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Family tree -- Glossary of names -- Timeline -- Map -- A note on money -- Prologue -- Book one: The bastard son -- Book two: The obedient nephew -- Book three: The prince alone -- Afterword: Alessandro's ethnicity.
‘A spectacular, elegant, brilliant portrait of skulduggery, murder and sex in Renaissance Florence’ Simon Sebag Montefiore, Evening Standard, Books of the Year 1531 – after years of brutal war and political intrigue, the bastard son of a Medici Duke and a ‘half-negro’ maidservant rides into Florence. Within a year, he rules the city as its Prince. Backed by the Pope and his future father-in-law the Holy Roman Emperor, the nineteen-year-old Alessandro faces down bloody family rivalry and the scheming hostility of Italy’s oligarchs to reassert the Medicis’ faltering grip on the turbulent city-state. Six years later, as he awaits an adulterous liaison, he will be murdered by his cousin in another man’s bed. ‘Nothing in sixteenth-century history is more astonishing’ Hilary Mantel
Ruler of Florence for seven bloody years, 1531 to 1537, Alessandro de' Medici was arguably the first person of color to serve as a head of state in the Western world. Born out of wedlock to a dark-skinned maid and Lorenzo de' Medici, he was the last legitimate heir to the line of Lorenzo the Magnificent. When Alessandro's noble father died of syphilis, the family looked to him. Groomed for power, he carved a path through the backstabbing world of Italian politics in a time when cardinals, popes, and princes vied for wealth and advantage. By the age of nineteen, he was prince of Florence, inheritor of the legacy of the grandest dynasty of the Italian Renaissance. Alessandro faced down family rivalry and enormous resistance from Florence's oligarchs, who called him a womanizer-which he undoubtedly was--and a tyrant. Yet this real-life counterpart to Machiavelli's Prince kept his grip on power until he was assassinated at the age of 26 during a late-night tryst arranged by his scheming cousins. After his death, his brief but colorful reign was criticized by those who had murdered him in a failed attempt to restore the Florentine republic. For the first time, the true story is told in The Black Prince of Florence. Catherine Fletcher tells the riveting tale of Alessandro's unexpected rise and spectacular fall, unraveling centuries-old mysteries, exposing forgeries, and bringing to life the epic personalities of the Medicis, Borgias, and others as they waged sordid campaigns to rise to the top. Drawing on new research and first-hand sources, this biography of a most intriguing Renaissance figure combines archival scholarship with discussions of race and class that are still relevant today.
A tall, yellow-haired young European traveller calling himself “Mogor dell’Amore,” the Mughal of Love, arrives at the court of the real Grand Mughal, the Emperor Akbar, with a tale to tell that begins to obsess the whole imperial capital. The stranger claims to be the child of a lost Mughal princess, the youngest sister of Akbar’s grandfather Babar: Qara Köz, ‘Lady Black Eyes’, a great beauty believed to possess powers of enchantment and sorcery, who is taken captive first by an Uzbeg warlord, then by the Shah of Persia, and finally becomes the lover of a certain Argalia, a Florentine soldier of fortune, commander of the armies of the Ottoman Sultan. When Argalia returns home with his Mughal mistress the city is mesmerised by her presence, and much trouble ensues. The Enchantress of Florence is a love story and a mystery – the story of a woman attempting to command her own destiny in a man’s world. It brings together two cities that barely know each other – the hedonistic Mughal capital, in which the brilliant emperor wrestles daily with questions of belief, desire and the treachery of sons, and the equally sensual Florentine world of powerful courtesans, humanist philosophy and inhuman torture, where Argalia’s boyhood friend ‘il Machia’ – Niccolò Machiavelli – is learning, the hard way, about the true brutality of power. These two worlds, so far apart, turn out to be uncannily alike, and the enchantments of women hold sway over them both. But is Mogor’s story true? And if so, then what happened to the lost princess? And if he’s a liar, must he die?
In 1533 the English monarch Henry VIII decided to divorce his wife of twenty years Catherine of Aragon in pursuit of a male heir to ensure the Tudor line. He was also head over heels in love with his wife's lady in waiting Anne Boleyn, the future mother of Elizabeth I. But getting his freedom involved a terrific web of intrigue through the enshrined halls of the Vatican that resulted in a religious schism and the formation of the Church of England. Henry's man in Rome was a wily Italian diplomat named Gregorio Casali who drew no limits on skullduggery including kidnapping, bribery and theft to make his king a free man. In this absorbing narrative, winner of the Rome Fellowship prize and University of Durham historian Catherine Fletcher draws on hundreds of previously-unknown Italian archive documents to tell the colorful tale from the inside story inside the Vatican.
A new account of the birth of the West through its birthplace--Renaissance Italy The period between 1492--resonant for a number of reasons--and 1571, when the Ottoman navy was defeated in the Battle of Lepanto, embraces what we know as the Renaissance, one of the most dynamic and creatively explosive epochs in world history. Here is the period that gave rise to so many great artists and figures, and which by its connection to its classical heritage enabled a redefinition, even reinvention, of human potential. It was a moment both of violent struggle and great achievement, of Michelangelo and da Vinci as well as the Borgias and Machiavelli. At the hub of this cultural and intellectual ferment was Italy. The Beauty and the Terror offers a vibrant history of Renaissance Italy and its crucial role in the emergence of the Western world. Drawing on a rich range of sources--letters, interrogation records, maps, artworks, and inventories--Catherine Fletcher explores both the explosion of artistic expression and years of bloody conflict between Spain and France, between Catholic and Protestant, between Christian and Muslim; in doing so, she presents a new way of witnessing the birth of the West.
From the New York Times bestselling author of the Gabriel series comes a dark, sensual tale of romance in a city shrouded in mystery . . . Raven Wood spends her days at Florence’s Uffizi gallery restoring Renaissance art. But an innocent walk home after an evening with friends changes her life forever. When she intervenes in the senseless beating of a homeless man, his attackers turn on her, dragging her into an alley. Raven is only semiconscious when their assault is interrupted by a cacophony of growls followed by her attackers’ screams. Mercifully, she blacks out, but not before catching a glimpse of a shadowy figure who whispers to her . . . Cassita vulneratus. When Raven awakes, she is inexplicably changed. Upon returning to the Uffizi, no one recognizes her. More disturbingly, she discovers that she’s been absent an entire week. With no recollection of her disappearance, Raven learns that her absence coincides with one of the largest robberies in Uffizi history—the theft of a set of priceless Botticelli illustrations. When the police identify her as their prime suspect, Raven is desperate to clear her name. She seeks out one of Florence’s wealthiest and most elusive men in an attempt to uncover the truth. Their encounter leads Raven to a dark underworld whose inhabitants kill to keep their secrets . . .
Raven and her sister, Cara, are at the mercy of a small detachment of Florentine vampyres, who are delivering them as a peace offering to the feared Curia in Rome. Though she’s unsure William survived the coup that toppled his principality, Raven is determined to protect her sister at all costs, even if it means challenging Borek, the commander of the detachment. In an effort to keep Raven from falling into the hands of his enemies, William puts himself at the mercy of the Roman, the dangerous and mysterious vampyre king of Italy. But the Roman is not what he expects ... Alliances and enmities will shift and merge as William struggles to save the woman he loves and his principality, without plunging the vampyre population into a world war. This stunning conclusion to the Florentine series will take readers across Italy and beyond as the lovers fight to remain together. Forever.
Long before the word Super Star was coined, Saint-Georges was the original. Many people throughout history have been famous for one reason or another. Many have made great contributions to civilization and left great legacies. Their paintings and sculptures we still admire. Their discoveries have made our lives better; their music we still play and sing, but no one in history was as talented in so many areas as Saint-Georges. For a time, he was the greatest fencer in the world. He was an exceptional violinist and along with his teacher, Gossec, he pioneered the composition of the String Quartet. Even Mozart came to Paris to study this new form of music. Saint-Georges was an unequaled equestrian, an exceptional marksman and an elegant dancer. The wealthy copied the way he dressed, and the common people admired him as he walked through the streets, and whispered his name. He was a true Renaissance man and a super star in the Paris of King Louis XVI and Marie Antoinette. What is even more remarkable was the fact that he was a mulatto.
Machiavelli is history's most startling political commentator. Recent interpreters have minimised his originality, but this book restores his radicalism. Robert Black shows a clear development in Machiavelli's thought. In his most subversive works The Prince, the Discourses on Livy, The Ass and Mandragola he rejected the moral and political values inherited by the Renaissance from antiquity and the middle ages. These outrageous compositions were all written in mid-life, when Machiavelli was a political outcast in his native Florence. Later he was reconciled with the Florentine establishment, and as a result his final compositions including his famous Florentine Histories represent a return to more conventional norms. This lucid work is perfect for students of Medieval and Early Modern History, Renaissance Studies and Italian Literature, or anyone keen to learn more about one of history's most potent, influential and arresting writers.
Alessandro--whose mother was reported to have been a black slave, the reason for his swarthy complexion and nickname, Il Moro--took advice from no one, living for his own pleasure, his motto being ''They made me duke, so I'll enjoy it!'' By enjoying it he meant wandering the streets at night fully armed, pushing aside anyone in his way, looking for a fight he was destined to win for the simple reason that he had barred the carrying of a sword or a firearm, both of which never left him, nor did his dagger. And he had reason to fear, as the nobility of Florence wanted him, the city's new duke, replaced by legitimate blood, noble blood. He had gained power at age 19 and had by now fully tasted every perversion, so that what was left was taking the hymen of those who still had one, notably nuns, and that of those who kept guard over theirs, virtuous women. He liked his boys too, for quick, easy couplings, heated and virile. His favorite companion was his cousin Lorenzino with whom he shared his bed and more when not extinguished from a night of whoring. And when he awoke with a lustful urge, Lorenzino was always conveniently spread out, naked, at his side. This is how Cellini had caught them many times, as the artist was permitted to come and go as he wished, and as Alessandro had no modesty and no need to hide his vices, Cellini was aware of everything that went on. ''Meanwhile I went on making the Duke's portrait and oftentimes I found him napping after dinner with that Lorenzino of his, '' wrote the artist in his autobiography.No one knows why Lorenzino turned against Duke Alessandro, aided by a professional assassin, Scoronconcolo. In his play, Lorenzaccio, Musset writes that Lorenzo wanted the duke dead so that Florence could become a Republic again. Others suggest that he was just jealous of the duke's powers and privileges. Because Duke Alessandro was so unpopular, he was never without his body armor, weapons and guards. But Lorenzino told him that he had found a
The unveiling of a set of priceless illustrations of Dante's Divine Comedy at the Uffizi Gallery exposes the unsuspecting Professor Gabriel Emerson and his beloved wife, Julianne, to a mysterious and dangerous enemy. Unbeknownst to the Professor, the illustrations he secretly acquired years ago were stolen a century earlier from the ruler of Florence's underworld. Now one of the most dangerous beings in Italy is determined to reclaim his prized artwork and exact revenge on the Emersons, but not before he uncovers something disturbing about Julianne ... Set in the city of Florence, 'The Prince' is a prequel novella to 'The Raven,' which is the first book in the new Florentine Series Trilogy by Sylvain Reynard. 'The Prince' can be read as a standalone but readers of The Gabriel Series may be curious about the connection between The Professor's world and the dark, secret underworld of 'The Prince.
As often, most gracious ladies, as, taking thought in myself, I mind me how very pitiful you are all by nature, so often do I recognize that this present work will, to your thinking, have a grievous and a weariful beginning, inasmuch as the dolorous remembrance of the late pestiferous mortality, which it beareth on its forefront, is universally irksome to all who saw or otherwise knew it. But I would not therefore have this affright you from reading further, as if in the reading you were still to fare among sighs and tears. Let this grisly beginning be none other to you than is to wayfarers a rugged and steep mountain, beyond which is situate a most fair and delightful plain, which latter cometh so much the pleasanter to them as the greater was the hardship of the ascent and the descent; for, like as dolour occupieth the extreme of gladness, even so are miseries determined by imminent joyance. This brief annoy (I say brief, inasmuch as it is contained in few pages) is straightway succeeded by the pleasance and delight which I have already promised you and which, belike, were it not aforesaid, might not be looked for from such a beginning. And in truth, could I fairly have availed to bring you to my desire otherwise than by so rugged a path as this will be I had gladly done it; but being in a manner constrained thereto, for that, without this reminiscence of our past miseries, it might not be shown what was the occasion of the coming about of the things that will hereafter be read, I have brought myself to write them.
A beautiful, transcendent story of a mother-daughter connection that persists through tragedy and across time. Kateri is a young Cree girl, growing up in the care of her grandmother. We see her reaching important milestones: her first day of school, first dance, first date, wedding, first child. Her mother is absent, but not gone, watching her child growing up without her. Told in alternating voices of child and mother, Missing Nimâmâ is a story of love, loss, and acceptance, showing the human side of a national tragedy. Dreamlike illustrations by François Thisdale enrich Kateri's emotional journey. An afterword by the author provides a simple, age-appropriate context for young readers. Includes Cree words and glossary.
By the end of the fifteenth century, Florence was well established as the home of the Renaissance. As generous patrons to the likes of Botticelli and Michelangelo, the ruling Medici embodied the progressive humanist spirit of the age, and in Lorenzo de' Medici they possessed a diplomat capable of guarding the militarily weak city in a climate of constantly shifting allegiances. In Savonarola, an unprepossessing provincial monk, Lorenzo found his nemesis. Filled with Old Testament fury, Savonarola's sermons reverberated among a disenfranchised population, who preferred medieval Biblical certainties to the philosophical interrogations and intoxicating surface glitter of the Renaissance. The battle between these two men would be a fight to the death, a series of sensational events—invasions, trials by fire, the 'Bonfire of the Vanities', terrible executions and mysterious deaths—featuring a cast of the most important and charismatic Renaissance figures.In an exhilaratingly rich and deeply researched story, Paul Strathern reveals the paradoxes, self-doubts, and political compromises that made the battle for the soul of the Renaissance city one of the most complex and important moments in Western history.
