The Tragedies of Medici is an account of the Medici Family during the Rennaisance period, giving great insight into life in Rennaissance Italy. The book pays special attention to the life of Lorenzo Medici.

The ducal court of Cosimo I de' Medici in sixteenth-century Florence was one of absolutist, rule-bound order. Portraiture especially served the dynastic pretensions of the absolutist ruler, Duke Cosimo and his consort, Eleonora di Toledo, and was part of a Herculean programme of propaganda to establish legitimacy and prestige for the new sixteenth-century Florentine court. In this engaging and original study, Gabrielle Langdon analyses selected portraits of women by Jacopo Pontormo, Agnolo Bronzino, Alessandro Allori, and other masters. She defines their function as works of art, as dynastic declarations, and as encoded documents of court culture and propaganda, illuminating Cosimo's conscious fashioning of his court portraiture in imitation of the great courts of Europe. Langdon explores the use of portraiture as a vehicle to express Medici political policy, such as with Cosimo's Hapsburg and Papal alliances in his bid to be made Grand Duke with hegemony over rival Italian princes. Stories from archives, letters, diaries, chronicles, and secret ambassadorial briefs, open up a world of fascinating, personalities, personal triumphs, human frailty, rumour, intrigue, and appalling tragedies. Lavishly illustrated, Medici Women: Portraits of Power, Love and Betrayal in the Court of Duke Cosimo I is an indispensable work for anyone with a passion for Italian renaissance history, art, and court culture.

Most historians credit the city-state of Florence as the place that started and developed the Italian Renaissance, a process carried out through the patronage and commission of artists during the late 12th century. If Florence is receiving its due credit, much of it belongs to the Medicis, the family dynasty of Florence that ruled at the height of the Renaissance. The dynasty held such influence that some of its family members even became Pope. Among all of the Medicis, its most famous member ruled during the Golden Age of Florence at the apex of the Renaissance's artistic achievements. Lorenzo de Medici, commonly referred to as Lorenzo the Magnificent, was groomed both intellectually and politically to rule Venice, and he took the reins of power at just 20 years old. Of all the fields that were advanced during the Renaissance, the period's most famous works were art, with iconic paintings like Leonardo's Mona Lisa and timeless sculptures like Michelangelo's David. Thus it is fitting that both Leonardo and Michelangelo were at times members of Lorenzo's court, and the Florentian ruler, who also considered himself an artist and poet, became known for securing commissions for the most famous artists of the age, including the aforementioned legends, Piero and Antonio del Pollaiuolo, Andrea del Verrocchio, Sandro Botticelli and Domenico Ghirlandaio. When Lorenzo died in April 1492, he was buried in a chapel designed by Michelangelo. From the intro: "The origin of the Medici family is lost in the mists of the Middle Ages, and, only here and there, can the historian gain glimpses of the lives of early forbears. Still, there is sufficient data, to be had for the digging, upon which to transcribe, inferentially at least, an interesting narrative. Away towards the end of the twelfth century, - exact dates are wholly beside the mark - there dwelt, under the shadow of one of the rugged castles of the robber-captains of the Mugello in Tuscany, a hard-working and trustworthy bonds-man - one Chiarissimo - "Old Honesty," as we may call him. He was married to an excellent helpmeet, and was by his lord permitted to till a small piece of land and rear his family."

A survey of modern cinematic and televisual responses to the concept of the golden age.

Leaving her native Florence to marry Henry II of France, Catherine de Medici embarks on an unanticipated destiny of religious warfare, thwarted leadership and psychologically charged royal machinations. By the author of The Last Queen.

This book establishes new information about the likely content of ten lost plays from the period 1580-1642. These plays’ authors include Nashe, Heywood, and Dekker; and the plays themselves connect in direct ways to some of the most canonical dramas of English literature, including Hamlet, King Lear, The Changeling, and The Duchess of Malfi. The lost plays in question are: Terminus & Non Terminus (1586-8); Richard the Confessor (1593); Cutlack (1594); Bellendon (1594); Truth's Supplication to Candlelight (1600); Albere Galles (1602); Henry the Una (c. 1619); The Angel King (1624); The Duchess of Fernandina (c. 1630-42); and The Cardinal's Conspiracy (bef. 1639). From this list of bare titles, it is argued, can be reconstructed comedies, tragedies, and histories, whose leading characters included a saint, a robber, a Medici duchess, an impotent king, at least one pope, and an angel. In each case, newly-available digital research resources make it possible to interrogate the title and to identify the play's subject-matter, analogues, and likely genre. But these concrete examples raise wider theoretical problems: What is a lost play? What can, and cannot, be said about objects in this problematic category? Known lost plays from the early modern commercial theatre outnumber extant plays from that theatre: but how, in practice, can one investigate them? This book offers an innovative theoretical and practical frame for such work, putting digital humanities into action in the emerging field of lost play studies.