly inspired by Plato’s “Republic.” In this work, Plato mentions how idealism involves the separation of mind and matter. He explains that someone may become prosperous and honorable through the benefits of both the individual and the society. Plato built an idealist society where people worked harmoniously and showed how being educated made them stronger. In this, Thomas More agrees and uses in his own work.\n\nI believe that everyone would agree that the word “Utopia” is still accurate with Thomas More’s idea of it: Paradise, Heaven, Wonderland, Nirvana, or whatever you wish to call it; somewhere utterly clean of violence or deceit. Thomas More was\nspot on when he wrote this novel mocking the idea that one can create a perfect world. No single person is perfect, much less is the society they live in. “Utopia” is merely a model of that which we desire. You can work towards it, but no one will\never be able to reach it.\n\nI agree with many of the ideals in “Utopia.” It makes many good points (and not to mention it would be nice to\nlive in a world where things such as corruption and greed did not exist). I especially agree with More’s argument that war is needless. I have never figured out how people blindly killing one another can solve any problem. This\nproves that even though the world has progressed, it has only done so in a technological manner. I don’t believe we are any closer to our desired Utopia; moreover, we keep pushing ourselves further from it as society becomes more\ncomplex.\n\nHowever, some things still do not make sense. Some of the traditions the Utopians practiced (such as the ease of divorce, euthanasia and both married priests and female priests) seem to be polar opposites of More\'s beliefs and the teachings of the Catholic Church (of which he was completely committed to). You would think that Thomas More would have fully created\nthem how he thought they should be (religiously speaking of course).\n\n“Utopia” should be preserved as a one of the greatest works of its time because everything in this book has (more\nor less) been well thought out and his story is elaborate. His morals and ideals paint the image of a world desired by every living creature; a world where everything is perfect and there is no reason to have things like thievery and murder.\n\n&nbsp;\n\n<span style=\"text-decoration: underline\">Works Cited</span>:\n\n&nbsp;\n<ul>\n	<li>Priest\n&amp; Harold Martin. <em>More\'s Utopia &amp; Utopian Literature</em>. John Wiley\n&amp; Sons, Inc. (US), 1975. www.<strong>alicat.austincc.edu</strong>.\nWeb. 1 Sep. 2011.</li>\n</ul>\n&lt;http://alicat.austincc.edu/search~S1?/XMore%27s+Utopia&amp;searchscope=1&amp;SORT=D/XMore%27s+Utopia&amp;searchscope=1&amp;SORT=D&amp;SUBKEY=More\'s+Utopia/1%2C3%2C3%2CB/frameset&amp;FF=XMore%27s+Utopia&amp;searchscope=1&amp;SORT=D&amp;1%2C1%2C&gt;\n\n&nbsp;\n<ul>\n	<li>\"<strong>utopia</strong>.\" <em>Encyclopedia\nBritannica. Encyclopedia Britannica Online Academic Edition</em>.\nEncyclopedia Britannica, 2011. Web. 01 Sep. 2011.</li>\n</ul>\n&lt;http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/620755/utopia&gt;.\n\n&nbsp;\n<ul>\n	<li><em>Dictionary\nof Literary Biography, Volume 136: Sixteenth-Century British Nondramatic\nWriters, Second Series</em>. A Bruccoli Clark Layman Book. Edited by David\nA. Richardson, Cleveland\nState University.\nGale Research, 1994. pp. 235-254.</li>\n</ul>\n&lt;http://galenet.galegroup.com.lsproxy.austincc.edu/servlet/GLD/hits?r=d&amp;origSearch=true&amp;o=DataType&amp;n=10&amp;l=d&amp;c=2&amp;locID=txshracd2487&amp;secondary=false&amp;u=DLB&amp;t=KW&amp;s=4&amp;NA=More&amp;TI=Utopia&gt;\n\n&nbsp;\n<ul>\n	<li>Fiero,\nGloria K. <em>The Humanistic Tradition</em>:\nMcGraw-Hill, 2011. Print.</li>\n</ul>\n&nbsp;\n<ul>\n	<li>More,\nThomas <em>Utopia</em>, 1516</li>\n</ul>','Thomas More\'s Utopia','','inherit','open','open','','1667-revision','','','2011-09-23 11:00:38','2011-09-23 17:00:38','',1667,'http://jeanatacc.com/2011/?p=1669',0,'revision','',0),(1670,45,'2011-09-23 11:01:38','2011-09-23 17:01:38','<p align=\"center\">(Thomas More’s\nUtopia)</p>\n&nbsp;\n<p style=\"text-align: center\"><a href=\"http://www.joh.cam.ac.uk/library/special_collections/early_books/pix/utopia.htm\">http://www.joh.cam.ac.uk/library/special_collections/early_books/pix/utopia.htm</a></p>\nSir Thomas More was born in Englandin 1478. He was a Christian who depended heavily (almost solely) upon himself. He believed\nin religious tolerance and charity, but refused to compromise his beliefs as a Catholic. For most of his life, Thomas More was unsure of whether to stay true to the king, or to continue his path of philosophy. He was executed for treason in 1535.\n\nIn 1516, he wrote Utopia (which comes from the Greek words <em>ou</em> and <em>topos</em> (“no place”)). It was the first writings pertaining to a “perfect state” since Plato’s “Republic” (although many believe that it is criticism of European society at that time). This story was mainly focused on Europe’s government and society. In Utopia’s society, everything and everyone, except slaves, were equal; and all citizens were wholly expected to uphold social justice.\n\nOne of the main points included in Utopia is that war is a fool’s action and pointless. Thomas More states, “Nothing is more inglorious than glory attained by war” (Fiero, 19). Eventually, knowing how people work, they will always be fighting over\nsomething with others, even with those who are supposedly their allies. Utopians value truces above pretty much everything.\n\nUtopia is filled with satires and idealisms. Here, family hierarchies are in place. Cities are divided equally into four separate areas, with a marketplace in the center of each. At said marketplace, people bring items they create and display them for others to have. The family finds only what is essential for their survival, however, despite that they do not need to pay anything. Greed and gluttony are nonexistent in this world and there is always an abundance of everything and anything. Therefore, Utopians do not require any form of currency.\n\nThanks to trade with foreign countries, the Utopians own an immense selection of metals, which they use anything requiring such materials. They have no enticement to do this since they have everything they need. On top of this, the people find such things near useless items, as they do not hold much towards their survival. If a Utopian obtains an object, which we would consider a luxury (such as precious metals); they most likely found it on accident. The person will simply give the item to their children as a present. The child will be overwhelmed with joy, but will lose interest in the bauble as it gets older, eventually understanding the lack of value that it really has.\n\nYet another reason it was believed that Thomas More wrote Utopia, was to escape the mayhem in his own country. King Henry VIII reigned without a care as to what it did to his people. He frittered away money the country didn’t have and did so without even spending towards any kind of economic support. Many of Thomas More’s theories were based on these hard times. The wealthy socialites were engrossed in items of value and status and concerned with petty details. Meanwhile, in their desperate attempts to stay alive, the poor resorted to stealing and killing each other.\n\nThomas More’s ideas (specifically that of Utopia) were unheard of and not anything anyone would have believed. Even if people did agreed with him, they would not openly agree with him and his work was still seen as severe criticism, if not blasphemy, towards his country. Thomas More was highly critical of his world, especially towards many of the economic changes. Utopia might have been something of a suggestion towards solutions to Europe’s problems. He showed the differences between the chaos of his corrupt society and the equality his idealistic one.\n\nThomas More might have been highly inspired by Plato’s “Republic.” In this work, Plato mentions how idealism involves the separation of mind and matter. He explains that someone may become prosperous and honorable through the benefits of both the individual and the society. Plato built an idealist society where people worked harmoniously and showed how being educated made them stronger. In this, Thomas More agrees and uses in his own work.\n\nI believe that everyone would agree that the word “Utopia” is still accurate with Thomas More’s idea of it: Paradise, Heaven, Wonderland, Nirvana, or whatever you wish to call it; somewhere utterly clean of violence or deceit. Thomas More was spot on when he wrote this novel mocking the idea that one can create a perfect world. No single person is perfect, much less is the society they live in. “Utopia” is merely a model of that which we desire. You can work towards it, but no one will ever be able to reach it.\n\nI agree with many of the ideals in “Utopia.” It makes many good points (and not to mention it would be nice to live in a world where things such as corruption and greed did not exist). I especially agree with More’s argument that war is needless. I have never figured out how people blindly killing one another can solve any problem. This proves that even though the world has progressed, it has only done so in a technological manner. I don’t believe we are any closer to our desired Utopia; moreover, we keep pushing ourselves further from it as society becomes more\ncomplex.\n\nHowever, some things still do not make sense. Some of the traditions the Utopians practiced (such as the ease of divorce, euthanasia and both married priests and female priests) seem to be polar opposites of More\'s beliefs and the teachings of the Catholic Church (of which he was completely committed to). You would think that Thomas More would have fully created\nthem how he thought they should be (religiously speaking of course).\n\n“Utopia” should be preserved as a one of the greatest works of its time because everything in this book has (more\nor less) been well thought out and his story is elaborate. His morals and ideals paint the image of a world desired by every living creature; a world where everything is perfect and there is no reason to have things like thievery and murder.\n\n&nbsp;\n\n&nbsp;\n\n<span style=\"text-decoration: underline\">Works Cited</span>:\n\n&nbsp;\n<ul>\n	<li>Priest\n&amp; Harold Martin. <em>More\'s Utopia &amp; Utopian Literature</em>. John Wiley\n&amp; Sons, Inc. (US), 1975. www.<strong>alicat.austincc.edu</strong>.\nWeb. 1 Sep. 2011.</li>\n</ul>\n&lt;http://alicat.austincc.edu/search~S1?/XMore%27s+Utopia&amp;searchscope=1&amp;SORT=D/XMore%27s+Utopia&amp;searchscope=1&amp;SORT=D&amp;SUBKEY=More\'s+Utopia/1%2C3%2C3%2CB/frameset&amp;FF=XMore%27s+Utopia&amp;searchscope=1&amp;SORT=D&amp;1%2C1%2C&gt;\n\n&nbsp;\n<ul>\n	<li>\"<strong>utopia</strong>.\" <em>Encyclopedia\nBritannica. Encyclopedia Britannica Online Academic Edition</em>.\nEncyclopedia Britannica, 2011. Web. 01 Sep. 2011.</li>\n</ul>\n&lt;http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/620755/utopia&gt;.\n\n&nbsp;\n<ul>\n	<li><em>Dictionary\nof Literary Biography, Volume 136: Sixteenth-Century British Nondramatic\nWriters, Second Series</em>. A Bruccoli Clark Layman Book. Edited by David\nA. Richardson, Cleveland\nState University.\nGale Research, 1994. pp. 235-254.</li>\n</ul>\n&lt;http://galenet.galegroup.com.lsproxy.austincc.edu/servlet/GLD/hits?r=d&amp;origSearch=true&amp;o=DataType&amp;n=10&amp;l=d&amp;c=2&amp;locID=txshracd2487&amp;secondary=false&amp;u=DLB&amp;t=KW&amp;s=4&amp;NA=More&amp;TI=Utopia&gt;\n\n&nbsp;\n<ul>\n	<li>Fiero,\nGloria K. <em>The Humanistic Tradition</em>:\nMcGraw-Hill, 2011. Print.</li>\n</ul>\n&nbsp;\n<ul>\n	<li>More,\nThomas <em>Utopia</em>, 1516</li>\n</ul>','Thomas More\'s Utopia','','inherit','open','open','','1667-revision-2','','','2011-09-23 11:01:38','2011-09-23 17:01:38','',1667,'http://jeanatacc.com/2011/?p=1670',0,'revision','',0),(1671,1,'2011-09-22 17:34:56','2011-09-22 23:34:56','<p align=\"center\"></p>\r\n<p align=\"center\">Aztec Calendar Stone</p>\r\n<p align=\"center\"></p>\r\n          The Calendar Stone is a wonder sculpted by the ancient Aztec of Mesoamerica in\r\n\r\n1479.  Having been lost after the Spanish conquest, in 1790, the stone was found in the center of Mexico City also known as the “Zocallo”(<a href=\"http://www.aztec-history.com/\">www.aztec-history.com</a>). “The Aztecs exhibited many different styles of art, but the expression they favored most were sculptures” (<a href=\"http://www2.truman.edu/~marc/webpages/nativesp99/aztecs/aztec_template.html\">http://www2.truman.edu/~marc/webpages/nativesp99/aztecs/aztec_template.html</a>) and “The sculptures served to communicate the concepts of Aztec religion and were part of complex rituals”. (http://www.metmuseum.org/toah/hd/azss/hd_azss.htm)\r\n\r\nThis preference holds true in this 25 ton basalt monster where the Sun God resides in the center. Within this calendar actually resides two. The first, the Xiuhpohualli and the Tonalpohualli.\r\n\r\nThe first, the Xiuhpohualli, literally means “the counting of years” (<a href=\"http://www.aztec-history.com/\">www.aztec-history.com</a>). This was a 365 day calendar and was used for predictiong seasons. This also included eighteen, twenty day months. The second calendar, the Tonalpohualli, is known for being the sacred calendar. This calendar had 260 days and there were 20 different signs and 13 numbers. Also, each week was ruled by a god. Every 52 years, these two calendars would align and it was believed to be a time of disaster.\r\n\r\nThis piece is typical of its time because at the time, gods were a common theme in Aztec art. I think this should be saved for a couple reasons. First, this massive sculpture is a monument to the lost Aztec civilization. Second, we base our own present calendar on this great calendar.\r\n\r\nWorks Cited\r\n\r\n\"Aztec Community.\" Xenon.truman.edu. Web. 11 Sept. 2011. &lt;http://www2.truman.edu/~marc/webpages/nativesp99/aztecs/aztec_template.html&gt;.\r\n\r\n\"Aztec Calendar - Sun Stone - Crystalinks.\" Crystalinks Home Page. Web. 11 Sept. 2011. &lt;http://www.crystalinks.com/aztecalendar.html&gt;.\r\n\r\nAztec Stone Sculpture | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art.\" The Metropolitan Museum of Art, New York: Metmuseum.org. Web. 11 Sept. 2011. http://www.metmuseum.org/toah/hd/azss/hd_azss.htm&gt;.&lt;\r\n\r\nAztec Stone Sculpture | Thematic Essay | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art.\" The Metropolitan Museum of Art, New York: Metmuseum.org. Web. 12 Sept. 2011. &lt;http://www.metmuseum.org/toah/hd/azss/hd_azss.htm&gt;.','Aztec Calendar Stone','','inherit','open','open','','1665-revision-2','','','2011-09-22 17:34:56','2011-09-22 23:34:56','',1665,'http://jeanatacc.com/2011/?p=1671',0,'revision','',0),(1680,45,'2011-09-26 12:04:18','2011-09-26 18:04:18','','Utopia','','inherit','open','open','','utopia','','','2011-09-26 12:04:18','2011-09-26 18:04:18','',1667,'http://jeanatacc.com/2011/wp-content/uploads/2011/09/Utopia.jpg',0,'attachment','image/jpeg',0),(1681,45,'2011-09-26 12:04:51','2011-09-26 18:04:51','<p align=\"center\">(Thomas More’s\nUtopia)</p>\n <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Utopia.jpg\"><img class=\"size-medium wp-image-1680 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Utopia-209x300.jpg\" alt=\"\" width=\"209\" height=\"300\" /></a>\n<p style=\"text-align: center\"><a href=\"http://www.joh.cam.ac.uk/library/special_collections/early_books/pix/utopia.htm\">http://www.joh.cam.ac.uk/library/special_collections/early_books/pix/utopia.htm</a></p>\nSir Thomas More was born in England in 1478. He was a Christian who depended heavily (almost solely) upon himself. He believed in religious tolerance and charity, but refused to compromise his beliefs as a Catholic. For most of his life, Thomas More was unsure of whether to stay true to the king, or to continue his path of philosophy. He was executed for treason in 1535.\n\nIn 1516, he wrote Utopia (which comes from the Greek words <em>ou</em> and <em>topos</em> (“no place”)). It was the first writings pertaining to a “perfect state” since Plato’s “Republic” (although many believe that it is criticism of European society at that time). This story was mainly focused on Europe’s government and society. In Utopia’s society, everything and everyone, except slaves, were equal; and all citizens were wholly expected to uphold social justice.\n\nOne of the main points included in Utopia is that war is a fool’s action and pointless. Thomas More states, “Nothing is more inglorious than glory attained by war” (Fiero, 19). Eventually, knowing how people work, they will always be fighting over\nsomething with others, even with those who are supposedly their allies. Utopians value truces above pretty much everything.\n\nUtopia is filled with satires and idealisms. Here, family hierarchies are in place. Cities are divided equally into four separate areas, with a marketplace in the center of each. At said marketplace, people bring items they create and display them for others to have. The family finds only what is essential for their survival, however, despite that they do not need to pay anything. Greed and gluttony are nonexistent in this world and there is always an abundance of everything and anything. Therefore, Utopians do not require any form of currency.\n\nThanks to trade with foreign countries, the Utopians own an immense selection of metals, which they use anything requiring such materials. They have no enticement to do this since they have everything they need. On top of this, the people find such things near useless items, as they do not hold much towards their survival. If a Utopian obtains an object, which we would consider a luxury (such as precious metals); they most likely found it on accident. The person will simply give the item to their children as a present. The child will be overwhelmed with joy, but will lose interest in the bauble as it gets older, eventually understanding the lack of value that it really has.\n\nYet another reason it was believed that Thomas More wrote Utopia, was to escape the mayhem in his own country. King Henry VIII reigned without a care as to what it did to his people. He frittered away money the country didn’t have and did so without even spending towards any kind of economic support. Many of Thomas More’s theories were based on these hard times. The wealthy socialites were engrossed in items of value and status and concerned with petty details. Meanwhile, in their desperate attempts to stay alive, the poor resorted to stealing and killing each other.\n\nThomas More’s ideas (specifically that of Utopia) were unheard of and not anything anyone would have believed. Even if people did agreed with him, they would not openly agree with him and his work was still seen as severe criticism, if not blasphemy, towards his country. Thomas More was highly critical of his world, especially towards many of the economic changes. Utopia might have been something of a suggestion towards solutions to Europe’s problems. He showed the differences between the chaos of his corrupt society and the equality his idealistic one.\n\nThomas More might have been highly inspired by Plato’s “Republic.” In this work, Plato mentions how idealism involves the separation of mind and matter. He explains that someone may become prosperous and honorable through the benefits of both the individual and the society. Plato built an idealist society where people worked harmoniously and showed how being educated made them stronger. In this, Thomas More agrees and uses in his own work.\n\nI believe that everyone would agree that the word “Utopia” is still accurate with Thomas More’s idea of it: Paradise, Heaven, Wonderland, Nirvana, or whatever you wish to call it; somewhere utterly clean of violence or deceit. Thomas More was spot on when he wrote this novel mocking the idea that one can create a perfect world. No single person is perfect, much less is the society they live in. “Utopia” is merely a model of that which we desire. You can work towards it, but no one will ever be able to reach it.\n\nI agree with many of the ideals in “Utopia.” It makes many good points (and not to mention it would be nice to live in a world where things such as corruption and greed did not exist). I especially agree with More’s argument that war is needless. I have never figured out how people blindly killing one another can solve any problem. This proves that even though the world has progressed, it has only done so in a technological manner. I don’t believe we are any closer to our desired Utopia; moreover, we keep pushing ourselves further from it as society becomes more\ncomplex.\n\nHowever, some things still do not make sense. Some of the traditions the Utopians practiced (such as the ease of divorce, euthanasia and both married priests and female priests) seem to be polar opposites of More\'s beliefs and the teachings of the Catholic Church (of which he was completely committed to). You would think that Thomas More would have fully created\nthem how he thought they should be (religiously speaking of course).\n\n“Utopia” should be preserved as a one of the greatest works of its time because everything in this book has (more\nor less) been well thought out and his story is elaborate. His morals and ideals paint the image of a world desired by every living creature; a world where everything is perfect and there is no reason to have things like thievery and murder.\n\n&nbsp;\n\n&nbsp;\n\n<span style=\"text-decoration: underline\">Works Cited</span>:\n\n&nbsp;\n<ul>\n	<li>Priest\n&amp; Harold Martin. <em>More\'s Utopia &amp; Utopian Literature</em>. John Wiley\n&amp; Sons, Inc. (US), 1975. www.<strong>alicat.austincc.edu</strong>.\nWeb. 1 Sep. 2011.</li>\n</ul>\n&lt;http://alicat.austincc.edu/search~S1?/XMore%27s+Utopia&amp;searchscope=1&amp;SORT=D/XMore%27s+Utopia&amp;searchscope=1&amp;SORT=D&amp;SUBKEY=More\'s+Utopia/1%2C3%2C3%2CB/frameset&amp;FF=XMore%27s+Utopia&amp;searchscope=1&amp;SORT=D&amp;1%2C1%2C&gt;\n\n&nbsp;\n<ul>\n	<li>\"<strong>utopia</strong>.\" <em>Encyclopedia\nBritannica. Encyclopedia Britannica Online Academic Edition</em>.\nEncyclopedia Britannica, 2011. Web. 01 Sep. 2011.</li>\n</ul>\n&lt;http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/620755/utopia&gt;.\n\n&nbsp;\n<ul>\n	<li><em>Dictionary\nof Literary Biography, Volume 136: Sixteenth-Century British Nondramatic\nWriters, Second Series</em>. A Bruccoli Clark Layman Book. Edited by David\nA. Richardson, Cleveland\nState University.\nGale Research, 1994. pp. 235-254.</li>\n</ul>\n&lt;http://galenet.galegroup.com.lsproxy.austincc.edu/servlet/GLD/hits?r=d&amp;origSearch=true&amp;o=DataType&amp;n=10&amp;l=d&amp;c=2&amp;locID=txshracd2487&amp;secondary=false&amp;u=DLB&amp;t=KW&amp;s=4&amp;NA=More&amp;TI=Utopia&gt;\n\n&nbsp;\n<ul>\n	<li>Fiero,\nGloria K. <em>The Humanistic Tradition</em>:\nMcGraw-Hill, 2011. Print.</li>\n</ul>\n&nbsp;\n<ul>\n	<li>More,\nThomas <em>Utopia</em>, 1516</li>\n</ul>','Thomas More\'s Utopia','','inherit','open','open','','1667-revision-3','','','2011-09-26 12:04:51','2011-09-26 18:04:51','',1667,'http://jeanatacc.com/2011/?p=1681',0,'revision','',0),(1682,45,'2011-09-26 12:05:18','2011-09-26 18:05:18','<p align=\"center\">(Thomas More’s\r\nUtopia)</p>\r\n <a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Utopia.jpg\"><img class=\"size-medium wp-image-1680 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Utopia-209x300.jpg\" alt=\"\" width=\"209\" height=\"300\" /></a>\r\n<p style=\"text-align: center\"><a href=\"http://www.joh.cam.ac.uk/library/special_collections/early_books/pix/utopia.htm\">http://www.joh.cam.ac.uk/library/special_collections/early_books/pix/utopia.htm</a></p>\r\nSir Thomas More was born in England in 1478. He was a Christian who depended heavily (almost solely) upon himself. He believed in religious tolerance and charity, but refused to compromise his beliefs as a Catholic. For most of his life, Thomas More was unsure of whether to stay true to the king, or to continue his path of philosophy. He was executed for treason in 1535.\r\n\r\n<!--more-->In 1516, he wrote Utopia (which comes from the Greek words <em>ou</em> and <em>topos</em> (“no place”)). It was the first writings pertaining to a “perfect state” since Plato’s “Republic” (although many believe that it is criticism of European society at that time). This story was mainly focused on Europe’s government and society. In Utopia’s society, everything and everyone, except slaves, were equal; and all citizens were wholly expected to uphold social justice.\r\n\r\nOne of the main points included in Utopia is that war is a fool’s action and pointless. Thomas More states, “Nothing is more inglorious than glory attained by war” (Fiero, 19). Eventually, knowing how people work, they will always be fighting over\r\nsomething with others, even with those who are supposedly their allies. Utopians value truces above pretty much everything.\r\n\r\nUtopia is filled with satires and idealisms. Here, family hierarchies are in place. Cities are divided equally into four separate areas, with a marketplace in the center of each. At said marketplace, people bring items they create and display them for others to have. The family finds only what is essential for their survival, however, despite that they do not need to pay anything. Greed and gluttony are nonexistent in this world and there is always an abundance of everything and anything. Therefore, Utopians do not require any form of currency.\r\n\r\nThanks to trade with foreign countries, the Utopians own an immense selection of metals, which they use anything requiring such materials. They have no enticement to do this since they have everything they need. On top of this, the people find such things near useless items, as they do not hold much towards their survival. If a Utopian obtains an object, which we would consider a luxury (such as precious metals); they most likely found it on accident. The person will simply give the item to their children as a present. The child will be overwhelmed with joy, but will lose interest in the bauble as it gets older, eventually understanding the lack of value that it really has.\r\n\r\nYet another reason it was believed that Thomas More wrote Utopia, was to escape the mayhem in his own country. King Henry VIII reigned without a care as to what it did to his people. He frittered away money the country didn’t have and did so without even spending towards any kind of economic support. Many of Thomas More’s theories were based on these hard times. The wealthy socialites were engrossed in items of value and status and concerned with petty details. Meanwhile, in their desperate attempts to stay alive, the poor resorted to stealing and killing each other.\r\n\r\nThomas More’s ideas (specifically that of Utopia) were unheard of and not anything anyone would have believed. Even if people did agreed with him, they would not openly agree with him and his work was still seen as severe criticism, if not blasphemy, towards his country. Thomas More was highly critical of his world, especially towards many of the economic changes. Utopia might have been something of a suggestion towards solutions to Europe’s problems. He showed the differences between the chaos of his corrupt society and the equality his idealistic one.\r\n\r\nThomas More might have been highly inspired by Plato’s “Republic.” In this work, Plato mentions how idealism involves the separation of mind and matter. He explains that someone may become prosperous and honorable through the benefits of both the individual and the society. Plato built an idealist society where people worked harmoniously and showed how being educated made them stronger. In this, Thomas More agrees and uses in his own work.\r\n\r\nI believe that everyone would agree that the word “Utopia” is still accurate with Thomas More’s idea of it: Paradise, Heaven, Wonderland, Nirvana, or whatever you wish to call it; somewhere utterly clean of violence or deceit. Thomas More was spot on when he wrote this novel mocking the idea that one can create a perfect world. No single person is perfect, much less is the society they live in. “Utopia” is merely a model of that which we desire. You can work towards it, but no one will ever be able to reach it.\r\n\r\nI agree with many of the ideals in “Utopia.” It makes many good points (and not to mention it would be nice to live in a world where things such as corruption and greed did not exist). I especially agree with More’s argument that war is needless. I have never figured out how people blindly killing one another can solve any problem. This proves that even though the world has progressed, it has only done so in a technological manner. I don’t believe we are any closer to our desired Utopia; moreover, we keep pushing ourselves further from it as society becomes more\r\ncomplex.\r\n\r\nHowever, some things still do not make sense. Some of the traditions the Utopians practiced (such as the ease of divorce, euthanasia and both married priests and female priests) seem to be polar opposites of More\'s beliefs and the teachings of the Catholic Church (of which he was completely committed to). You would think that Thomas More would have fully created\r\nthem how he thought they should be (religiously speaking of course).\r\n\r\n“Utopia” should be preserved as a one of the greatest works of its time because everything in this book has (more\r\nor less) been well thought out and his story is elaborate. His morals and ideals paint the image of a world desired by every living creature; a world where everything is perfect and there is no reason to have things like thievery and murder.\r\n\r\n&nbsp;\r\n\r\n&nbsp;\r\n\r\n<span style=\"text-decoration: underline\">Works Cited</span>:\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Priest\r\n&amp; Harold Martin. <em>More\'s Utopia &amp; Utopian Literature</em>. John Wiley\r\n&amp; Sons, Inc. (US), 1975. www.<strong>alicat.austincc.edu</strong>.\r\nWeb. 1 Sep. 2011.</li>\r\n</ul>\r\n&lt;http://alicat.austincc.edu/search~S1?/XMore%27s+Utopia&amp;searchscope=1&amp;SORT=D/XMore%27s+Utopia&amp;searchscope=1&amp;SORT=D&amp;SUBKEY=More\'s+Utopia/1%2C3%2C3%2CB/frameset&amp;FF=XMore%27s+Utopia&amp;searchscope=1&amp;SORT=D&amp;1%2C1%2C&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>\"<strong>utopia</strong>.\" <em>Encyclopedia\r\nBritannica. Encyclopedia Britannica Online Academic Edition</em>.\r\nEncyclopedia Britannica, 2011. Web. 01 Sep. 2011.</li>\r\n</ul>\r\n&lt;http://www.britannica.com.lsproxy.austincc.edu/EBchecked/topic/620755/utopia&gt;.\r\n\r\n&nbsp;\r\n<ul>\r\n	<li><em>Dictionary\r\nof Literary Biography, Volume 136: Sixteenth-Century British Nondramatic\r\nWriters, Second Series</em>. A Bruccoli Clark Layman Book. Edited by David\r\nA. Richardson, Cleveland\r\nState University.\r\nGale Research, 1994. pp. 235-254.</li>\r\n</ul>\r\n&lt;http://galenet.galegroup.com.lsproxy.austincc.edu/servlet/GLD/hits?r=d&amp;origSearch=true&amp;o=DataType&amp;n=10&amp;l=d&amp;c=2&amp;locID=txshracd2487&amp;secondary=false&amp;u=DLB&amp;t=KW&amp;s=4&amp;NA=More&amp;TI=Utopia&gt;\r\n\r\n&nbsp;\r\n<ul>\r\n	<li>Fiero,\r\nGloria K. <em>The Humanistic Tradition</em>:\r\nMcGraw-Hill, 2011. Print.</li>\r\n</ul>\r\n&nbsp;\r\n<ul>\r\n	<li>More,\r\nThomas <em>Utopia</em>, 1516</li>\r\n</ul>','Thomas More\'s Utopia','','inherit','open','open','','1667-revision-4','','','2011-09-26 12:05:18','2011-09-26 18:05:18','',1667,'http://jeanatacc.com/2011/?p=1682',0,'revision','',0),(1683,48,'2011-09-21 02:44:42','2011-09-21 08:44:42','[caption id=\"attachment_1645\" align=\"aligncenter\" width=\"200\" caption=\"0, handle not the theme, to talk of hands, lest we remember still that we have none.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003.jpg\"><img class=\"size-medium wp-image-1645\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\" /></a>[/caption]\r\n\r\n&nbsp;\r\n<div>     When discussing English literature, there is no pinnacle higher, no name more recognized than that of William Shakespeare. Born into the height of the renaissance period, sometime roughly around 1564, Shakespeare authored and co-authored a large number of plays that are still known the world over today. One of his first tragedies, <em>Titus Andronicus</em>, was written between 1588 and 1593. It is a classic tale of revenge and the human struggle with morality, and heavily reflects the fascination at the time for classic tales of passion and drama, especially ones drawn from the influence of ancient Greece and Rome. The fascination with subject matter from the classical world encompassed both art and literature, and many stories by Greek and Roman authors were being adapted for public consumption, including the writings of Ovid, is mentioned specifically in <em>Titus Andronicus</em>. It is the homage that Shakespeare pays to the authors of the past as well as the fact that<em> Titus Andronicus</em> is the first tragedy written by the famous playwright that makes it of such historical importance.</div>\r\n<div>     \"It was from the stores of Greek and Latin churches...that the monks had preserved the seeds of many arts, particularly the art of design, though in a very imperfect degree, but still sufficient, by cultivation, to produce effects of the greatest magnitude. In respect to the progress of refinement in Italy, it must be observed, that the little republic of Florence gave birth to many restorers of science, letters, and arts. Painting, sculpture, and architecture were advanced and perfected by the consecutive labors of well-employed artists, during the course of almost three hundred years, from Cimbaue to Leonardo da Vinci, Frau Bartolomeo to Michael Angelo\" ( Northcote 1: 393-394 ). Like most writers of his time, William Shakespeare was influenced heavily by the art and culture that surrounded him. Most subject matter had been brought over to England by the Romans that initially established the country, and because of this the art and writings focused heavily on the mythos of Greece and Rome, as well as religious subject matter. Many of the books at the time were written in languages such as Latin, and while there were certainly texts published in old English, the majority of the population at the time was illiterate. This is what motivated playwrights such as Shakespeare to take these stories and re-create them in a medium that the masses would be able to enjoy. At the same time painters such as Leonardo da Vinci and Michael Angelo were producing works that visually told stories in a way that didn\'t require a literate audience. \"Many works produced by English artists between the year 1200 and the reign of Henry the VII could be compared with the best Italian artists of the same time\" ( Flaxman 51 ).</div>\r\n<div>     It is difficult to dispute the greatness of Shakespeare, and part of what made his plays so wildly popular was their presentation by the Lord Chamberlain\'s Men in the famous Globe Theatre. In 1603, when James I succeeded Elizabeth, he gave the company a royal patent, and it became the King\'s Men. From 1603 to 1616 they played an average of twelve performances a year at Court. James supplied nine members, including Shakespeare, with four-and-a-half yards of red cloth each to make liveries to wear in his coronation procession. <em>Titus Andronicus</em> was the first of Shakespeare\'s tragedies and would have been the first of his tragedies performed by the theatre company, and likely also the first of Shakespeare\'s tragedies performed in the Globe theatre. Although it was a very lewd and violent play that was designed to appeal to the public, the way in which the theatre company presented it was different from any other play being produced at the time, and the work itself is innovative in that it was the first time Shakespeare broke away from writing comedies.</div>\r\n<div>     Edward Ravenscroft ( 1654-1707), was an English dramatist who is best known for criticizing <em>Titus Andronicus</em> foremost among Shakespeare\'s works. Ravenscroft originated the theory that<em> Titus Andronicus</em> wasn\'t actually written by Shakespeare, instead supposing that the playwright took an already existing story and re-worked it. Ravenscroft has been quoted at saying,\"... \'tis the most incorrect and indigested piece in all his Works, It seems rather a heap of Rubbish then a Structure\" ( 4 ). This is in direct conflict with more current opinions. Most are familiar with the unbiased reviewing of written material provided by Cliffnotes, which claims,\"As is true in all of Shakespeare\'s plays,<em> Titus Andronicu</em>s is structured from conventions and traditions and philosophies which were well-known in Shakespeare\'s time; the play was not created in a vacuum, and although it is vulnerable to negative criticism, it contains some very good dramatic moments\" ( Wiley 63 ). While critics have developed more love for this particular play, the public has lost some of the stomach for the material it presents. At the time when the play was initially being performed, the state of affairs was completely opposite. Critics frowned upon <em>Titus Andronicus</em> because it was irreverent and created to appeal to the general public, who in turn were fascinated by the violence of the play.</div>\r\n<div>     My personal love for this play comes from the empathetic position which is given to Titus himself. Only wanting to do right and be honorable, the Roman general makes the grievous mistake of allowing his sons to sacrifice one of the captive sons of the Queen of the Goths. Although the motivation for this act is piety, it starts the chain reaction of revenge between Tamora and her sons and Titus\' family. Aaron is witty and provides a perfect antagonist, being a well written and vicious villain, and the various monologues are not only entertaining but beautifully written.</div>\r\n<div>     When talking about the masterful writing in Shakespeare\'s <em>Titus Andronicus</em>, it is important to compare it to at least one other piece of literature from the time. One of Shakespeare\'s most well known contemporaries and a fellow writer was Don Miguel de Cervantes Saavedra, who is famous for his book, <em>Don Quixote</em>. Compared to the whimsical, meandering story of the short-sighted and idealistic knight, Shakespeare\'s bloody story is almost a polar opposite. <em>Don Quixote</em> is satirical and full of poignant messages about life. Alonso Quixano completely reinvents himself, giving his horse a new name and polishing his grandfather\'s armor, then sets out to do great deeds as a knight-errant. There is a direct parallel in Don Quixote\'s voluntary insanity and the insanity that Titus feigns in order to fool Tamora and her sons into the trap he has set. Both characters are using the guise of insanity to reach a higher goal. Don Quixote seeks to reach the pinnacle of chivalry while Titus seeks to gain revenge. Another way in which both works are different is that Shakespeare sought to move away from the dark ages and the time of knights, instead seeking a return to the glorified ideas of the ancient world, re-telling tales from Greece and Rome the movement of intellectualism and enlightenment that personified the renaissance. Meanwhile Cervantes sought to present a romanticized vision of the more recent past and the times of knighthood and chivalry in order to keep alive those ideas.</div>\r\n<div>     When reviewing <em>Titus Andronicu</em>s it is most important to remember that this work was heavily based upon the <em>Metamorphosis</em> by Ovid, which is actually quoted in the play. Aside from being Shakespeare\'s first tragedy and a fine example of his work, this play is essentially a way for the mythos and figures of the ancient world to be presented to the masses, most of whom were unable to read the stories for themselves. <em>Titus Andronicu</em>s may be criticized as a violent play, but the works that were drawn upon for its creation are likewise bloody and bizarre. Regardless of anyone\'s personal opinions about the content, this play is historically important not just for the connection to the great playwright, but also for the connection to the original religious beliefs of the Greeks and Romans.</div>\r\n<div align=\"center\">__________________Works Cited_________________</div>\r\n<div align=\"left\">1. Northcote, James . <em>Life of Titan, with Anecdotes of the Distinguished Persons of His Times. 2 vols</em>. London; Colburn and Bentley, 1830.\r\n2. Flaxman, John. <em>Lectures on Sculpture, To which Are Now First Added, an Introductory Lecture, and Two Addresses...on the Death of Thomas Banks, in 1805</em>. London; Henry G. Bohn, 1838.\r\n3. Oxford Reference Online Premium [ A Dictionary of Shakespeare ] -- <a href=\"http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?entry=t57.e396\">http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?entry=t57.e396</a>\r\n4. Gillies, John. <em>Shakespeare and the geography of difference</em>. La Trobe University; 1947.\r\n5. John Wiley &amp; Sons, Inc.<em> Shakespeare\'s Minor Plays : Notes ...</em> 1991. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept. 2011.\r\n6. Sturman, Marianne, and Miguel de Cervantes Saavedra.<em> Don Quixote : Notes</em>. John Wiley &amp; Sons, Inc. (US), 1964. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept. 2011.</div>\r\n&nbsp;','Titus Andronicus - Masterpiece or Rubbish Heap?','','inherit','open','open','','1644-revision-8','','','2011-09-21 02:44:42','2011-09-21 08:44:42','',1644,'http://jeanatacc.com/2011/?p=1683',0,'revision','',0),(1684,48,'2011-09-26 12:07:59','2011-09-26 18:07:59','[caption id=\"attachment_1645\" align=\"aligncenter\" width=\"200\" caption=\"0, handle not the theme, to talk of hands, lest we remember still that we have none.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003.jpg\"><img class=\"size-medium wp-image-1645\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\" /></a>[/caption]\r\n\r\n&nbsp;\r\n<div>     When discussing English literature, there is no pinnacle higher, no name more recognized than that of William Shakespeare. Born into the height of the renaissance period, sometime roughly around 1564, Shakespeare authored and co-authored a large number of plays that are still known the world over today. One of his first tragedies, <em>Titus Andronicus</em>, was written between 1588 and 1593. It is a classic tale of revenge and the human struggle with morality, and heavily reflects the fascination at the time for classic tales of passion and drama, especially ones drawn from the influence of ancient Greece and Rome. The fascination with subject matter from the classical world encompassed both art and literature, and many stories by Greek and Roman authors were being adapted for public consumption, including the writings of Ovid, is mentioned specifically in <em>Titus Andronicus</em>. It is the homage that Shakespeare pays to the authors of the past as well as the fact that<em> Titus Andronicus</em> is the first tragedy written by the famous playwright that makes it of such historical importance.</div>\r\n<div>     \"It was from the stores of Greek and Latin churches...that the monks had preserved the seeds of many arts, particularly the art of design, though in a very imperfect degree, but still sufficient, by cultivation, to produce effects of the greatest magnitude. In respect to the progress of refinement in Italy, it must be observed, that the little republic of Florence gave birth to many restorers of science, letters, and arts. Painting, sculpture, and architecture were advanced and perfected by the consecutive labors of well-employed artists, during the course of almost three hundred years, from Cimbaue to Leonardo da Vinci, Frau Bartolomeo to Michael Angelo\" ( Northcote 1: 393-394 ). Like most writers of his time, William Shakespeare was influenced heavily by the art and culture that surrounded him. Most subject matter had been brought over to England by the Romans that initially established the country, and because of this the art and writings focused heavily on the mythos of Greece and Rome, as well as religious subject matter. Many of the books at the time were written in languages such as Latin, and while there were certainly texts published in old English, the majority of the population at the time was illiterate. This is what motivated playwrights such as Shakespeare to take these stories and re-create them in a medium that the masses would be able to enjoy. At the same time painters such as Leonardo da Vinci and Michael Angelo were producing works that visually told stories in a way that didn\'t require a literate audience. \"Many works produced by English artists between the year 1200 and the reign of Henry the VII could be compared with the best Italian artists of the same time\" ( Flaxman 51 ).</div>\r\n<div>     It is difficult to dispute the greatness of Shakespeare, and part of what made his plays so wildly popular was their presentation by the Lord Chamberlain\'s Men in the famous Globe Theatre. In 1603, when James I succeeded Elizabeth, he gave the company a royal patent, and it became the King\'s Men. From 1603 to 1616 they played an average of twelve performances a year at Court. James supplied nine members, including Shakespeare, with four-and-a-half yards of red cloth each to make liveries to wear in his coronation procession. <em>Titus Andronicus</em> was the first of Shakespeare\'s tragedies and would have been the first of his tragedies performed by the theatre company, and likely also the first of Shakespeare\'s tragedies performed in the Globe theatre. Although it was a very lewd and violent play that was designed to appeal to the public, the way in which the theatre company presented it was different from any other play being produced at the time, and the work itself is innovative in that it was the first time Shakespeare broke away from writing comedies.</div>\r\n<div>     Edward Ravenscroft ( 1654-1707), was an English dramatist who is best known for criticizing <em>Titus Andronicus</em> foremost among Shakespeare\'s works. Ravenscroft originated the theory that<em> Titus Andronicus</em> wasn\'t actually written by Shakespeare, instead supposing that the playwright took an already existing story and re-worked it. Ravenscroft has been quoted at saying,\"... \'tis the most incorrect and indigested piece in all his Works, It seems rather a heap of Rubbish then a Structure\" ( 4 ). This is in direct conflict with more current opinions. Most are familiar with the unbiased reviewing of written material provided by Cliffnotes, which claims,\"As is true in all of Shakespeare\'s plays,<em> Titus Andronicu</em>s is structured from conventions and traditions and philosophies which were well-known in Shakespeare\'s time; the play was not created in a vacuum, and although it is vulnerable to negative criticism, it contains some very good dramatic moments\" ( Wiley 63 ). While critics have developed more love for this particular play, the public has lost some of the stomach for the material it presents. At the time when the play was initially being performed, the state of affairs was completely opposite. Critics frowned upon <em>Titus Andronicus</em> because it was irreverent and created to appeal to the general public, who in turn were fascinated by the violence of the play.</div>\r\n<div>     My personal love for this play comes from the empathetic position which is given to Titus himself. Only wanting to do right and be honorable, the Roman general makes the grievous mistake of allowing his sons to sacrifice one of the captive sons of the Queen of the Goths. Although the motivation for this act is piety, it starts the chain reaction of revenge between Tamora and her sons and Titus\' family. Aaron is witty and provides a perfect antagonist, being a well written and vicious villain, and the various monologues are not only entertaining but beautifully written.</div>\r\n<div>     When talking about the masterful writing in Shakespeare\'s <em>Titus Andronicus</em>, it is important to compare it to at least one other piece of literature from the time. One of Shakespeare\'s most well known contemporaries and a fellow writer was Don Miguel de Cervantes Saavedra, who is famous for his book, <em>Don Quixote</em>. Compared to the whimsical, meandering story of the short-sighted and idealistic knight, Shakespeare\'s bloody story is almost a polar opposite. <em>Don Quixote</em> is satirical and full of poignant messages about life. Alonso Quixano completely reinvents himself, giving his horse a new name and polishing his grandfather\'s armor, then sets out to do great deeds as a knight-errant. There is a direct parallel in Don Quixote\'s voluntary insanity and the insanity that Titus feigns in order to fool Tamora and her sons into the trap he has set. Both characters are using the guise of insanity to reach a higher goal. Don Quixote seeks to reach the pinnacle of chivalry while Titus seeks to gain revenge. Another way in which both works are different is that Shakespeare sought to move away from the dark ages and the time of knights, instead seeking a return to the glorified ideas of the ancient world, re-telling tales from Greece and Rome the movement of intellectualism and enlightenment that personified the renaissance. Meanwhile Cervantes sought to present a romanticized vision of the more recent past and the times of knighthood and chivalry in order to keep alive those ideas.</div>\r\n<div>     When reviewing <em>Titus Andronicu</em>s it is most important to remember that this work was heavily based upon the <em>Metamorphosis</em> by Ovid, which is actually quoted in the play. Aside from being Shakespeare\'s first tragedy and a fine example of his work, this play is essentially a way for the mythos and figures of the ancient world to be presented to the masses, most of whom were unable to read the stories for themselves. <em>Titus Andronicu</em>s may be criticized as a violent play, but the works that were drawn upon for its creation are likewise bloody and bizarre. Regardless of anyone\'s personal opinions about the content, this play is historically important not just for the connection to the great playwright, but also for the connection to the original religious beliefs of the Greeks and Romans.</div>\r\n<div align=\"center\">__________________Works Cited_________________</div>\r\n<div align=\"left\">1. Northcote, James . <em>Life of Titan, with Anecdotes of the Distinguished Persons of His Times. 2 vols</em>. London; Colburn and Bentley, 1830.\r\n2. Flaxman, John. <em>Lectures on Sculpture, To which Are Now First Added, an Introductory Lecture, and Two Addresses...on the Death of Thomas Banks, in 1805</em>. London; Henry G. Bohn, 1838.\r\n3. Oxford Reference Online Premium [ A Dictionary of Shakespeare ] -- <a href=\"http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?entry=t57.e396\">http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?entry=t57.e396</a>\r\n4. Gillies, John. <em>Shakespeare and the geography of difference</em>. La Trobe University; 1947.\r\n5. John Wiley &amp; Sons, Inc.<em> Shakespeare\'s Minor Plays : Notes ...</em> 1991. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept. 2011.\r\n6. Sturman, Marianne, and Miguel de Cervantes Saavedra.<em> Don Quixote : Notes</em>. John Wiley &amp; Sons, Inc. (US), 1964. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept. 2011.</div>\r\n&nbsp;','Titus Andronicus - Masterpiece or Rubbish Heap?','','inherit','open','open','','1644-revision-9','','','2011-09-26 12:07:59','2011-09-26 18:07:59','',1644,'http://jeanatacc.com/2011/?p=1684',0,'revision','',0),(1685,48,'2011-10-03 12:19:42','2011-10-03 18:19:42','<div class=\"mceTemp mceIEcenter\"><dl><dt><a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003.jpg\"><img class=\"size-medium wp-image-1645 aligncenter\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\" /></a></dt><dd>0, handle not the theme, to talk of hands, lest we remember still that we have none.</dd></dl>\r\n<p style=\"text-align: center\"><a href=\"http://www.pilgrimways.com/window/2010/06/01/street-galleries/\">http://www.pilgrimways.com/window/2010/06/01/street-galleries/</a></p>\r\n\r\n</div>\r\n&nbsp;\r\n<div>     When discussing English literature, there is no pinnacle higher, no name more recognized than that of William Shakespeare. Born into the height of the renaissance period, sometime roughly around 1564, Shakespeare authored and co-authored a large number of plays that are still known the world over today. One of his first tragedies, <em>Titus Andronicus</em>, was written between 1588 and 1593. It is a classic tale of revenge and the human struggle with morality, and heavily reflects the fascination at the time for classic tales of passion and drama, especially ones drawn from the influence of ancient Greece and Rome. The fascination with subject matter from the classical world encompassed both art and literature, and many stories by Greek and Roman authors were being adapted for public consumption, including the writings of Ovid, is mentioned specifically in <em>Titus Andronicus</em>. It is the homage that Shakespeare pays to the authors of the past as well as the fact that<em> Titus Andronicus</em> is the first tragedy written by the famous playwright that makes it of such historical importance.<!--more--></div>\r\n<div>     \"It was from the stores of Greek and Latin churches...that the monks had preserved the seeds of many arts, particularly the art of design, though in a very imperfect degree, but still sufficient, by cultivation, to produce effects of the greatest magnitude. In respect to the progress of refinement in Italy, it must be observed, that the little republic of Florence gave birth to many restorers of science, letters, and arts. Painting, sculpture, and architecture were advanced and perfected by the consecutive labors of well-employed artists, during the course of almost three hundred years, from Cimbaue to Leonardo da Vinci, Frau Bartolomeo to Michael Angelo\" ( Northcote 1: 393-394 ). Like most writers of his time, William Shakespeare was influenced heavily by the art and culture that surrounded him. Most subject matter had been brought over to England by the Romans that initially established the country, and because of this the art and writings focused heavily on the mythos of Greece and Rome, as well as religious subject matter. Many of the books at the time were written in languages such as Latin, and while there were certainly texts published in old English, the majority of the population at the time was illiterate. This is what motivated playwrights such as Shakespeare to take these stories and re-create them in a medium that the masses would be able to enjoy. At the same time painters such as Leonardo da Vinci and Michael Angelo were producing works that visually told stories in a way that didn\'t require a literate audience. \"Many works produced by English artists between the year 1200 and the reign of Henry the VII could be compared with the best Italian artists of the same time\" ( Flaxman 51 ).</div>\r\n<div>     It is difficult to dispute the greatness of Shakespeare, and part of what made his plays so wildly popular was their presentation by the Lord Chamberlain\'s Men in the famous Globe Theatre.“In 1603, when James I succeeded Elizabeth, he gave the company a royal patent, and it became the King\'s Men. From 1603 to 1616 they played an average of twelve performances a year at Court. James supplied nine members, including Shakespeare, with four-and-a-half yards of red cloth each to make liveries to wear in his coronation procession” ( 7 ).<em> </em><em>Titus Andronicus</em> was the first of Shakespeare\'s tragedies and would have been the first of his tragedies performed by the theatre company, and likely also the first of Shakespeare\'s tragedies performed in the Globe theatre. Although it was a very lewd and violent play that was designed to appeal to the public, the way in which the theatre company presented it was different from any other play being produced at the time, and the work itself is innovative in that it was the first time Shakespeare broke away from writing comedies.</div>\r\n<div>     Edward Ravenscroft ( 1654-1707), was an English dramatist who is best known for criticizing <em>Titus Andronicus</em> foremost among Shakespeare\'s works. Ravenscroft originated the theory that<em> Titus Andronicus</em> wasn\'t actually written by Shakespeare, instead supposing that the playwright took an already existing story and re-worked it. Ravenscroft has been quoted at saying,\"... \'tis the most incorrect and indigested piece in all his Works, It seems rather a heap of Rubbish then a Structure\" ( 4 ). This is in direct conflict with more current opinions. Most are familiar with the unbiased reviewing of written material provided by Cliffnotes, which claims,\"As is true in all of Shakespeare\'s plays,<em> Titus Andronicu</em>s is structured from conventions and traditions and philosophies which were well-known in Shakespeare\'s time; the play was not created in a vacuum, and although it is vulnerable to negative criticism, it contains some very good dramatic moments\" ( Wiley 63 ). While critics have developed more love for this particular play, the public has lost some of the stomach for the material it presents. At the time when the play was initially being performed, the state of affairs was completely opposite. Critics frowned upon <em>Titus Andronicus</em> because it was irreverent and created to appeal to the general public, who in turn were fascinated by the violence of the play.</div>\r\n<div>     My personal love for this play comes from the empathetic position which is given to Titus himself. Only wanting to do right and be honorable, the Roman general makes the grievous mistake of allowing his sons to sacrifice one of the captive sons of the Queen of the Goths. Although the motivation for this act is piety, it starts the chain reaction of revenge between Tamora and her sons and Titus\' family. Aaron is witty and provides a perfect antagonist, being a well written and vicious villain, and the various monologues are not only entertaining but beautifully written.</div>\r\n<div>     When talking about the masterful writing in Shakespeare\'s <em>Titus Andronicus</em>, it is important to compare it to at least one other piece of literature from the time. One of Shakespeare\'s most well known contemporaries and a fellow writer was Don Miguel de Cervantes Saavedra, who is famous for his book, <em>Don Quixote</em>. Compared to the whimsical, meandering story of the short-sighted and idealistic knight, Shakespeare\'s bloody story is almost a polar opposite. <em>Don Quixote</em> is satirical and full of poignant messages about life. Alonso Quixano completely reinvents himself, giving his horse a new name and polishing his grandfather\'s armor, then sets out to do great deeds as a knight-errant. There is a direct parallel in Don Quixote\'s voluntary insanity and the insanity that Titus feigns in order to fool Tamora and her sons into the trap he has set. Both characters are using the guise of insanity to reach a higher goal. Don Quixote seeks to reach the pinnacle of chivalry while Titus seeks to gain revenge. Another way in which both works are different is that Shakespeare sought to move away from the dark ages and the time of knights, instead seeking a return to the glorified ideas of the ancient world, re-telling tales from Greece and Rome the movement of intellectualism and enlightenment that personified the renaissance. Meanwhile Cervantes sought to present a romanticized vision of the more recent past and the times of knighthood and chivalry in order to keep alive those ideas.</div>\r\n<div>     When reviewing <em>Titus Andronicu</em>s it is most important to remember that this work was heavily based upon the <em>Metamorphosis</em> by Ovid, which is actually quoted in the play. Aside from being Shakespeare\'s first tragedy and a fine example of his work, this play is essentially a way for the mythos and figures of the ancient world to be presented to the masses, most of whom were unable to read the stories for themselves. <em>Titus Andronicu</em>s may be criticized as a violent play, but the works that were drawn upon for its creation are likewise bloody and bizarre. Regardless of anyone\'s personal opinions about the content, this play is historically important not just for the connection to the great playwright, but also for the connection to the original religious beliefs of the Greeks and Romans.</div>\r\n<div align=\"center\">__________________Works Cited_________________</div>\r\n<div align=\"left\">1. Northcote, James . <em>Life of Titan, with Anecdotes of the Distinguished Persons of His Times. 2 vols</em>. London; Colburn and Bentley, 1830.\r\n2. Flaxman, John. <em>Lectures on Sculpture, To which Are Now First Added, an Introductory Lecture, and Two Addresses...on the Death of Thomas Banks, in 1805</em>. London; Henry G. Bohn, 1838.\r\n3. Oxford Reference Online Premium [ A Dictionary of Shakespeare ] -- <a href=\"http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?entry=t57.e396\">http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?entry=t57.e396</a>\r\n4. Gillies, John. <em>Shakespeare and the geography of difference</em>. La Trobe University; 1947.\r\n5. John Wiley &amp; Sons, Inc.<em> Shakespeare\'s Minor Plays : Notes ...</em> 1991. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept. 2011.\r\n6. Sturman, Marianne, and Miguel de Cervantes Saavedra.<em> Don Quixote : Notes</em>. John Wiley &amp; Sons, Inc. (US), 1964. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept. 2011.</div>\r\n<div align=\"left\">\r\n\r\n7. Oxford Reference Online Premium [ A Dictionary of Shakespeare ] -- <a href=\"http://www.answers.com/topic/lord-chamberlain-s-men\" target=\"_blank\">http://www.answers.com/topic/lord-chamberlain-s-men</a>\r\n\r\n</div>','Titus Andronicus - Masterpiece or Rubbish Heap?','','inherit','open','open','','1644-autosave','','','2011-10-03 12:19:42','2011-10-03 18:19:42','',1644,'http://jeanatacc.com/2011/?p=1685',0,'revision','',0),(1686,48,'2011-09-26 12:08:16','2011-09-26 18:08:16','[caption id=\"attachment_1645\" align=\"aligncenter\" width=\"200\" caption=\"0, handle not the theme, to talk of hands, lest we remember still that we have none.\"]<a href=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003.jpg\"><img class=\"size-medium wp-image-1645\" src=\"http://jeanatacc.com/2011/wp-content/uploads/2011/09/Titus-Andronicus-2003-200x300.jpg\" alt=\"\" width=\"200\" height=\"300\" /></a>[/caption]\r\n\r\n&nbsp;\r\n<div>     When discussing English literature, there is no pinnacle higher, no name more recognized than that of William Shakespeare. Born into the height of the renaissance period, sometime roughly around 1564, Shakespeare authored and co-authored a large number of plays that are still known the world over today. One of his first tragedies, <em>Titus Andronicus</em>, was written between 1588 and 1593. It is a classic tale of revenge and the human struggle with morality, and heavily reflects the fascination at the time for classic tales of passion and drama, especially ones drawn from the influence of ancient Greece and Rome. The fascination with subject matter from the classical world encompassed both art and literature, and many stories by Greek and Roman authors were being adapted for public consumption, including the writings of Ovid, is mentioned specifically in <em>Titus Andronicus</em>. It is the homage that Shakespeare pays to the authors of the past as well as the fact that<em> Titus Andronicus</em> is the first tragedy written by the famous playwright that makes it of such historical importance.</div>\r\n<div>     \"It was from the stores of Greek and Latin churches...that the monks had preserved the seeds of many arts, particularly the art of design, though in a very imperfect degree, but still sufficient, by cultivation, to produce effects of the greatest magnitude. In respect to the progress of refinement in Italy, it must be observed, that the little republic of Florence gave birth to many restorers of science, letters, and arts. Painting, sculpture, and architecture were advanced and perfected by the consecutive labors of well-employed artists, during the course of almost three hundred years, from Cimbaue to Leonardo da Vinci, Frau Bartolomeo to Michael Angelo\" ( Northcote 1: 393-394 ). Like most writers of his time, William Shakespeare was influenced heavily by the art and culture that surrounded him. Most subject matter had been brought over to England by the Romans that initially established the country, and because of this the art and writings focused heavily on the mythos of Greece and Rome, as well as religious subject matter. Many of the books at the time were written in languages such as Latin, and while there were certainly texts published in old English, the majority of the population at the time was illiterate. This is what motivated playwrights such as Shakespeare to take these stories and re-create them in a medium that the masses would be able to enjoy. At the same time painters such as Leonardo da Vinci and Michael Angelo were producing works that visually told stories in a way that didn\'t require a literate audience. \"Many works produced by English artists between the year 1200 and the reign of Henry the VII could be compared with the best Italian artists of the same time\" ( Flaxman 51 ).</div>\r\n<div>     It is difficult to dispute the greatness of Shakespeare, and part of what made his plays so wildly popular was their presentation by the Lord Chamberlain\'s Men in the famous Globe Theatre. In 1603, when James I succeeded Elizabeth, he gave the company a royal patent, and it became the King\'s Men. From 1603 to 1616 they played an average of twelve performances a year at Court. James supplied nine members, including Shakespeare, with four-and-a-half yards of red cloth each to make liveries to wear in his coronation procession. <em>Titus Andronicus</em> was the first of Shakespeare\'s tragedies and would have been the first of his tragedies performed by the theatre company, and likely also the first of Shakespeare\'s tragedies performed in the Globe theatre. Although it was a very lewd and violent play that was designed to appeal to the public, the way in which the theatre company presented it was different from any other play being produced at the time, and the work itself is innovative in that it was the first time Shakespeare broke away from writing comedies.</div>\r\n<div>     Edward Ravenscroft ( 1654-1707), was an English dramatist who is best known for criticizing <em>Titus Andronicus</em> foremost among Shakespeare\'s works. Ravenscroft originated the theory that<em> Titus Andronicus</em> wasn\'t actually written by Shakespeare, instead supposing that the playwright took an already existing story and re-worked it. Ravenscroft has been quoted at saying,\"... \'tis the most incorrect and indigested piece in all his Works, It seems rather a heap of Rubbish then a Structure\" ( 4 ). This is in direct conflict with more current opinions. Most are familiar with the unbiased reviewing of written material provided by Cliffnotes, which claims,\"As is true in all of Shakespeare\'s plays,<em> Titus Andronicu</em>s is structured from conventions and traditions and philosophies which were well-known in Shakespeare\'s time; the play was not created in a vacuum, and although it is vulnerable to negative criticism, it contains some very good dramatic moments\" ( Wiley 63 ). While critics have developed more love for this particular play, the public has lost some of the stomach for the material it presents. At the time when the play was initially being performed, the state of affairs was completely opposite. Critics frowned upon <em>Titus Andronicus</em> because it was irreverent and created to appeal to the general public, who in turn were fascinated by the violence of the play.</div>\r\n<div>     My personal love for this play comes from the empathetic position which is given to Titus himself. Only wanting to do right and be honorable, the Roman general makes the grievous mistake of allowing his sons to sacrifice one of the captive sons of the Queen of the Goths. Although the motivation for this act is piety, it starts the chain reaction of revenge between Tamora and her sons and Titus\' family. Aaron is witty and provides a perfect antagonist, being a well written and vicious villain, and the various monologues are not only entertaining but beautifully written.</div>\r\n<div>     When talking about the masterful writing in Shakespeare\'s <em>Titus Andronicus</em>, it is important to compare it to at least one other piece of literature from the time. One of Shakespeare\'s most well known contemporaries and a fellow writer was Don Miguel de Cervantes Saavedra, who is famous for his book, <em>Don Quixote</em>. Compared to the whimsical, meandering story of the short-sighted and idealistic knight, Shakespeare\'s bloody story is almost a polar opposite. <em>Don Quixote</em> is satirical and full of poignant messages about life. Alonso Quixano completely reinvents himself, giving his horse a new name and polishing his grandfather\'s armor, then sets out to do great deeds as a knight-errant. There is a direct parallel in Don Quixote\'s voluntary insanity and the insanity that Titus feigns in order to fool Tamora and her sons into the trap he has set. Both characters are using the guise of insanity to reach a higher goal. Don Quixote seeks to reach the pinnacle of chivalry while Titus seeks to gain revenge. Another way in which both works are different is that Shakespeare sought to move away from the dark ages and the time of knights, instead seeking a return to the glorified ideas of the ancient world, re-telling tales from Greece and Rome the movement of intellectualism and enlightenment that personified the renaissance. Meanwhile Cervantes sought to present a romanticized vision of the more recent past and the times of knighthood and chivalry in order to keep alive those ideas.</div>\r\n<div>     When reviewing <em>Titus Andronicu</em>s it is most important to remember that this work was heavily based upon the <em>Metamorphosis</em> by Ovid, which is actually quoted in the play. Aside from being Shakespeare\'s first tragedy and a fine example of his work, this play is essentially a way for the mythos and figures of the ancient world to be presented to the masses, most of whom were unable to read the stories for themselves. <em>Titus Andronicu</em>s may be criticized as a violent play, but the works that were drawn upon for its creation are likewise bloody and bizarre. Regardless of anyone\'s personal opinions about the content, this play is historically important not just for the connection to the great playwright, but also for the connection to the original religious beliefs of the Greeks and Romans.</div>\r\n<div align=\"center\">__________________Works Cited_________________</div>\r\n<div align=\"left\">1. Northcote, James . <em>Life of Titan, with Anecdotes of the Distinguished Persons of His Times. 2 vols</em>. London; Colburn and Bentley, 1830.\r\n2. Flaxman, John. <em>Lectures on Sculpture, To which Are Now First Added, an Introductory Lecture, and Two Addresses...on the Death of Thomas Banks, in 1805</em>. London; Henry G. Bohn, 1838.\r\n3. Oxford Reference Online Premium [ A Dictionary of Shakespeare ] -- <a href=\"http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?entry=t57.e396\">http://www.oxfordreference.com.lsproxy.austincc.edu/views/ENTRY.html?entry=t57.e396</a>\r\n4. Gillies, John. <em>Shakespeare and the geography of difference</em>. La Trobe University; 1947.\r\n5. John Wiley &amp; Sons, Inc.<em> Shakespeare\'s Minor Plays : Notes ...</em> 1991. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept. 2011.\r\n6. Sturman, Marianne, and Miguel de Cervantes Saavedra.<em> Don Quixote : Notes</em>. John Wiley &amp; Sons, Inc. (US), 1964. eBook Collection (EBSCOhost). EBSCO. Web. 21 Sept. 2011.</div>\r\n&nbsp;','Titus Andronicus - Masterpiece or Rubbish Heap?','','inherit','open','open','','1644-revision-10','','','2011-09-26 12:08:16','2011-09-26 18:08:16','',1644,'http://jeanatacc.com/2011/?p=1686',0,'revision','',0),