Citizens revolt against plans to demolish the embodiment of
Renaissance Civil Architecture
By Jill Brockmann, ONN Contributor
Italy, Florence -- (ONN Bureau)
September 19, 2011 12:05 p.m. EDT

[caption id="attachment_1595" 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_exterior1.jpg"><img class="size-full wp-image-1595" src="http://jeanatacc.com/2011/wp-content/uploads/2011/09/med_pal_exterior1.jpg" alt="Medici Palazzo, Florence, Italy" width="290" height="117" /></a>[/caption]

Michelozzo's Medici Palazzo  ~  Florence, Italy

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.2 The City Council<!--more--> is attempting to exert their power of imminent 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, <a title="Cosimo de' Medici" href="http://en.wikipedia.org/wiki/Cosimo_de%27_Medici">Cosimo de' Medici</a>, between the years of 1445-1460. Today, the building is known as the Palazzo Medici Riccardi, after <strong>Gabbriello Riccardi</strong> purchased it and expanded its footprint <strong>in 1659.<sup>1</sup></strong>

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, "Nicomachean Ethics." 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>
<p align="left">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 <a title="Gothic architecture" href="http://en.wikipedia.org/wiki/Gothic_architecture">Gothic</a> and with the massive stateliness of the classical style." <sup>2</sup></p>
<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> 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>


[caption id="attachment_1594" align="alignright" width="300" caption="Left image found: http://www.florence-gallery.com/monuments/ Right image found: 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-windows.jpg"><img class="size-medium wp-image-1594" src="http://jeanatacc.com/2011/wp-content/uploads/2011/09/CompareContrast-windows-300x93.jpg" alt="Comparison of biforal and triforal windows in Renaissance Civil Architecture" width="300" height="93" /></a>[/caption]

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<p align="left"><strong></strong>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 refined, 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>


[caption id="attachment_1598" align="alignleft" width="215" caption="Alterpiece in the chapel of Medici Palazzo - Image found: http://hoocher.com/Agnolo_Bronzino/Agnolo_Bronzino.htm"]<a href="http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting2.jpg"><img class="size-medium wp-image-1598" src="http://jeanatacc.com/2011/wp-content/uploads/2011/09/medici_painting2-215x300.jpg" alt="Alterpiece in the chapel of Medici Palazzo" width="215" height="300" /></a>[/caption]
<p align="left">Spokesperson for the uprising, <a href="http://www.google.com/search?tbo=p&amp;tbm=bks&amp;q=inauthor:%22Leon+Battista+Alberti%22">Leona Battista Alberti</a>, (descendent of the author of "On the Art of Building in Ten Books") 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 included priceless paintings, rare books, elaborate sculptures, fine tapestries, unusual plants, splendid inlaid marble floor tiles and much more.<sup>3</sup> Alberti clearly wished that the Medici Palace remain standing as a respectful tribute to the Medici family and all of the rare treasures they brought to the Florentine citizens.</p>
<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 Cosimo Medici purposefully chose the rare 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 upheaval, political unrest, and the social manipulation that ran rampant at the time. He stated that he wished the building had been flattened years earlier.</p>
<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 therefore, 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 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 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>
<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 elements to their design and nowadays nearly every building in existence has some sort of bench, railing, fountain, garden, or landscaping. Saying that a building is "inviting" is considered a great accomplishment among commercial buildings today. Is it possible that the Medici were the starting point for this trend? If so, this alone may be reason enough to preserve the building.</p>
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