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Public Rituals In Renaissance Florence Essay

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Public ritual in Renaissance Florence involved many actors and took many forms. They could be civic rituals performed by the citizens of the city, or popular rituals where anyone could participate. They could also originate in the private sphere and were made available to the public. Public rituals had various purposes, but most importantly they reproduced hierarchies which conditioned the organisation of power within the Florentine polity, and ensured civil peace and harmony. This was particularly important in Renaissance Florence as no one monarch ruled the city, and therefore no singular figure embodying authority and morality could be looked up to by the people. Keeping law and order was the ruling class' major concern, and public rituals …show more content…

Because of its political organisation, Renaissance Florence was particularly subject to political instability. The city was ruled by the Signoria, composed of nine members chosen from the city's twenty-one guilds to serve for two-month-long terms. These men's interests were often unclear, as they had to rule objectively, whilst remaining loyal to their friends, patrons and clients. These alliances based on clientele and patronage were the symptom of a paranoid society, obsessed with conspiracy and where distrust dominated the political scene. Public rituals therefore had two functions: legitimise a political order which at first appeared as illegitimate, and encourage trust between …show more content…

The portrait of Giuliano de Medici by Raphael, a tempera and oil on canvas, can be dated back to around 1515 (Fig. 2). The portrait includes a background depiction of Florence, which is revealed behind a green curtain. As part of a marriage arrangement with Philiberte of Savoy, it is not surprising that Florence would be depicted as an asset of Giuliano's. However, the picture was painted shortly after the carnival of 1513, and it highlights the sort of relationship that the Medici family wanted to re-establish with the city and its people, using public rituals to achieve this. Giuliano's gaze is directed to the part of the curtain revealing the city, thus asserting his status as legimate ruler, watching over the people of Florence. This painting and the carnival of 1513 convey similar messages. When Girolamo Macchietti executed a portrait of Lorenzo the Magnificent, he used a similar device (Fig. 3). Lorenzo stands tall with Florence in the background, and he looks forward benevolently. What the Medicis attempted to achieve with public rituals, they successfully managed to reflect in their portraiture. With their backs turned to the city, they would have appeared to contemporaries as larger-than-life leaders protecting Florence's interests and history. The link between the two portraits is interesting because the carnival of 1513 was a clear attempt at

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