Cosimo I de’ Medici’s Dissimulation of Diplomacy in the Guardaroba Nuova
In: DiplomaticaSearch for other papers by Bradley J. Cavallo in
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Abstract
Renaissance diplomatic relationships between sovereigns can often be understood vis-à-vis the gifting of portraiture. Such presentations enacted exchanges of an essential part of the individual portrayed – their presence. Hence, portraiture as a diplomatic gift served as an exchanged acknowledgement between rulers of their respective political authority. Using this mode of political messaging, Cosimo I de’ Medici (r. 1537–74) sought to bolster his reign by commissioning a portrait series of historical and contemporary, Mediterranean-wide potentates. When installed alongside maps and globes of the known terrestrial and celestial universe within the Guardaroba nuova, the painted effigies dissimulated multi-generational Medici involvement in international diplomacy because displaying the portraits en masse suggested that Cosimo and his predecessors had continuously received the paintings as diplomatic gifts, and thus recognition as masters of Florence.
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Cosimo I de’ Medici’s Dissimulation of Diplomacy in the Guardaroba Nuova
In: DiplomaticaSearch for other papers by Bradley J. Cavallo in
Current site
Google Scholar
PubMed
Abstract
Renaissance diplomatic relationships between sovereigns can often be understood vis-à-vis the gifting of portraiture. Such presentations enacted exchanges of an essential part of the individual portrayed – their presence. Hence, portraiture as a diplomatic gift served as an exchanged acknowledgement between rulers of their respective political authority. Using this mode of political messaging, Cosimo I de’ Medici (r. 1537–74) sought to bolster his reign by commissioning a portrait series of historical and contemporary, Mediterranean-wide potentates. When installed alongside maps and globes of the known terrestrial and celestial universe within the Guardaroba nuova, the painted effigies dissimulated multi-generational Medici involvement in international diplomacy because displaying the portraits en masse suggested that Cosimo and his predecessors had continuously received the paintings as diplomatic gifts, and thus recognition as masters of Florence.
| All Time | Past 365 days | Past 30 Days | |
|---|---|---|---|
| Abstract Views | 697 | 248 | 32 |
| Full Text Views | 237 | 12 | 0 |
| PDF Views & Downloads | 395 | 36 | 0 |
