Girolamo Benivieni – poet

Follower of Plato, Dante and Savonarola

Girolamo Benivieni, pictured as an old man in
a painting attributed to Ridolfo Ghirlandaio

The poet Girolamo Benivieni, who turned Marsilio Ficino’s translation of Plato’s Symposium into verse, was born on this day in 1453 in Florence.

His poem was to influence other writers during the Renaissance and some who came later.

As a member of the Florentine Medici circle, Benivieni was a friend of the Renaissance humanists Ficino, Giovanni Pico della Mirandola and Angelo Poliziano, commonly known as Polician.

Ficino translated Plato’s Symposium in about 1474 and wrote his own commentary on the work.

Benivieni summarised Ficino’s work in the poem De lo amore celeste - Of Heavenly Love - These verses then became the subject of a commentary by Pico della Mirandola.

As a result of all these works, Platonism reached such writers as Pietro Bembo and Baldassare Castiglione and the English poet, Edmund Spencer.

Benivieni later fell under the spell of Girolamo Savonarola, the fiery religious reformer, and he rewrote some of his earlier sensual poetry as a result. He also translated a treatise by Savonarola into Italian, Della semplicità della vita cristiana - On the Simplicity of the Christian life - and he wrote some religious poetry of his own.

Benivieni's tombstone behind the statue of
Savonarola in the Church of San Marco

He took part in Savonarola’s Bonfire of the Vanities and documented the destruction of art works worth ‘several thousand ducats’ at the time.

Lucrezia de’ Medici supported him in his writing and they shared an interest in the works of Dante Alighieri. In 1506 Benivieni published an edition of Dante’s Divine Comedy with maps by Antonio Manetti and commentaries by Benivieni and Manetti.

He drafted a letter for Lucrezia to send to her brother, Pope Leo X, seeking his assistance in bringing Dante’s body back to Florence from Ravenna where he was buried.

Benivieni also used his connection with Lucrezia to advance his ideas on church reform with her brother, and later with her cousin, Pope Clement VII.

In 1530 he wrote a letter to Pope Clement in defence of Savonarola, seeking to have his reputation restored within the Church.

He died in 1542, a few months before his 90th birthday and was buried in the Church of San Marco in Florence next to his friend, Pico della Mirandola.

The Church of San Marco in Florence is close to where
the fiery priest Girolamo Savonarola lived

Travel tip:

The Church of San Marco, where Girolamo Benivieni and Giovanni Pico della Mirandola are buried together, is in Piazza di San Marco to the north of the Galleria dell’Accademia, which houses Michalangelo’s David. The original tombstone is in Latin. It says: ‘Here lies Giovannni Mirandola; known both at the Tagus and the Ganges and maybe even the antipodes. He died in 1494 and lived for thirty-two years. Girolamo Benivieni, to prevent separate places from disjointing after death the bones of those whose souls were joined by Love while living, provided for this grave where he too is buried. He died in 1542 and lived for eighty-nine years and six months.’ Next to the church is the convent of San Marco, now the Museo Nazionale di San Marco, where Savonarola and the painters, Fra Angelico and Fra Bartolomeo, once lived.

The tomb of Dante Alighieri adjoins the
Basilica of San Francesco in Ravenna

Travel tip:

A tomb built for Dante in the Basilica di Santa Croce in Florence still remains empty. Dante died while living in exile in Ravenna in about 1321. He was buried at the Church of San Pier Maggiore in Ravenna and a tomb was erected there for him in 1483. Florence has made repeated requests for the return of Dante’s remains to the city but Ravenna has always refused.


More reading:

The Bonfire of the Vanities - preacher Savonarola's war on Renaissance 'excesses'

Giovanni Pico della Mirandola – the philosopher who wrote the 'Manifesto of the Renaissance'

Pietro Bembo - the poet and scholar who became Lucrezia Borgia's lover

Also on this day:

1577: The birth of Roman heroine Beatrice Cenci

1778: The birth of the poet and revolutionary Ugo Foscolo

1908: The birth of six-times Italian prime minister Amintore Fanfani


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Lorenzo di Pierfrancesco de’ Medici - politician

Art enthusiast who was Botticelli’s major patron

Botticelli's 1479 Portrait of a Young Man,
is thought to be Lorenzo di Pierfrancesco

The Florentine banker and politician Lorenzo di Pierfrancesco de’ Medici, who was a significant figure in Renaissance art as the main sponsor and patron of the painter Sandro Botticelli, was born on this day in 1463.

The great-grandson of Giovanni di Bicci de’ Medici, the founder of the Medici bank, Lorenzo di Pierfrancesco belonged to the junior, sometimes known as ‘Popolani’ branch of the House of Medici.

In 1476, when he and his brother, Giovanni, were still boys, their father, Pierfrancesco de’ Medici the Elder, died. They became wards, effectively, of their cousin, Lorenzo il Magnifico - Lorenzo the Magnificent - a member of the senior branch of the family and the effective ruler of Florence.

Relations between the two branches had been tense for some years and were not helped when Lorenzo di Pierfrancesco discovered, on becoming an adult, that Lorenzo had plundered a considerable sum from he and his brother’s joint inheritance in order to stave off a threatened bankruptcy of the family’s financial empire.

Although Lorenzo had provided the boys with the best education money could buy - the notable Florentine Renaissance humanists Marsilio Ficino, Angelo Poliziano and Giorgio Antonio Vespucci (uncle of Amerigo) were among their tutors - and given them a number of properties in compensation, the incident created a lingering bitterness.

Meanwhile, thanks to the curiosities stirred by the education he received, Lorenzo di Pierfrancesco developed a reputation as an art connoisseur. In around 1485, he commissioned an illuminated manuscript of Dante's Divine Comedy featuring artwork by Botticelli, to whom he had been introduced by the Vespucci family, who were neighbours of the Botticellis in Florence.

Botticelli's Primavera is thought to have been commissioned
to celebrate Lorenzo di Pierfrancesco's marriage

Two of Sandro Botticelli’s most famous works may have been commissioned to celebrate the marriage that Lorenzo il Magnifico arranged between Lorenzo di Pierfrancesco and Semiramide Appiano, daughter of the Appiani lord Jacopo III of Piombino.

It is thought that Lorenzo il Magnifico commissioned Botticelli's Pallas Athene Taming a Centaur as a wedding gift to the new couple, while either Lorenzo il Magnifico or Lorenzo di Pierfrancesco himself had Botticelli paint his allegorical work Primavera as a celebration, with Mercury representing Lorenzo di Pierfrancesco and Semiramide by the central figure of Grace.

After the wedding, both paintings were displayed on the walls of Lorenzo di Pierfrancesco’s villa in the centre of Florence. Some accounts suggest that he also commissioned Botticelli's best known work, The Birth of Venus, one of the most famous paintings of the Renaissance by any artist.

The tension that still existed between him and Lorenzo il Magnifico came to a head in October 1484, when his cousin, determined to protect the primacy of the senior branch of the Medici family, had Lorenzo di Pierfrancesco's name removed from the lists of persons eligible for election to the Florentine political institutions.

Angelo Bronzino's portrait of the Florentine
leader Lorenzo il Magnifico

A settlement was agreed in 1485 by which Lorenzo di Pierfrancesco and his brother were given the Medici family property of Villa Cafaggiolo in the Mugello region. Lorenzo di Pierfrancesco was unhappy, though, at having to shelve his political ambitions.

When Lorenzo il Magnifico died in 1492, Lorenzo and Giovanni sided against il Magnifico's son, Piero. They were exiled as a result but returned when King Charles VIII of France invaded Italy and Piero was ousted from Florence by a Republican government.

The nickname Popolano - meaning ‘of the people’ - was coined for the brothers and Lorenzo di Pierfrancesco became a popular figure in the new administration. He extended his patronage of the arts to protect Botticelli, Michelangelo, Filippino Lippi and Bartolomeo Scala, and in 1494 he founded a workshop of ceramics at Cafaggiolo.

He was pushed out when the hellfire preacher Girolamo Savonarola swept to power in 1494 with his denunciation of clerical corruption, despotic rule and the exploitation of the poor, yet refused to return even after the controversial Dominican friar was burned at the stake in the main square of the city in 1498.

Lorenzo di Pierfrancesco died in Florence in 1503, aged only 39. Years later, his grandson Lorenzino de' Medici murdered Alessandro de' Medici, the last ruler of Florence from the senior branch of the Medici, thereby passing power to Lorenzo's great-grandson Cosimo I de' Medici.

The Villa del Trebbio, which Cosimo de' Medici turned
into a fortified castle

Travel tip:

One of the properties owned by Lorenzo di Pierfrancesco was the Villa del Trebbio, which he inherited from his grandfather Lorenzo the Elder.  Located near San Piero a Sieve in the Mugello region, the area from which the Medici family originated, it was possibly the first of the Medici villas built outside Florence, on top of a hill dominating the Val di Sieve. It had earlier belonged to Giovanni di Bicci de' Medici, the founder of the Medici bank, and was remodelled by his son, Cosimo de' Medici, whose architect, Michelozzo, restyled it as a fortified castle.

The Piazzale between the two wings of the Uffizi, which links
Piazza della Signoria with the Arno river

Travel tip:

Primavera, Pallas Athene Taming a Centaur and The Birth of Venus are among a number of Botticelli paintings displayed in the Uffizi Gallery in Florence, which is one of the largest and best known art museums in the world. Its collection of priceless works, particularly from the period of the Italian Renaissance, owes much to Anna Maria Luisa de' Medici, the last Medici heiress, who bequeathed the family’s entire art collection to the city of Florence. The Uffizi was open to visitors by request as early as the 16th century, and in 1765 it was officially opened to the public.

More reading:

Why Lorenzo the Magnificent was seen as a benign despot

Cosimo de' Medici  - the first Medici ruler of Florence

How Sandro Botticelli's paintings became forgotten works of genius

Also on this day:

1521: The birth of Pope Urban VII

1994: The death of politician Giovanni Spadolini

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