Florence: the Architecture of a Renaissance

To live in Florence in the mid-fifteenth century was to be at the center of the world and the crossroads –or as it seemed to its inhabitants, the fount- of civilization. The narrow, medieval streets had given way to stately lanes wide enough to accommodate bustling cavalcades of merchants and tradesmen. All along the streets stretched shops upon shops. Rising above these were palazzos flanked by high gates, geometric gardens and statuary. This was the reign of Lorenzo de Medici, or “Lorenzo the Magnificent” as he quietly encouraged himself to be known. The Medici were a medieval success story. Over several generations, they had pulled themselves from obscurity to become the bankers to many noble families in Italy. They had even earned the distinction of protecting the Papacy's enormous assets. Since the turn of the fifteenth century, a combination of trade, usury and philanthropy under the Medicis' direction had transformed Florence into the "Athens of the Middle Ages" and the home and patron of Europe's master artisans.

The city was anything but peaceful, and its wealth made it a tempting prize to other city states. The busy streets were not seldom the site of riots, workers' strikes, and lynchings by families jealous of the Medici's power. In the midst of this tumult, Florentines learned that it is neither peace nor security that guarantees prosperity. Like Athens millenia before, the city-state of Florence was the birthplace of a renaissance (in this case, the Renaissance) because of the competitive spirit of its people and rulers. The ingredients were all there. As early as the 13th century, the guilds had secured fair competition through the "Ordinances of Justice." Florence was also the home to Europe's soundest currency since antiquity: the "florin." This foundation of lawful commerce paved the way for an explosion of enterprise. Much to the consternation of the common people of the city, immigrants (the "gente nuovo") poured in, pushing costs of labor down and production sky high.

This race for employment shows only one facet of how deeply ingrained competition was in the Florentine psyche. The master sculptor Lorenzo Ghiberti was chosen from among many contest entrants to build the "Gates of Paradise" for the Battistero of San Giovanni. Brunelleschi's spectacular dome -the greatest architectural feat in a millenium- that sits atop Florence Cathedral was likewise a prize-winning design. In fact, the masterpieces of Florence's Leonardo da Vinci, Michelangelo and Sandro Botticelli all emerged from the dust of this struggle to win contracts from noble families and the Papacy. This was an era before reckless self-expression hampered the creative genius of artists, and art's inspiration was found in the tastes and culture of its audience. "Primavera," "Mona Lisa," the ceiling of the Sistine Chapel, and countless other masterpieces, all stand as testimonies, not only of timeless beauty and vision, but of how "infinite in faculty" the human genius can be when allowed to enjoy the fruits of its labor.