Palazzo Strozzi: Pride vs Public

Palazzo Strozzi Pride vs Public

Ryan Gromek Mark Zlotsky Taskina Tareen

‘The policy and high principles of our ancestors provided that, although in their private lives and personal expenditure they were content with very little and lived in an extremely frugal manner, yet glory and splendour (gloriam splendoremque) were their standards in government and in the grandeur of public life. In home life praise for self-restraint was the aim, but in public life praise for impressiveness.’1

Cicero’s oration of Lucius Valerius Flaccus

1. Cicero Orations: Pro Flacco, 28, Macdonald (2001): pp. 471-3

In the fifteenth century, the consortium of ruling families across Florence became resiliently linked with the neighborhood they collectively represented. Every new palace erected by a noble family, brought with it a form of magnificence and splendor. Of these attributes, magnificence, when applied to private palaces, included the exterior and interior elements of a building in form of hierarchal proportions, spaces and sequences while splendor represented all that could and should be displayed to represent the owner’s wealth.2 This significant relationship between the merit of wealth and its reflection composed by the architecture of a building would become a firm establishment of fifteenth-century Florentine values. In part, a patron would be motivated by the civic image of the city and the religious honor it bestowed but more so, the motivation for building a grand scale palace in the renaissance came from the self-need of keeping memory of the patron within the city. The exterior and interior architecture of these constructions were then carefully designed and realized to represent, most explicitly, the prosperity and affluence of the patron and his family. Giovanni Rucellai, the wealthy Florentine merchant wrote in 1473 about his lavish expenditures on private construction, he stated that, “they gave the greatest contentment and greatest satisfaction, since they served part the honour of God, the honour of the city and the memory of me.�3

2. James Lindow, The Renaissance palace in Florence: 3. Lindow, The Renaissance palace in Florence, 44

magnificence and splendour in fifteenth-century Italy (Aldershot, England: Ashgate, 2007), 5.

Palazzo Antinorri Giovani di Bono Boni 1461 - 1469 Palazzo Medici Cosimo de’ Medici 1445 - 1455

B

A

D

C Palazzo Rucellai Giovani Rucellai 1446 - 1451

Palazzo Pitti Luca Pitti 1458

E Palazzo Strozzi Filippo Strozzi 1489 - 1538

A) “Palazzo Rucellai | Julianna Struck.” Accessed April 22, 2013. http://juliannastruck.com/work/paintings-and-drawings/12.

B) “Palazzo Medici Riccardi.” Accessed April 23, 2013. http://www.florentinermuseen.com/musei/palazzo_medici_riccardi.html.

C)“Search Result.” Accessed April 22, 2013. http://www.wga.hu/cgi-bin/search.cgi?author=&time=any&school=any&form=any&type=any&title=&comment=&location=Palazzo+Pitti&from=100&max=20&format=5.

D)“Italien-Antinori.” Accessed April 22, 2013. http://www.ernestopauli.ch/wein/italien/ItalienAntinori.htm.

E) “File:Palazzo Strozzi 1.jpg - Wikimedia Commons.” Accessed April 22, 2013. http://commons.wikimedia.org/wiki/File:Palazzo_Strozzi_1.jpg.

Of the most famous Florentine palaces, Palazzo Strozzi stood out for its massive scale, beautiful embellishments and architectural grandeur that brought notable historic significance to the family who lived in it. The mastermind behind the structure, Filippo Strozzi, displayed both, an enormous amount of self-importance and tremendous courage in undertaking a project of such formidable scale and proportion. His insisting of building the palace in the center of the city taking up a vast amount of existing space despite the Medici’s warnings, coupled with the grandeur of the architectural elements representing the Strozzi name that fronted the building in part, have made writers such as Goldthwaite and Friedman to comment on the egotistical behavior of Filippo Strozzi.4 However, Filippo’s use of personal symbols in the façade of Palazzo Strozzi is in actuality, no greater than other notable Florentine patrons who wanted to display their personal achievements. It is even possible to argue, that the design and scale of the grand palace served more to the city and the public of Florence than it did in highlighting solely, the Strozzi name –especially when compared to other prominent palaces of the time. A true magnificent palace goes beyond just keeping the lineage of the family reputation or even more so, the memory of the distinguished patron. It speaks didactically with the city, becoming a central location admired not only for its eminent presence but also its social virtue.

4. Ann

Crabb, The Strozzi of Florence: widowhood and family solidarity in the Renaissance (Ann Arbor: University of Michigan Press, 2000), 223.

E

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A) “Firenze - Palazzo Strozzi: The facade on Palazzo Strozzi.” Photograph. The Palazzi of Florence. 185 B) “Firenze - Palazzo Strozzi: The facade on Palazzo Strozzi.” Photograph. The Palazzi of Florence. 187 C)“Firenze - Palazzo Strozzi: Side on the ally after restoration.” Photograph. The Palazzi of Florence. 200.

D-G)“Firenze - Palazzo Strozzi: Corbels on the ground floor” Photograph. The Palazzi of Florence. 206.

C

F

G

In this paper, we will display and analyze through a series of graphical supporting elements and diagrams, the importance of Palazzo Strozzi within the fifteenth century Florentine urban fabric and the motivation behind Filippo Strozzi’s tremendous project in relation to the renaissance architectural elements composing its structure. By doing so, we will argue that while the meticulous planning and somewhat ostentatious proposal of the Palazzo Strozzi suggests that Filippo Strozzi was more concerned with the recognition he would receive for the project –it holds more true to us, that though the successful banker sought personal fame, his intentions stayed mostly with the casa Strozzi, the continuation of the family name and to a valuable extent, an inclusion of the public of Florence into his home, something the autocratic Medici did not seem to consider.

In 1458, Matteo di Simone’s exile from Florence was extended to his sons for a further twenty-five years. The financial crisis that the Medici experienced at this time, resulted in Cosimo de’ Medici extending control over the government, banning any public members outside of the family from holding office.5 Alessandra Strozzi was slowly losing hope of ever seeing her sons alive again. Filippo wrote a letter from Naples to comfort his mother but also expecting at the same time, that the authorities should see his carefully chosen words and somewhat unnatural tone of patience, would gather sympathy for his position in exile.

Ramo di Filippo il Vecchio Pietro Buono Arduino Rosso Brunichilda Filippo (detto Strozza) Mingarda Ubertino Diamante Strozza † 1295 Maddalena Cavalcanti Iacopo (detto Lapo) Maria Soldanieri Loso † 1330 Lionardo † 1354 Lena di Filippo Manfredi

Filippo attempts to make it known, that he understands that the governments choice of keeping him and his brothers in further exile was for the city’s greater good and hence it did not bring him any ill feelings towards the current ruling family.

Filippo † 1405 Margherita di Piero Ferrantini Simone 1376 † 1424 Andreola di Neri Rondinelli Lorenzo

After the death of Cosimo de’ Medici, Alessandra Strozzi carefully observed the changes in the political development of Florence in hope of ending the exile and seeing her sons’ arrival into the city. Many of her surviving letters also suggests that she favored placing value on “common good,” a more liberal government –one in which citizens could voice their opinions rather than the supremacy of a singular family such as the Medici at the time. It is uncertain if her sons felt the same way politically as little evidence exists suggesting so. We can be certain though, through the numerous communications Filippo and his brother Lorenzo kept with outside merchants, that there was a need in both of them to always have business and financial connections.6

A Matteo 1397 † 1435 Alessandra di Filippo Macinghi Andreola 1426 † 1435

Simone 1427 † 1435

Piero 1429 † 1435

Lorenzo 1430 † 1479 Antonia Baroncelli

Caterina 1432 Marco di Parente Parenti

B

5. Crabb, The Strozzi of Florence, 149.

6. Crabb, The Strozzi of Florence, 152.

Alessandra 1434 Giovanni di Donato Bonsi

Matteo 1436 † 1459

“Firenze - Palazzo Vecchio: Portraits of some of the members of the house of Strozzi. Filippo Strozzi. Drawing. The Palazzi of Florence. 228

Filippo (detto il Vecchio) 1428 † 1491 Fiammetta di Donato Adimari Selvaggia di Bartolommeo Gianfigliazzi

A) “Firenze - Palazzo Vecchio: Portraits of some of the members of the house of Strozzi. Matteo Strozzi. Drawing. The Palazzi of Florence. 228 B) “Firenze - Palazzo Vecchio: Portraits of some of the members of the house of Strozzi. Filippo Strozzi. Drawing. The Palazzi of Florence. 228

Beloved and unfortunate Mother, I cannot tell you how unhappy I feel, an d I am even more upset by your sorrow than for any other reason. I accepted th bad news for the second day after hearin e g it, since I saw no remedy; such are the fruits of this world. People who are used to having things like this happen, as ar we for whom they began in our childhoode , pay less attention than those who have no experience of them.” “

A Cosimo Medici

7

A) “File:Cosimo Di Medici (Bronzino).jpg - Wikipedia, the Free Encyclopedia.” Accessed April 23, 2013. http://en.wikipedia.org/wiki/File:Cosimo_di_Medici_(Bronzino).jpg

7. Crabb, The Strozzi of Florence, 150.

Once the exile was lifted and Filippo was allowed entry into Florence with his family, a merchant banking company was established and its returns was added to the business he made from his company in Naples. During 1471 and 1483, his profit quadrupled in size and he soon became one of, if not the richest man in Florence.8 His wealth would continue to grow in later years, however would start to decline nearer to his death. Both Filippo and his son, Lorenzo at the time expressed similar attitudes regarding their wealth –suggesting that there existed more important issues and achievements than the gain of wealth. This partly being so because they knew honorable persons outside of the city such as religious leaders and successful farmers never placed the same amount of honor in wealth as they did other things. Lorenzo is known for telling his father, “I, for my part, wish to have fewer profits and a life that is more pleasing to me.”9 Filippo’s concern however, lied mostly on bringing prominence back to the Strozzi family name in Florence, to build back the foundations of family honor and trust that were unjustly wiped out of his forefathers’ hands. First he expressed interest in taking part in the political office though the Medici’s distrust of the Strozzi family made it quite difficult for him in the beginning to do so. However in later years, the renewed ties between Naples and Florence meant Lorenzo de’ Medici would gain new confidence in Filippo Strozzi, allowing him to hold governmental office and although his political success was somewhat notable, it was not how he imagined his family and himself to be remembered.

Filippo Strozzi would choose building and the decoration of buildings as the ultimate path to gaining honor. He wrote to his brother, Lorenzo in Naples about his plan, “I go around all the time thinking and drawing, and if God grants me enough life, I hope to make something worth remembering” 10

8. Crabb, The Strozzi of Florence, 213.

9. Crabb, The Strozzi of Florence, 213.

10. Crabb, The Strozzi of Florence, 217.

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112,281ƒ

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C “The Noun Project.” The Noun Project.

Accessed April 23, 2013. http://thenounproject.com.

A) “The Noun Project.” The Noun Project. Accessed April 23, 2013. http://thenounproject.com B) “The Noun Project.” The Noun Project. Accessed April 23, 2013. http://thenounproject.com C) “Lorenzo de’ Medici Biography - Facts, Birthday, Life Story - Biography.com.” Accessed April 23, 2013. http://www.biography.com/people/lorenzo-de-medici-9386497.

“The Noun Project.” The Noun Project.

Accessed April 23, 2013. http://thenounproject.com.

“Lorenzo de’ Medici Biography - Facts, Birthday, Life Story - Biography.com.”

Accessed April 23, 2013. http://www.biography.com/people/lor enzo-de-medici-9386497.

Lorenzo de’ Medici

From the beginning, Filippo chose to invest projects that displayed the relationship between building and honor. He is known for telling his brother Lorenzo that they must not think economically on a monument they were planning to build for their dead brother Matteo.

“Things done for honor should be done in a such a way that they produce effect, or, otherwise, they bring shame.” 11 In fact, evidence suggests that Filippo Strozzi, during the building of his dead brother’s monument, became more concerned with the honor he will receive from the project than the deceased. He enlisted the skill and labor of Florentine artists instead of Neapolitan artists to decorate his dead brother’s monument in their family church in Naples.12 This entails that even though the cost of labor would most likely be significantly less had he sought local artists, the honor he would receive from Florence was more important to him. Such decisions start to suggest to us that Filippo Strozzi did have more personal recognition in mind at the time of planning his building projects.

He worked on several religious projects in years to come, both to show his gratitude to God for the successes has attained but even more so, to make it apparent to Florence and the rest of the world, that he has attained such success. He planned facades for the family church, Santa Maria Ughi and Santa Trinita Church. He also installed stained glass windows in Santa Maria Novella over the tomb of hid dead parents and former wife. It was in Santa Maria Novella, where his most important and somewhat self-centered project took place. In 1488, he enlisted Filippo Lippi to paint frescoes and Benedetto da Maino to design and make a marble sarcophagus for his time of death.13 It is easy to see that such events, more than others are what have led historians to suggest the self-interested behavior of Filippo Strozzi.

11. Crabb, The Strozzi of Florence, 218.

12. Crabb, The Strozzi of Florence, 218.

13. Crabb, The Strozzi of Florence, 218.

A Santa Maria Novella

“The Noun Project.” The Noun Project.

Accessed April 23, 2013. http://thenounproject.com.

A) “Printable Flashcard on Italy, Art History, 1200 to 1400: Free Flash Cards.” Accessed April 22, 2013. http://www.proprofs.com/flashcards/cardshowall.php?title=italy-art-history-1200-to-1400.

B)“Florence - Churches and Cathedrals.” Accessed April 22, 2013. http://pinterest.com/pin/380202393511983476/.

C) “The Churches of Florence - Centre.” Accessed April 22, 2013. http://www.churchesofflorence.com/centre.htm.

B

C

Santa Trinita

Santa Maria degli Ughi

Old Strozzi Foundation

New and Old Scale

The successful banker’s greatest display of self-importance however, came from the enormous palace he planned to construct in site that housed his parents’ former home. At the time, Filippo wanted to be known that all he wished for was a, “comfortable everyday house”14 No one could ever take him seriously.

His son Lorenzo, wrote of his father at the time, “Having richly provided for his heirs, desiring fame more than material possessions, having no greater or more secure means of moralizing hisperson, and being naturally inclined to and well informed about building, (Filippo) decided to make a palace that would bring renown to himself and to all his family, both in Italy and abroad.” 15

14. David Thomson, Renaissance Architecture: critics, patrons, luxury (Manchester: Manchester University Press, 1993), 15.

15. Crabb, The Strozzi of Florence, 220.

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Palazzo Strozzi

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Palazzo Medici

This is interesting because it begins to give an insight into relationships between family reputation and individual achievement during the renaissance and thus speaking of the difference between honor and wealth. Lorenzo is implying that his father’s use of wealth is mainly for the purpose of elevating the family name and not solely his –at some point it even becomes more important to gain further honor over further wealth. To others of course, the scale at which Filippo planned his building only implied one thing; that he intended to create the largest and most prominent structure in the city whose main purpose was to surpass the Palazzo Medici.16 It is further interesting to note that Lorenzo his son, recorded that his father was worried that Lorenzo de’ Medici would resent his grand plan of building the new Strozzi family home. However, knowing that the Medici leader was deeply interested in building and architecture, Filippo won him over by bringing to him designs and proposals of the building, including the possibility of making the lower floor a series of shops to help cover expenses of construction. As he expected, Lorenzo de’ Medici eventually started to consider the project his own work, asking for more imposing plans and eradicating the idea of shops in the fear that it would ruin the grandeur appearance of the building.

Ironically, Filippo succeeded in gaining help in desigining his palace from the rival family he feared would resent his ambitions. 17 A) “Palazzo Strozzi.” 43 46’16.06”N and 11 15’07.06”E. Google Earth.

August 5, 2012. April 21, 2013 B) “Palazzo Medici.” 43 46’16.06”N and 11 15’07.06”E. Google Earth.

August 5, 2012. April 21, 2013

16. Thomson, Renaissa nce Architecture, 15.

17. Thomson, Renaissance Architecture, 15.tt

Site

Potential

Actual

Though it only made sense that noble families would inherit and build upon their ancestral homes, the larger criticism would come from the intent of some patrons, such as Filippo Strozzi, for acquiring several nearby plots and existing structures to create a larger and more impressive and prominent house of his own. 18 More than half the area where he planned to construct his new palace belonged to other families. Filippo strozzi instructed the demolishment of over a dozen properties on the site. These included a notable tower on Via Tornaquinci (now Via Tornabuoni), a few Rucellai houses on Via dei Ferri Vecchi (now Via Strozzi) and also a small house owned by Ardinghelli on Corso degli Strozzi (now Piazza Strozzi).19 The acquisitions of such property did not come easy, Filippo Strozzi experienced many difficulties when discussing the price of destroying the neighboring site on which he planned to build the Palazzo Strozzi, even risking the possible events of inducing tension within family networks. Filippo also received much criticism and protest from the Medici and some public for the blatant display of family wealth and arrogance that the scale of this building was already beginning to suggest. However, the great banker would eventually enlist the work of well known architects would join him in his great vision of the Palace.

18. Lindow, The Renaissance palace in Florence, 49.

19. Leonardo Lisci, The Palazzi of Florence: Their History and Art (Firenze: Giunti Barbèra, 1985), 195.

Open Sides

Public Piazza

Public “Piazza”

The placement of the palace in site and the impact achieved by having an unrestricted view of the façade coming from Via Strozzi should not be overlooked. The magnificence of Palazzo Strozzi surpassed, by far the constructions of the Medici, the Rucellai and the Pitti built before for it. In fact, it is a wide known thing that during the official laying of the foundations of the Palace, there were several masses held through the churches of the city. The date August 1489 was chosen by the astrologer Benedetto Billioti to hold a ceremony to commemorate this important occasion. In his diary, Luca Landucci, a pharmacist who lived near the site recorded the ‘crowds of people’ that gathered to watch the event with astonishment.20 Such events allowed the citizens to become a part of the buildings history and importance and this was even more displayed in the amount of people who returned to watch the progress of the building in site. Landucci recorded the significant disruption this caused in the area at the time, “And all this time they were demolishing the houses, a great number of overseers and work men being employed, so that all the streets were filled with heaps of stones and rubbish, with mules and donkeys who were carrying away the rubbish and bringing gravel; making it difficult for anyone to pass along. We collected to look on and those who could not pass by with their beasts of burden.”21

20. Lindow, The Renaissance palace in Florence, 52.

21. Lindow, The Renaissance palace in Florence, 53.

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Benedetto da Maino was enlisted by Filippo Strozzi to envision his grand ambitions for the Palazzo Strozzi. Later, when Filippo began to have doubts of the architect’s wisdom, a model was constructed by Guiliango da Sangallo to study in greater depth the spatial planning of the palace. Filippo did not care much for this model and it left unused in the attic.22 The merchant banker’s influence on the design of the building is known for the grandeur he wanted to impose onto the city. It was Strozzi himself, who insisted on the highly rusticated ashlers above the two-light mullioned windows so that the façade of the building would look grander and the interior more spacious. 23 Unlike the Medici’s corner lot, opening it to the street front on only two sides. The Palazzo Strozzi stood as a free-standing structure open to street on all four sides. This gave it importance in planning for internal symmetry that would integrate the cross axis while speaking to its four entryways. This also gave it importance in the way it would speak to the larger city. The resulting ground plan of the Palace was rigorously symmetrical on two axes with clear hierarchy in spatial elements.

Filippo Strozzi would die in 1492, before seeing his grand palace completed. However, the successful merchant left full provision for his project to be completed.

Simone del Pollaiolo known as Cronaca would be responsible for the finished building in 1504.

22. Lisci, The Palazzi of Florence, 196.

23. Lisci, The Palazzi of Florence, 196.

A-C) “Firenze - Palazzo Strozzi, small museum: model of the Palazzo.” Photograph. The Palazzi of Florence. 193-195

A

Plan

Vertical Symmetry Axis

Horizontal Symmetry Axis

Courtyard

Courtyard Entrances

Palazzo Entances

A) “Plan of the ground floor of Palazzo Strozzi showing the perfect symmetry of the stairs and the separate apartments designed for Filippo il Vecchio’s two sons.”

Photograph.The Palazzi of Florence: Their History and Art. Firenze: Giunti Barbèra, 1985. From Villa Rosa Library.

The Strozzi palace displayed in its front a series of visual interplay of family importance through architectural detail. The arme of the three crescents were carved into numerous areas on the façade and also on the beautiful iron lanterns and torch holders. The torches served in illuminating the city while displaying the significance of the family, as few had the right to display such grandeur elements on their building fronts.

The use of benches was also prominent in the front of Palazzo Strozzi. These stone benches could be used by visitors waiting to enter the palace or for others who simply wanted a seating area to discuss public issues. The benches allowed the palace to be a part of the public as much as it was the Strozzi family.

The piazza in front of the building also served to increase public activity around the building and perhaps to a larger extent, showed once again, the power of the family for claiming their own piazza.

It was Cronaca who completed Filippo’s desire to “create a building which would make a name for itself and others in Italy and abroad,” 24 He constructed the magnificent courtyard, the pavement of which was made of the same stone as the piazza, bringing the city and public into the building.

Walls of exceptional scale were erected and a crowning cornice that extended above the flattened second story rustication, casting a domineering shadow of the city.

24. Lisci, The Palazzi of Florence, 192.

B

Cornice Cornice Edge

Ashlar Window

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Trim

Lantern Bench F

D E A) “Firenze - Palazzo Strozzi: The cornice.” Photograph. The Palazzi of Florence: Their History and Art (Firenze: Giunti Barbera, 1985). 191 B) “Firenze - Palazzo Strozzi: The cornice.” Photograph. The Palazzi of Florence. 192 C)“Firenze - Palazzo Strozzi: The facade on Palazzo Strozzi.” Photograph. The Palazzi of Florence. 185 D)”Wrought-iron work has alwasy been an important feature of decoration on the facades.” Photograph. The Palazzi of Florence. 39 E) “Firenze - Palazzo Strozzi: The facade on Palazzo Strozzi.” Photograph. The Palazzi of Florence. 185 F) “Firenze - Palazzo Strozzi: The cornice of the ground floor.” Photograph. The Palazzi of Florence. 191

Elevation

Symmetry Axis

Tri-Partite Organization

Horizontal Partitioning

Service/Workshop Base

Piano Nobile

Filipo Strozzi was buried in the Strozzi Chapel in Santa Maria Novela under the tomb that Benedetto Maiano sculpted for him and the murals decorated by Lippi. The sarcophagus although, prominent in the chapel, did not bear his name. The building of the Palazzo was an important project for Filippo Strozzi not solely in order to gain personal fame but to gain the honor of his family. After his years in exile, Filippo’s main wish was to bring back to light, the house of his family –not only the house of his branch of the family but his ancestral family as well. Filippo Strozzi did not see himself as an individual that should be honored and remembered but rather someone who was the representative of his generation in remembering the lineage of his past family. The land he constructed the Palazzo Strozzi on was in an area that held historical significance for the Strozzi family. The honors he received for his various projects and achievements served not only him but the family name. The building of the Strozzi Palace and the meticulous planning of its grand scale and highly prominent architectural front brought as much as life and importance to the city and citizens of Florence as it did to the Strozzi family name.

“View of the Strozzi Chapel by LIPPI, Filippino.” Accessed April 22, 2013. http://www.wga.hu/html_m/l/lippi/flippino/strozzi/0view1.html.

Bibliography Books 1. Lisci, Leonardo. The Palazzi of Florence: Their History and Art. Firenze: Giunti Barbèra, 1985.

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3. Crabb, Ann. The Strozzi of Florence: widowhood and family solidarity in the Renaissance. Ann Arbor: University of Michigan Press, 2000 4. Goldthwaite, Richard A. Private Wealth in Renaissance Florence; a study of four families. Princeton, N.J.: Princeton University Press, 1968.

5. Goldthwaite, Richard A. The Building of Renaissance Florence: an economic and social history. Baltimore: Johns Hopkins University Press, 1980 6. Lindow, James. The Renaissance Palace in Florence: magnificence and splendour in fifteenth-century Italy. Aldershot, England: Ashgate, 2007 7. Thomson, David. Renaissance architecture: critics, patrons, luxury. Manchester: Manchester University Press, 1993.

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