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26 de ago. de 2021 · Lorenzo de' Medici is known as Lorenzo the Magnificent for a reason. Born into the powerful banking family that controlled Florence, he was both a formidable political force and one of the Renaissance’s greatest figures. Historian Catherine Fletcher explores the life of the ‘delightful tyrant’, and how he became a ‘prince’ to be reckoned with
17 de abr. de 2024 · Lorenzo Lorenzo II Di Piero de Medici (Medici) (9 Sep 1492 - certain 4 May 1519) 0 references. museum-digital person ID. 72778. 0 references. 130016. 0 ...
Lorenzo II de Médici (en italiano) Lorenzo di Piero de' Medici, ( Florencia, 12 de septiembre de 1492 – Villa medicea de Careggi, 4 de mayo de 1519) fue un gobernante italiano de la dinastía Médici . Nicolás Maquiavelo le dedicó su conocida obra El príncipe, aunque no se conoce con exactitud el objetivo de dicha dedicatoria.
Lorenzo de' Medici (n.1 ianuarie 1449 - d. 9 aprilie 1492) a fost un politician italian și conducător al Republicii Florentine în timpul Renașterii italiene.Cunoscut și sub numele de Lorenzo Magnificul (Lorenzo il Magnifico) de către florentinii contemporani, a fost diplomat, politician și un cunoscut îndrumător al savanților, artiștilor și poeților.
30 de abr. de 2024 · daughter Catherine de Médici. Lorenzo di Piero de’ Medici, duca di Urbino (born Sept. 12, 1492, Florence [Italy]—died May 4, 1519, Florence) was the ruler of Florence from 1513 to 1519, to whom Niccolò Machiavelli addressed his treatise The Prince, counselling him to accomplish the unity of Italy by arming the whole nation and expelling ...
31 de oct. de 2022 · Lorenzo de’ Medici. Lorenzo de’ Medici also known as Lorenzo the Magnificent (1449-1492) is probably the most well-known member of the Medici family. He is the son of Piero de’ Medici. In 1469 Piero organized a joust to celebrate Lorenzo’s marriage to Clarice Orsini, and in the same year the succession passed, without discord, to Lorenzo.
23 de may. de 2020 · Mientras que Giuliano sólo mira, Lorenzo contempla. A los pies de ambos yacen, desde un inhumano scorzo, dos cuerpos escultóricos. Bajo Giuliano, la alegoría del día y la noche, donde el hombre (el día) se yergue con una compacta musculatura miguelangelesca y la noche (la mujer) decae bajo la impasibilidad de su rostro.
