Comparing The Papacy In Rome, And The Medici Family In Florence

At a time of unprecedented artistic progression, powerful patrons of the Renaissance commissioned elaborate works to demonstrate their prestige to the public. Two groups that sponsored a majority of the best know works of the period were the Papacy in Rome, and the Medici family in Florence. While both employed the best artists, sometimes even the same artists to create their magnificent works, their values within each piece differed to appeal to the values each group and cultural center held. Probably the most powerful patrons of the time were the Popes in the Vatican within Rome. The papacy had a long tradition of commissioning grand works to reestablish Rome in the 15th and 16th century as a strong cultural center, and to complete these
works they hired only the best artists. One of these iconic works was Rapheal’s School of Athens in the Stanza della Signatura in the Vatican completed in 1511.
The work is a quintessential 16th century painting in many ways including innovations like mathematical perspective used to create the perfectly arranged setting, and the incorporation of classical styles through architectural details and representations of strong weighty human forms. The work presents great thinkers of classical antiquity combined into single space that did not live in same place or same time creating an ideal humanistic grouping where they can interact and debate. The central figures include philosophers Plato and Aristotle holding books they are most known for. Aside from the numerous debates on meanings within the work, the painting is a representation of what the Papacy, specifically Pope Julius II who commissioned it, values as a sign of prestige and power. To display their power they looked to the hand of the artist to create tremendously life-like paintings. They saw this display of skill and knowledge as the most superior aspect within a work of art to impress all who saw the works. Another example of this valuation of the artist’s hand was
Pope Julius II simultaneous commission of Michelangelo’s Sistine Chapel Ceiling completed in 1512. The vast undertaking to paint a whole ceiling alone would turn many artists away, but by hiring Michelangelo they sought to ensure that the frescoes would turn out remarkable. The were correct, and the now iconic work again showed the Pope’s power through his patronage and appreciation for art and religion within Rome by expecting perfection within his works to presumably honor God and the great city. On the other hand, some powerful patrons idealized materials and location as the way to display their power, especially the Medici family in Florence.
During the 15th century the family had a tremendous rule over the cultural center that seemed impossible to match. To assert this authority over the city-state, they commissioned various works utilizing nothing less than the most expensive materials and locations, one being the grand palace where the family resided. The Medici Palace was commissioned by the well known elder of the family Cosimo de’ Medici, and completed by Michelozzo in 1460. The home was built from scratch strategically in the city center of Florence. It could be seen from the baptist and stood in for the presence of the Medici family making a strong impression of wealth and power. The exterior resembled a fortress and the Palazzo de Signoria to further emphasize this power and their connection to the civic center of Florence. The strong use of local stones and rustification also invoked the strength and permanence the family saw themselves possessing. The palace also included an intricate courtyard that could be seen slightly from the exterior streets. This courtyard housed Donatello’s famous David, that served as an icon of the city cast completely out of bronze. Normally bronze was only commissioned by large guilds, so its use on a personal patronage stood out tremendously. This again shows the tremendous wealth of the family through the use of
prestigious media and appropriated civic imagery in their own context as part as the city but also possibly as David himself. The two groups while both very powerful, displayed their power in different manners. Each displayed their authority successfully, but favored different aspects within the artwork they commissioned tailored to the community for which they sought to impress: Rome pushed for artistic perfection, while Florence pushed for a display of wealth.