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Taddea Malaspina (1505 - 1559) [1] was an Italian noblewoman of the 16th century. A scion of the Massa branch of the ancient Malaspina family, she was the mistress of Alessandro de' Medici, Duke of Florence, from the early 1530s to about 1537 and was likely the mother of at least two of his children, Giulio and Giulia de' Medici.
- 1505
- 1559
- Giulio di Alessandro de' Medici, Giulia de' Medici (likely)
- Count Giambattista Boiardo di Scandiano
Julia de Médici ( Florencia, 1534 - Florencia, 1588) fue la hija ilegítima de Alejandro de Médici, duque de Florencia . Biografía. Retrato de María Salviati y un niño, probablemente Julia de Médici, por Pontormo. Nació poco antes de la muerte de su padre, Alejandro de Médici, en 1537.
- 1588, Florencia (Gran Ducado de Toscana)
- Catolicismo
Taddea Malaspina (1505 – 1559) è stata una nobildonna italiana. Fu l'amante di Alessandro de' Medici, duca di Firenze, dal 1530 al 1537 circa e fu probabilmente la madre di almeno due dei suoi figli, Giulio e Giulia (1535-1588). Giulio de' Medici fu associato alla famiglia Malaspina in diversi momenti della sua vita.
Giulia Romola di Alessandro de' Medici (c. 1535 – c. 1588) was the illegitimate, possibly multiracial, daughter of Alessandro de' Medici, Duke of Florence and his mistress Taddea Malaspina. Following her father's assassination, she was reared at the court of Cosimo I de' Medici and married advantageously twice.
Taddea Malaspina fue una noble italiana del siglo XIII, nacida en la región de Toscana. Su familia pertenecía a la nobleza genovesa y tenía importantes tierras en la región de Lunigiana, en el norte de Italia.
Pisa, 1598) fue un embajador y almirante italiano. Biografía. Fue hijo ilegítimo de Alejandro de Médicis, duque de Florencia y de su amante Taddea Malespina. 1 No está claro la fecha exacta de su nacimiento, pero se remonta alrededor de 1533.
widow Taddea Malaspina, the lady who received the painting as a gift from Alessandro according to Giorgio Vasari’s account published over three dec-ades later. 2 Usually taken as a relatively straightforward avowal of love for the mistress whom the duke portrays from life, it need not refer to a direct model and may even represent another woman.
