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By 1520, Niccolò Machiavelli’s life in Florence was steadily improving: he had achieved a degree of literary fame, and, following his removal from the Florentine Chancery by the Medici family, he had managed to gain their respect and patronage. But there is one figure whose substantial contributions to Machiavelli’s restoration has been hitherto neglected – Lorenzo di Filippo Strozzi (1482–1549), a younger and fabulously wealthy Florentine nobleman. As manuscript evidence suggests, Strozzi brought Machiavelli into his patronage network and aided many of his post-1520 achievements. This book is the first English biography of Strozzi, as well as the first examination of the patron-client relationship that developed between the two men. William J. Landon reveals Strozzi’s influence on Machiavelli through wide-ranging textual investigations, and especially through Strozzi’s Pistola fatta per la peste – a work that survives as a Machiavelli autograph, and for which Landon has provided the first ever complete English translation and critical edition.
William J. Landon reveals Strozzi's influence on Machiavelli through wide-ranging textual investigations, and especially through Strozzi's Pistola fatta per la peste for which Landon has provided the first ever complete English translation and critical edition.
The Art of War (Italian: Dell'arte della guerra) is a treatise by the Italian Renaissance political philosopher and historian Niccolò Machiavelli. The format of The Art of War is a socratic dialogue. The purpose, declared by Lord Fabrizio Colonna (perhaps Machiavelli's persona) at the outset, "To honor and reward virtù, not to have contempt for poverty, to esteem the modes and orders of military discipline, to constrain citizens to love one another, to live without factions, to esteem less the private than the public good." To these ends, Machiavelli notes in his preface, the military is like the roof of a palazzo protecting the contents. Written between 1519 and 1520 and published the following year, it was Machiavelli's only historical or political work printed during his lifetime, though he was appointed official historian of Florence in 1520 and entrusted with minor civil duties. The Art of War is divided into a preface (proemio) and seven books (chapters), which take the form of a series of dialogues that take place in the Orti Oricellari, the gardens built in a classical style by Bernardo Rucellai in the 1490s for Florentine aristocrats and humanists to engage in discussion, between Cosimo Rucellai and "Lord Fabrizio Colonna" (many feel Colonna is a veiled disguise for Machiavelli himself, but this view has been challenged by scholars such as Mansfield[1]), with other patrizi and captains of the recent Florentine republic: Zanobi Buondelmonti, Battista della Palla and Luigi Alamanni. The work is dedicated to Lorenzo di Filippo Strozzi, patrizio fiorentino in a preface which ostentatiously pronounces Machiavelli's authorship. After repeated uses of the first person singular to introduce the dialogue, Machiavelli retreats from the work, serving as neither narrator nor interlocutor.[1] Fabrizio is enamored with the Roman Legions of the early to mid Roman Republic and strongly advocates adapting them to the contemporary situation of Renaissance Florence. Fabri
Filippo Strozzi (1489-1538), the Florentine aristocrat and banker, is usually remembered for the dramatic exploits at the end of his life. Forced into exile, he became an outspoken defender of the last Florentine Republic against the tyranny of the city's new dukes. His place in Florentine history, however, changes drastically when we focus not on his final years but on his extensive career as a Medici favourite and loyal financier. At the courts of the Medici popes he furthered the grandiose schemes of Leo X and Clement VII and accumulated a personal fortune of legendary size. Dr Bullard's study reassesses Strozzi's place in Renaissance history and considers the more general problems of paper economy and war finance, and Florentine political life, in the early sixteenth century. It documents the intricate financial ties between Florence and the papal court, and Strozzi's key role as a manipulator of the city's public funds to pay for papal wars.
The history of the Florentine patriciate did not end with the establishment of the Medici Duchy and Grand Duchy of Tuscany. Proud and self-confident, these patricians were not subservient courtiers; on the contrary, they continued to exert a considerable influence on Florentine culture and politics for centuries. The patrician class in sixteenth-century Florence were the descendants of wealthy, sophisticated and politically savvy families who, while acquiring noble titles, estates, and villas, retained their long-standing urban identity. The mark they left on the city’s cultural and artistic life was embraced by the Medici, who used their political and diplomatic knowhow, eleborate artistic commissions, and European networks to enhance their power and prestige. A Cultural Symbiosis highlights the contributions to Florentine art and culture of eight patricians, focusing on the Valori, Pucci, Ridolfi, Vecchietti, del Nero, Salviati, Guicciardini, and Niccolini families.
One of the high-points of Italian Renaissance humanism, Machiavelli’s The Prince immediately transcended the time and culture from which it had sprung, circulating throughout Europe and paving the road to an astonishing variety of discussions on power and liberty for centuries to come. Indeed, one could hardly think of a literary work whose reception has been more controversial and arguably more crucial to the fashioning of modernity. This volume gathers together the proceedings of a conference held in Oxford, in November 2013, to mark the 500th anniversary of the composition of The Prince. It explores pivotal aspects of the text’s complex identity, focusing on three interrelated areas: 1. The Prince’s own ways of appropriating ancient and modern traditions of political thought and ethics; 2. the textual history and interpretive details of the work; 3. translations of the treatise into foreign languages (including English and other translations), with their cultural adaptations and reconceptualizations of the original. All chapters offer highly original insights by leading experts on The Prince, shedding light on hitherto neglected topics and locating Machiavelli’s masterpiece in an intriguing network of intersecting perspectives.
Previously out of print for three years, this classic translation by the late Father Leslie J. Walker has long been acknowledged as the best English language version of this seminal work in political theory.
The Art of War is a treatise by the Italian Renaissance political philosopher and historian Niccolò Machiavelli. The format of The Art of War is a Socratic dialogue. The purpose, declared by Lord Fabrizio Colonna (perhaps Machiavelli's persona) at the outset, "To honor and reward virtù, not to have contempt for poverty, to esteem the modes and orders of military discipline, to constrain citizens to love one another, to live without factions, to esteem less the private than the public good." To these ends, Machiavelli notes in his preface, the military is like the roof of a palazzo protecting the contents.Written between 1519 and 1520 and published the following year, it was Machiavelli's only historical or political work printed during his lifetime, though he was appointed official historian of Florence in 1520 and entrusted with minor civil duties.The Art of War is divided into a preface and seven books (chapters), which take the form of a series of dialogues that take place in the Orti Oricellari, the gardens built in a classical style by Bernardo Rucellai in the 1490s for Florentine aristocrats and humanists to engage in discussion, between Cosimo Rucellai and "Lord Fabrizio Colonna" with other patrizi and captains of the recent Florentine republic: Zanobi Buondelmonti, Battista della Palla and Luigi Alamanni. The work is dedicated to Lorenzo di Filippo Strozzi, patrizio fiorentino in a preface which ostentatiously pronounces Machiavelli's authorship. After repeated uses of the first person singular to introduce the dialogue, Machiavelli retreats from the work, serving as neither narrator nor interlocutor. Fabrizio is enamored with the Roman Legions of the early to mid Roman Republic and strongly advocates adapting them to the contemporary situation of Renaissance Florence.
The age of princes has passed, but the age of politicians is at its heights. So is Niccolò Machiavelli’s The Prince any less relevant? No. But it needs an update, to reflect the political realities of our times. That is the purpose of this groundbreaking manuscript—a guide to success in contemporary politics, where the democratically-elected politician has assumed the role of the classical prince. Here is revealed how a politician must act if she wants to be successful, how she must plot her every move, whether dealing with colleagues, constituents, family members, bureaucrats, lobbyists or the media. Indeed, this manuscript is unique, for it exposes at a level of detail never seen before the inner workings of the mind of the contemporary politician. And while it may prove an asset to aspiring politicians, its frank and honest nature will no doubt strike fear in the hearts of incumbent politicians as it sheds light on their motives, intentions, and aspirations.