House of Corsi
 | This article currently links to a large number of disambiguation pages (or back to itself) (check | fix). (May 2021) |
| Corsi | |
|---|---|
| Noble House | |
 Quand à Dieu plaira (When God Wishes) | |
| Country | Republic of Florence.svg){kind=small} Grand Duchy of Tuscany  Papal States |
| Founded | 1090 |
| Founder | Buonamico Corsi[1] |
| Titles |
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| Members | |
| Connected families | |
| Motto | Quand à Dieu plaira (When God Wishes) |
| Estate(s) | |
| Cadet branches | 3 cadet branches; still alive all of them: List
|
The Corsi Family was one of the main noble families in the city of Florence for many centuries.
Through the artistic and contemporary construction of its Palaces, it was responsible for the modification and renovation of parameters previously applied to other palaces in the low Middle Ages, today transformed into Museums open to visitation, such as the Museo Horne and the Villa Guicciardini Corsi Salviati at Sesto Fiorentino.
Had a direct influence on the art and creation of melodrama and opera, as well as the Camerata Fiorentina, having been Jacopo Corsi, said "Father of the Poor", the greatest patrons in this sense, having sponsored and participated not only in the creation of the first known opera, Dafne, from 1597, but also, through his brother Bardo and his descendants, in the composition, sponsorship and execution of Euridice in 1602, and L'Argonautica in 1608.
There were countless artists commissioned and financed by the Corsi house, among which are Jacopo Peri, Ottavio Rinuccini, Giulio Caccini, Cigoli, Cristofano Stati, Giulio Parigi, Pompeo Caccini, Settimia Caccini, Remigio Cantagallina, Zanobi Lastricati, Orazio Mochi and many others.
Ambassadors of House of Medici, they also had an influence on political, legislative and judicial life not only in the city of Florence but also in the whole of Tuscany, having in their home numerous priorists, gonfalonieres, senators, important merchants and nobiliarchians, from Baronies (Barons) to Marquisados (Marquisis) and Counties (Counts).
Origin
Corsi is a surname from the island of Corsica, or if pronounced in its original dialect, in Corso, island Corse, means the plural of its people, commonly known as Corsicans. In the Italian language, the plural is always defined by the vowel "i", so the plural of the word Corso is Corsi. Hence its appearance. Everyone born on the island then, if did not have a family name, would become "Corsi", a name used as a method of identification and belonging. In addition to this, other surnames were also born derived from this same sense, from the belonging of the people depending on the region of the island in which they lived, such as the surnames Corse, Corso, Corsini, Bonnaccorsi or Corsú, the last one more primitive and unusual.[2]
Due to its proximity to the maritime regions of Italy, its primitive people had a tradition of barter and exchange with invaders and visitors, which culminated, centuries later, in the cultural improvement, development and enrichment of large mercantile families, in addition to speech, adapting the dialects received most frequently in language, in particular the Italian dialect of Tuscany, which led to the initial migration and adaptation of these people in several Italian areas, especially in the north, being highlighted the provinces of Lucca, Florence, Arezzo, Modena, Massa-Carrara and the entire region of Tuscany.[2][3]
Florentine history
The books "Firenze illustrata in its history: famiglie, monumenti, arti and scienze dalla sua origine fino ai nostri tempi" (The Illustrated History of Firenze: Families, Monuments, Arts and Science from its origin to our time) of Emilio Bacciotti, published in 1879,[4] and the "Sommario storico delle famiglie celebri Toscane, compiled by Demostene Tiribilli-Giuliani, riveduto dal Cav. Luigi Passerini" (Historical summary of the famous Tuscan families, compiled by Demostene Tiribilli-Giuliani, reviewed by Cav. Luigi Passerini), from 1855, describe among others, the origin of the Corsi family and some of their achievements.[5]
Described as powerful Roman patricians of Pope Gregory VII, they have the Lombard royal blood,[5] being described as a family initially endowed with many forges, that had just arrived from Fiesole and Dicomano.[4] At the beginning of the XIII century the 'Corsis' were gaining space among the Florentine noble families, all due to their possessions and wealth, probably brought from Corsica.[4]
They were part of Guelphs and Ghibellines war, with their prominence to Carlo di Bonamico, who fought alongside the Ghibellines in the battle of Montaperti in 1260 and ended up being sentenced to confinement in 1268 with their defeat.[4][5]
At the time, several titles of priorists and gonfalonieres had been gived to this dinasty, which raised their social status, having in their greatest prominence the magistrate Bardo di Lapo di Corso di Bonamico, in 1354, ex-Consul of the Florentine Nation to Naples of 1346.[5] From this date until 1530 there were 9 gonfalonieres and 28 priority members, a significant milestone taking into account that large Florentine houses and older than the Corsis did not even have a representative in these categories.[4]
Giovanni di Lapo di Corso di Bonamico, Bardo's brother, was ambassador to Pistoia in 1373.[5]
The main division of this dynasty took place in the 14th century with the children of Francesco di Lapo di Corso, when they were divided into two branches, those of Lapo, and those of Domenico, ending this first initial phase of the family in Florence.[4][5]
Notable members of this era:
Carlo di Bonamico: Warrior of Guelphs and Ghibellines war in 1260.
Bardo di Lapo di Corso di Bonamico: gonfaloniere in 1354 and former Consul of the Florentine Nation to Naples in 1346.
Giovanni di Lapo di Corso di Bonamico: Diplomatic ambassador in Pistoia in 1373.
Corso di Buonnacorso di Lapo: He was elected priorist in 1298.
Francescho di Corso, called "Cecco": He was elected a Priori five times between the years of 1304 and 1316, as well as becoming gonfaloniere in 1313.
Nanni di Corso: Convicted and beheaded in 1382 for helping Giovanni d'Azzo degli Ubaldini
Branch of Lapo di Francesco
The Lapo di Francesco Branch is the most prestigious, the one that contains more possessions and titles, all because it suffered from more tragedies, which eventually ended up accumulating all the wealth of its family members in only one descending branch, which gathered all the assets.
Lapo's sons were Corso, Tommaso and Simone, and Corso and Tommaso died without leaving any descendants.
Corso di Lapo was ambassador of the Sultan to Constantinople in 1465. Simone, his brother, was elected Priori in 1422, this Simone was also the great-grandfather of Jacopo, who was a Commissioner and Ambassador of Pisa and were executed in the same city in the year 1529 on suspicion of treason to the Medici house. In addition to Jacopo, Francesco his son was also executed, which led to anger and the initial separation of his branch from that of Domenico, given that Giovanni di Bardo di Bartolo di Domenico was considered one of the main responsible for the denunciation and execution of his family members.[5]
Beside Francesco, Jacopo had other children, these being Lisabetta, who married the Capponi family, Simone, Giovanni, Bardo, Antonio, Luigi and Caterina. Many of these, like Bardo, built a monstrous wealth based on the Silk Merchant activity, which earned titles in the cities of Naples and Messina, joining the nobiliarchic cast of the respective cities and receiving the title of Barons of Turri and Moggio, granted by the King of the Two Sicilies and today in the hands of Carlo di Raimondo Corsi, born in 1965. Antonio became gonfaloniere in the city of Florence.[5]
The highlight of this generation, however, rests in the hands of Simone and Giovanni, who really kept the family's status alive in Florence. Simone, for example, was very close and admired by the Medici dynasty, being elected senator in 1565 and deputy ambassador of obedience to Pope Pius V. Francesco, son of Simone, was treasurer of Ferdinando I de' Medici, Grand Duke of Tuscany and Cosimo II de' Medici, Grand Duke of Tuscany. Jacopo, also from Simone, was a good friend of Cosimo I de' Medici, Grand Duke of Tuscany, having personally accompanied him to Rome for his coronation as Granduque in 1569, where he became his chief ambassador and commissioner, in addition to, like his father, becoming a senator in 1596. His known descent ceases to be cataloged in Luigi di Antonio, a war captain who worked for France, who died in 1777, not knowing of new ones and possible descendants.[5]
Giovanni marries Alessandra Della Gherardesca, daughter of a Count. From Giovanni's initial lineage, three children are born, these being Jacopo Corsi, Giulio and Bardo. Giulio died young without leaving any descendants. Bardo, the most prominent of this lineage, was appointed to be ambassador for Pope Urban VIII and also for the Kings of England in 1623, but canceled the designations for having been ill at the time. He spent much of his life in Naples with the uncle of the same name, from whom he learned the art of Mercantilism, and he has enriched more than any other member of this House. In 1617 he bought for 11,700 ducats the fief of Caiazzo of the Kingdom of Naples, being elevated and condecorated by the King Philip III of Spain, who granted the title of Marquis to the Family. As he died without heirs in 1625, the title was automatically transferred to the children of Jacopo Corsi, children of Giovanni, his brother, whom he had raised as children. When, by sovereign concession, they won the highest title of Counts of Montepescali, in the same century they disposed of the Marquesado of Caiazzo, which holder, in the figure of Antonio di Giovanni di Jacopo, sold the Marquesado to Giovanni di Antonio di Corso Corsi, of the Domenico Branch, also son of Giovanna Boni, powerful noble family of Lucca of ancient Silk Merchants.[5]
Jacopo, Giovanni's son, is always remembered for his liberalism, being portrayed by chroniclers as called "Father of the Poor" or "Father of the Miserable" by the people, for their various altruistic actions. He was one of the main sponsors and patrons of his generation, to whom we owe today for the creation of Melodrama and Opera as we know it. He was sent by Ferdinando I de' Medici, Grand Duke of Tuscany as ambassador to Venice in 1593, dying early in the year 1602, when he left five underage children, two men and three women.[5]
Jacopo's youngest daughter Alessandra became a nun in 1616, Maria died three years after her father's death, at the age of seven, Settimia married Agnolo Guicciardini, while Giovanni and Lorenzo managed the estate and managed the family fortune.[5]
Lorenzo di Jacopo builds a brilliant career in the court of Rome and in 1642 is sent as ambassador of the King Louis XIII of France after the death of Marie de' Medici. He ruled the city of Avignon in France as vice-delegate of the Papacy from 1653 to 1655, being elected Cardinal in 1656 and the main Commissioner and Ambassador of the city of Rome and its respective districts. His early and unexpected death in the same year that he was elected Cardinal dethroned the family that was betting on Lorenzo as the main nobility of this generation.[5]
Giovanni, the last remaining member until then, was ambassador of Milan in 1634 to gratify the Cardinal who had been elected governor in that state. In 1637 he was elected Senator and in 1655 the main speaker of Pope Alexander VII in Rome, when he unleashed his illness, probably a Stroke, resulting in his death in 1661, leaving three children. After his death, a chapel was erected in his honor by his daughter Laura, who had married the Marquis de Bontieri and Boccheggiano Giovanni Vincenzo Salviati. Domenico Maria Corsi, in turn, had been educated years before by Uncle Lorenzo, and destined for an ecclesiastical life, being elevated to Cardinal in 1668, when he became the main provider of the dynasty in this generation. He obtained, after great deeds, the Vescovado of Rimini and the Legacy of Ferrara, dying in this last position in 1697.[5]
From Giovanni's last son, Antonio, who is born Giovanni di Antonio, who was the best friend of Cosimo III de' Medici, Grand Duke of Tuscany and Governor of Civitavecchia, having died at the age of 38, leaving three children, Domenico, who died at a young age, Antonio, and Maddalena, married to Roberto Capponi.[5]
Antonio and Laura Riccardi had Giovanni and Cosimo. Giovanni, his firstborn, was the greatest hunter in the court of Leopold II, Holy Roman Emperor and an adviser, being the father of Tommaso and Francesco Antonio, the first of whom died early in 1833. Francesco, on the other hand, had two female daughters, Maddalena and Giulia, the first married to Carlo Settimmani, and the second to his cousin Amerigo Corsi, son of Giuseppe di Cósimo, to preserve their property and family name.[5]
Cosimo, Giovanni's brother, was a gentleman of Malta and ambassador to Milan in 1766 at the behest of Leopold II, Holy Roman Emperor to greet Ferdinand I of Austria for his recent marriage. It is from him that Giuseppe, father of Camillo, and Cosimo was born, the latter elevated to Cardinal in 1844 in Pisa, in addition to Amerigo, his firstborn, whom he marries Cousin Giulia of the main branch to maintain the surname and assets relatives.[5]
From Amerigo and Giulia are born Francesco, who became the main and only descendant of this branch at the end of the 19th century, administrator of all Florentine goods, whom he continued the offspring in the following years, also passing on, eventually, Guicciardini and Salviati families when the offspring bumped into female hands again.
Notable members of this era:
Corso di Lapo: he was ambassador of the Sultan to Constantinople in 1465 and married Bartolomea Degli Albizzi, participating in anti-Medici factions.
Simone di Lapo: he was elected Priori in 1422.
Tommaso di Lapo: he was an important merchant, married to Monna Aurea Degli Alberti, having a very important influence in Kingdom of Hungary.
Jacopo di Simone: Commissioner and Ambassador of Pisa, executed in the same city with his son Francesco in 1529. His death marked the initial break in contact and friendship between the descendants of Lapo di Francesco and Domenico di Francesco, given that his descendants believed in the direct involvement of Giovanni di Bardo di Bartolo di Domenico in this execution.
Simone di Jacopo:. he was very close and admired by the Medici dynasty, being elected senator in 1565 and deputy ambassador of obedience to Pope Pius V
Francesco di Simone: he was treasurer of Ferdinando I de' Medici, Grand Duke of Tuscany and Cosimo II de' Medici, Grand Duke of Tuscany
Jacopo di Simone: he was a great friend of Cosimo I de' Medici, Grand Duke of Tuscany, having personally accompanied him to Rome for his coronation as Granduque in 1569, where he became its main ambassador and commissioner, in addition to, like his father, becoming a senator in 1596
Luigi di Antonio: War captain who worked for France, killed in 1777.
Lisabetta di Jacopo: He married the Capponi family.
Bardo di Jacopo: built on the basis of the Silk Merchant activity a monstrous wealth, which earned titles in the cities of Naples and Messina, joining the nobiliarchic cast of the respective cities and receiving the title of Barons of Turri and Moggio, granted by the King of the Two Sicilies.
Carlo de Raimondo: born in 1965 he is the current Baron of Turri and Moggio.
Antonio di Jacopo: he was a gonfaloniere.
Giovanni di Jacopo Corsi: marries Alessandra Della Gherardesca, daughter of a Count. From Giovanni's initial lineage, three children are born, these being Jacopo Corsi, Giulio and Bardo.
Jacopo Corsi: he is always remembered for his liberalism, being portrayed by chroniclers as called "Father of the Poor" or "Father of the Miserable" by the people, for their various altruistic actions . He was one of the main sponsors and patrons of his generation, to whom we owe today for the creation of Melodrama and Opera as we know it. He was sent by Ferdinando I de' Medici, Grand Duke of Tuscany as ambassador to Venice in 1593, dying early in the year 1602, when he left five underage children, two men and three women.
Bardo di Giovanni: the most prominent of this lineage, was appointed to be ambassador of Pope Urban VIII and also of the Kings of England in 1623, but canceled the appointments for being sick at the time. He spent a large part of his life in Naples with the uncle of the same name, with whom he learned the art of Mercantilism, and he has enriched more than any other member of this House. In 1617 he bought for 11,700 ducats the fief of Caiazzo of the Kingdom of Naples, being elevated and decorated by the King Philip III of Spain, who granted the title of Marquis to the Family. As he died without heirs in 1625, the title was automatically transferred to the children of Jacopo Corsi, children of Giovanni, his brother, whom he had raised as children.
'Alessandra di Jacopo' : she became a nun in 1616.
'Settimia di Jacopo' : he married Agnolo Guicciardini.
'Lorenzo di Jacopo' : builds a brilliant career in the court of Rome and in 1642 is sent as ambassador of the King Louis XIII of France after the death of Maria of Médici. He ruled the city of Avignon in France as vice-delegate of the Papacy from 1653 to 1655, being elected Cardinal in 1656 and the main Commissioner and Ambassador of the city of Rome and its respective districts. His early and unexpected death in the same year that he was elected Cardinal dethroned the family that bet on Lorenzo as the main noblemanic provider of his generation.
Giovanni di Jacopo: He was the second Marquis de Caiazzo, was ambassador of Milan in 1634 to gratify the Cardinal who had been elected governor in that state. In 1637 he was elected Senator and in 1655 the main speaker of Pope Alexander VII in Rome, when he unleashed his illness, probably a Stroke, resulting in the his death in 1661, leaving three children.
Laura di Giovanni: she married the Marquis de Bontieri and Boccheggiano Giovanni Vincenzo Salviati and erected a chapel in memory of her father's death.
Domenico Maria Corsi: he was educated by Uncle Lorenzo and destined for an ecclesiastical life, being elevated to Cardinal in 1668, when he became the main provider of the dynasty in his generation. He obtained, after great deeds, the Vescovado de Rimini and the Legacy of Ferrara, dying in this last position in 1697.
Antonio di Giovanni di Jacopo: he was the third Marquis of Caiazzo, and the first Count of Montepescali, selling the Marquesado to Giovanni di Antonio di Corso Corsi, of the Branch of Domenico, also son of Giovanna Boni, powerful noble family of Lucca of ancient Silk Merchants.
Giovanni di Antonio: according to Count de Montepescali, he was the best friend of Cosimo III de' Medici, Grand Duke of Tuscany and Governor of Civitavecchia, having died at the age of 38, leaving three children, Domenico, who died at a young age, Antonio, and Maddalena, married to Roberto Capponi.
Antonio di Giovnni: third Count of Montepescali, married Laura Riccardi.
Giovanni di Antonio and di Laura Riccardi: Fourth Count of Montepescali, was the greatest hunter of the court of Leopold II, Holy Roman Emperor and councilor, being the father of Tommaso and Francesco Antonio, the first of whom died early in 1833, leaving the lineage of this branch for the first time under female control.
Francesco Antonio di Giovanni: he was the fifth Count of Montepescali, father of Giulia and Maddalena.
Cósimo di Antonio and di Laura Riccardi: he was a gentleman of Malta and an ambassador in Milan in 1766 at the behest of Leopold II, Holy Roman Emperor to greet Ferdinand I of Austria for his recent marriage. It is from him that Giuseppe, father of Amerigo, Camillo and Cosimo is born.
Cósimo di Giuseppe: was elevated to Cardinal in 1844 in Pisa.
Amerigo di Giuseppe: a cadet member of the main branch, who marries Cousin Giulia of the main branch to maintain the surname and family assets.
Giulia di Antonio Francesco: she was the sixth Countess of Montepescali, being the first woman to assume this position.
Francesco di Giulia: he was the seventh Count of Montepescali, became the main and only descendant of this branch at the end of the 19th century, administrator of all Florentine goods, to whom he gave continuity of offspring in the following years, also eventually passed on to the Guicciardini and Salviati families when the offspring came up against female hands again.
Branch of Domenico di Francesco
The Domenico Branch is more complex than the Lapo Branch, because in addition to not having suffered major disasters and losses, it is a lineage of many children that are dispersed not only throughout the Tuscany region, but also for the rest of the world. The phenomenon of the accumulation of wealth and possessions seen in the Lapo branch, which had only three children, with two of them having died without apparent descent, in Domenico's alone becomes unfeasible, given the initial number of heirs of Domenico himself, who there were seven children, six of them men, which encouraged them to build their wealth outside the safe haven of Florence.
Domenico di Francesco's children were Bartolo, Francesco, Matteo, Tita, Piero, Bardo and Bartolomeo. Tita married Odoardo Acciaioli, captain of the people of Pistoia, and Bartolomeo disappeared at an early age. Domenico's lineage is then built by the remaining five children.
Bartolo di Domenico was a prominent silk merchant and Florentine investor, having investments with the noble Frescobaldi family and big names in Kingdom of Hungary, being classified by Tratte di Florence in 1426 as the richest man in your home. However, Bartolo had many children, which ended up dividing his wealth with death, being the father of Simone, Bernardo, Bardo, Domenico, Lorenzo, Antonio and Paolo. Son Simone is described as having rented a palace to the Ungheri family. Bernardo, in turn, had two children, Bartolomeo and Bartolo, who built great wealth and gradually moved from Florence. Bartolomeo di Bernardo's son, Lionardo Lorenzo, was responsible for marrying Margherita Capponi, daughter of Count Neri di Gino Capponi, being one of the most influential nobles in the city of Pisa in the year 1525. Lionardo Lorenzo's lineage was dispersed among many children, who migrated and settled in the city of Sinalunga, Rigomagno, Monte San Savino and Marciano, in the provinces of Arezzo and Siena. Bernardo di Bartolo di Bernado, in turn, was a Priori in 1535, having this lineage established in the city of Prato, in Reggio Emilia. Buonnacorso di Antonio di Bartolo, formerly, was also a Priori in 1559.
However, the most outstanding member of Bartolo's descendants was Giovanni di Bardo di Bartolo di Domenico, son of Francesca Tedaldi, born in 1472 and elected gonfaloniere in 1512. Giovanni was the personal ambassador of the King Ferdinand II of Aragon in Spain, having resided in this country in 1513. He was ambassador of Venice in 1512, of Siena in 1521, and of Charles V, Holy Roman Emperor, when he had elevated to the title. He returned as ambassador to Venice in the year 1524, and the same year he returned to Spain to assist and represent Charles V, Holy Roman Emperor in the convention of the republic that he would deal with the King of France. Clement VII, who was a friend of Giovanni, when he ascended the papacy, entrusted the tutelage of Alessandro de' Medici, Duke of Florence, and in the reign of Ippolito de' Medici he ordered Giovanni to rule Florence, since Ippolito was very young. When the Medici house fell and was briefly removed from power in 1527, Giovanni had to flee with Cardinal Silvio Passerini, when they hid and remained in the city of Lucca, where he played a large role in ensuring that the fortresses of Pisa were not handed over to the rebels. As the war continued, Giovanni came to be considered a worthy rebel, when he also had to leave Lucca to take refuge in Rome under the protection of his friend Pope Clement VII. Giovanni was severely criticized by the descendants of Lapo di Francesco, because they accused him of being strictly responsible for the beheading of Jacopo and his son Francesco in 1529, in the city of Pisa, which increasingly alienated Domenico's descendants those of Lapo. When he was sent back to Florence after the Medici house had recovered his power, he was elected gonfaloniere, a situation in which he used his position to pursue Silvestro Aldobrandini, almost being sent to the gallows, escaping out of unusual pity of Baccio Valori. In 1532 he was elected Senator of Florence and in 1534 he was sent as a trusted ambassador for Pope Paul III. After the early death of Alessandro de' Medici, Duke of Florence, whom Giovanni had created and was his pupil, he was against the rise and election of Cosimo I de' Medici, Grand Duke of Tuscany. Cosimo, on ascending, to avoid new conflicts among the elite of Florence, delegated Giovanni as ambassador in 1537, and later placed Giovanni on his state council, which was a member until his death in 1547.[5]
In the line of Francesco di Domenico there are no great highlights except the painter Antonio di Francesco, born in 1471. Said Il Corso, Antonio was responsible for most of the collection and Renaissance paintings of Lucca Cathedral, marrying Margherita Bartoli, daughter of Giuliano, one of the most important silk merchants of the city in the year of 1494. Antonio's work and recognition as an artist, in addition to the marriage he had arranged, motivated him to abandon Florence and become a permanent citizen of the city of Lucca in 1496, a situation in which he transferred all his goods and possessions for that city, with his administrator being Giovanni di Jacopo di Pietro, of the Piero di Domenico lineage.
Matteo di Domenico, Domenico di Lapo's third son, married the Pigli dynasty, having a direct relationship with the descendants of Salvestro de' Medici. Matteo's daughter, Alessandra, married the Politician and Count Recco Capponi, and his other daughter, Ginevra, with the Marquis Gino Ginori. Matteo's sons were Giovanni, Matteo and Iacopo. Giovanni, the eldest, moved from Florence at a young age, a situation in which he started to live in Lucca, where he registered from 1444 his children, one of them, Michele, mentioned as heir to some sculptures by Matteo Civitali, for having married Brigida, brother of the artist. Iacopo di Matteo, however, cultivated and maintained his relationship with the Médici house, marrying his daughter Catherina Lisabetta Corsi with Tanai de' Medici, of the bankers branch.
Piero di Domenico, one of the youngest children, however, was the one who maintained the general administration of the family, given that his descendants settled powerfully in different places in Tuscany. His daughter Nera married the powerful banker Francesco Sassetti, and his daughter Violanta Sassetti with Count Neri Capponi. Antonio di Piero, said el pulito married Maddalena Degli Albizzi, a situation in which he managed a good part of the assets of the Degli Albizzi family between the years 1431 to 1434. Corso di Piero, in turn, built his wealth outside the city of Florence, a situation in which he moved, after having already had a son in the city, to Santa Maria a Monte, in the province of Steps. Bartolomeo di Piero became a Priori in 1444. Piero's main lineage, however, was that of Domenico di Piero.
Domenico di Piero had two children, Giuliano and Pietro, the first of whom was one of the most influential investors and bankers in the city of Pisa in 1467. Pietro, for his part, focused on the acquisition of land around Tuscany, a situation in which he is mentioned with an extensive will in 1524. As Giuliano had no children, all of his investments and investments returned to Pietro's children, who in turn, also left them large plots, which were the focus of major court battles in 16th century both in the province of Pisa such as Modena, Luca and Florence. Pietro's three sons, Domenico, Giovanni Giacomo and Jacopo Corsi eventually split up after the division of the will left by his father and uncle. Domenico di Pietro moved to the city of Calci in Pisa, a situation in which he managed and touched a good part of the investments left by Giuliano. In Calci, Domenico di Pietro had two children, Simone and Giovanna, the latter having married Count Niccolao Barsotti.
Giovanni Giacomo di Pietro, the middle son, moved to Sestola in the province of Modena, having only one son named Stefano. Stefano married Antonia Dei Tintori, daughter of a powerful Florentine family who at that time still had many of their Palaces in Florence. This relationship had Antonio, in 1602, who married Maria Ferrari in 1631 in Sestola. From this relationship they had other children, also born in the same city, where they remained for many centuries.
Jacopo di Pietro was a teenager when sharing the goods left by Father Pietro, and later by Uncle Giuliano, a situation in which he found himself harmed and abandoned by his brothers when they moved to other Italian cities. Jacopo then remained in the city of Florence, cultivating contact and relationships with other isolated branches of Domenico di Lapo, in which his only son Giovanni was invited by the painter Antonio di Francesco, from the branch of Francesco di Domenico, to be administrator of his goods in the city of Lucca, where he was moving permanently in 1496.
In Lucca, with the help of the painter Antonio di Francesco, Giovanni di Jacopo acquired experience in the area of administration and accounting, in addition to establishing relationships with large merchant families such as the Bartoli and Boni, a situation in which it started to invest part of its assetsonium. The dynasty started to gain respect and notoriety in the city of Lucca, both by the descendants of Matteo di Domenico, and by that Antonio di Francesco, and now, by the children of Giovanni di Jacopo who had become a great investor. Corso di Giovanni, for example, married his son Antonio to Giovanna Boni di Santo, a great nobleman in the region of Garfagnana, where he moved years later.
The son of Antonio and Giovanna Boni, called Giovanni, was the one listed as the richest in the city of Stazzema in 1679, a situation in which he received, in the same year, the proposal of Antonio di Giovanni di Jacopo, from the Branch of Francesco di Lapo, to acquire the Marquesado of Caiazzo, since they had become Counts of Montepescali. After the purchase, Giovanni di Antonio's descendants began to be recognized as Marquises, he was the fifth of the Marquesado in question.
Giovanni's son, named Antonio, was born in 1668 in Alto of San Pellegrinetto, today incorporated in Fabbriche di Vergemoli, marrying Giovanna Bataglia, daughter of a Baron. After Antonio, another Giovanni was born in February 1699, a situation in which he married Maria Maddalena, of the powerful family Rossini of Florence, daughter of Giovanni Rossini and that Giulia di Antonio di Corso Corsi and Giovanna Boni. From this last Antonio and Maria Maddalena are born Jacopo, Andrea and Marco.
Andrea di Antonio dies at the age of 22 in 1757, and Jacopo di Antonio, the eldest son, has a single daughter who marries Count Marc'antonio Magri, ending up creating an instability of succession in the Marquisado of Caiazzo with the death of Jacopo di Antonio on 4 January 1804, between Jacopo's daughter and younger brother Marco di Antonio, who was still alive, aged 66 and inherited the Marquesado under the hereditary laws of Agnatic Primogeniture.
Marco di Antonio, Ninth Marquis of Caiazzo, who was married to Pellegrina Bertone, passes away on 13 November 1817, a situation in which he is succeeded by his son Giovanni, who at the time lived in Stazzema with his wife of first nuptials Maria Domenica of the Fini dynasty. After Maria Domenica's death, Giovanni remarried Elisabetta Donatini, devotees of the Pieve de Santa Maria Assunta de Stazzema, who lamented the death of both on 11 October 1843 by apparent poisoning.
After the murder of Marquis Giovanni and his wife Elisabetta Donatini, the oldest son and heir of the Marquesado, Arcangiolo, moved with his family from Stazzema to Pietrasanta, where he resided until his death in April 1879, a situation in which he was succeeded by his eldest son Angiolo, who succeeded Pietro.
Pietro di Angiolo faced perhaps the worst phase of the family at the end of the 19th century, where resources in Italy became increasingly finite, described as a time when many had something to sell, but few had what to buy. With many wars, devastated, and with the recent Italian unification, Pietro became a Settler, emigrating to Brazil with his wife Teresa Graziani in September 1896, by the steam Assiduità. In Brazil, Pietro settled in the city of Ribeirão Preto at Fazenda Emboaba, later Colonial Antonio Prado Center and later Santa Tereza sanatorium, today a hospital, cataloged in Colonial Centers in São Paulo, being also one of the major financiers of Metropolitan Cathedral of Ribeirão Preto. One of Pietro's daughters, Irma, married the Italian Mario Rinaldini of Arezzo, one of the investors and managers of Mogiana Railway Company, as well as married Olga to Nazzareno Matricardi, another investor. Iole, the eldest daughter, married Hermenegildo Marinho. Of Pietro's three sons, only one remained in Ribeirão Preto, this successor being Marquis Pilade Corsi.
Pilade had ten children, of whom ten, eight women. The most prominent was Marquesa Olga Corsi, successor to Pilade, who married Alfredo of the Marciano family and worked at Industrias Reunidas Factories Matarazzo in the decade of 1950. Olga in turn had four children, and of the four, three were women. Almir, his eldest son, married in 1994 Angela Capalbo, daughter of Antonio Capalbo, an Italian family from the region of Calabria. Almir had two children, a man and a woman, Almir's oldest and successor, Gislaine, was born in 1977 and was a great businesswoman, doing business in Ribeirão Preto, her hometown, and London in England. Marcos Vinícius and Matheus were born from Gislaine.
Marcos Vinícius, the eighteenth marquis of Caiazzo, born in 1997, is the current representative of the branch of Domenico, based in London, where he is now known as Vinci Corsi, his stage name, being an Italian-Brazilian lawyer, singer, composer and writer.
Notable members of this era:
Tita di Domenico: married Odoardo Acciaioli, captain of the people of Pistoia
Bartolo di Domenico: he was a prominent silk merchant and Florentine investor, having investments with the noble Frescobaldi family and great names of Kingdom of Hungary, being classified by Tratte di Florence in 1426 as the richest man in his household.
Simone di Bartolo di Domenico: is described as having rented a Palace to the Ungheri family.
Lionardo Lorenzo: was responsible for marrying Margherita Capponi, daughter of Count Neri di Gino Capponi, being one of the most influential nobles in the city of Pisa in the year 1525. Lionardo Lorenzo's lineage was dispersed among many children, who migrated and settled in the city of Sinalunga, Rigomagno, Monte San Savino and Marciano, in the provinces of Arezzo and Siena.
Bernardo di Bartolo di Bernado: he was a Priorist in 1535, and this lineage was established in the city of Prato, in Reggio Emilia.
Buonnacorso di Antonio di Bartolo: was a priority in 1559
Giovanni di Bardo di Bartolo di Domenico: son of Francesca Tedaldi, born in 1472 and elected gonfaloniere in 1512. Giovanni was the personal ambassador of the King Ferdinand II of Aragon in Spain, having resided in this country in 1513. He was ambassador of Venice in 1512, of Siena in 1521, and of Charles V, Holy Roman Emperor, when he elevated to the title. He returned as ambassador to Venice in the year 1524, and the same year he returned to Spain to assist and represent Charles V, Holy Roman Emperor in the convention of the republic that he would deal with the King of France. Clement VII, who was a friend of Giovanni, when he ascended the papacy, entrusted the tutelage of Alessandro de' Medici, Duke of Florence, and in the reign of Ippolito de' Medici he ordered Giovanni to rule Florence since Ippolito was very young.
Antonio di Francesco: born in 1471 and died in 1515. This, said Il Corso was responsible for most of the collection and Renaissance paintings of Lucca Cathedral, marrying Margherita Bartoli, daughter of Giuliano, one of the most important silk merchants of the city in the year of 1494.
Matteo di Domenico: third son of Domenico di Lapo, he married the Pigli dynasty, having a direct relationship with the descendants of Salvestro de' Medici.
Alessandra di Matteo: married the Politician and Count Recco Capponi.
Ginevra di Matteo: he married Marquis Gino Ginori.
Giovanni di Matteo: he moved from Florence at a young age, a situation in which he started to live in Lucca, where he recorded from 1444 his sons, one of them, Michele, mentioned as heir to some sculptures by Matteo Civitali, for having married Brigida, brother of the artist
Catherina Lisabetta Corsi: marries Tanai de 'Medici, of the bankers' dynasty.
Nera di Domenico: he married the powerful banker Francesco Sassetti, and his daughter Violanta Sassetti with Count Neri Capponi.
Antonio di Piero: said el pulito married Maddalena Degli Albizzi, a situation in which he managed much of the assets of the Degli Albizzi family between the years of 1431 to 1434.
Corso di Piero: he built his wealth outside the city of Florence, a situation in which he moved, after having already had a son in the city, to Santa Maria a Monte, in the province of Pisa.
Bartolomeo di Piero: he became a Priorist in 1444.
Giuliano di Domenico di Piero: he was one of the most influential investors and bankers in the city of Pisa in 1467.
Pietro di Domenico di Piero: focused on land acquisition around Tuscany, a situation in which he is mentioned with an extensive will in 1524.
Domenico di Pietro: moved to the city of Calci in Pisa, a situation in which he managed and touched a good part of the investments left by Giuliano. In Calci, Domenico di Pietro had two children, Simone and Giovanna, the latter having married Count Niccolao Barsotti.
Giovanni Giacomo di Pietro: moved to Sestola in the province of Modena, having only one son named Stefano.
Stefano di Giovanni Giacomo: he married Antonia Dei Tintori, daughter of a powerful Florentine family who at that time still had many of his Palaces in Florence. Antonio had this relationship in 1602.
Antonio di Stefano: he married Maria Ferrari in 1631 in Sestola. From this relationship they had other children, also born in the same city, where I stayedthey have seen for many centuries.
Giovanni di Jacopo di Pietro: he was invited by the painter Antonio di Francesco, from the Francesco di Domenico branch, to be manager of his assets in the city of Lucca, where he was staying. definitely changing in 1496. In Lucca, with the help of the painter Antonio di Francesco, Giovanni di Jacopo acquired experience in the area of administration and accounting, in addition to establishing relationships with large merchants families such as the Bartoli and Boni, a situation in which he started to invest part of his assets.
Antonio di Corso di Giovanni: he married Giovanna Boni di Santo, a great nobleman in the region of Garfagnana, where he moved years later.
Giovanni di Antonio di Corso: he was listed as the richest in the city of Stazzema in 1679, a situation in which he received, in the same year, Antonio's proposal di Giovanni di Jacopo, from the Branch of Francesco di Lapo, to acquire the Marquesado de Caiazzo, since they had become Counts of Montepescali. After the purchase, Giovanni di Antonio's descendants began to be recognized as Marqueses, he being the fifth of the Marquesado in question.
Antonio di Giovanni di Antonio'': Sixth Marquis of Caiazzo, was born in 1668 in Alto de San Pellegrinetto, today incorporated in Fabbriche di Vergemoli, marrying Giovanna Bataglia, daughter of a Baron.
Giovanni di Antonio di Giovanni: Seventh Marquis of Caiazzo, was born in February 1699 and married Maria Maddalena, of the powerful Rossini family of Florence, daughter of Giovanni Rossini and that Giulia di Antonio di Corso Corsi and Giovanna Boni. Jacopo, Andrea and Marco are born from him and Maria Maddalena.
Andrea di Antonio'': dies at the age of 22 in 1757.
Jacopo di Antonio: Eighth Marquis of Caiazzo, has a single daughter who marries Count Marc'antonio Magri, ending up creating a succession instability in the Marquesado de Caiazzo when he dies in 4 de Janeiro 1804, between his daughter and younger brother Marco di Antonio, who was still alive, aged 66, and inherited the Marquesado by the hereditary laws of Agnatic Primogeniture.
Marco di Antonio'': Ninth Marquis de Caiazzo, was married to Pellegrina Bertone, died on 13 November 1817.
Giovanni di Marco: Tenth Marquis of Caiazzo, lived in Stazzema with his first nuptial wife Maria Domenica of the Fini dynasty. After Maria Domenica's death, Giovanni remarried Elisabetta Donatini, devotees of the Pieve de Santa Maria Assunta de Stazzema, who lamented the death of both on 11 October 1843 by apparent poisoning.
Arcangiolo di Giovanni: Eleventh Marquis de Caiazzo, after his father's murder, moved with his family from Stazzema to Pietrasanta, where he resided until his death in April 1879.
Angiolo di Arcangiolo: Twelfth Marquis de Caiazzo.
Pietro di Angiolo: Thirteenth Marquis de Caiazzo, faced perhaps the worst phase of the family at the end of 19th century, where resources in Italy became increasingly finite, described as a time when many had what to sell, but few had what to buy. With many wars, devastated, and with the recent Italian unification, Pietro became a Settler, emigrating to Brazil with his wife Teresa Graziani in September 1896, by the steam Assiduità. In Brazil, Pietro settled in the city of Ribeirão Preto at Fazenda Emboaba, later the Colonial Nucleus Antonio Prado and later sanatorium Santa Tereza, today a hospital, cataloged in the Colonial Centers in São Paulo, being also one of the biggest financiers of the Metropolitan Cathedral of Ribeirão Preto.
Irma di Pietro di Angiolo: he married the Italian Mario Rinaldini de Arezzo, one of the investors and managers of Mogiana Railway Company.
Olga di Pietro di Angiolo: married Italian Nazzareno Matricardi, an investor in Mogiana Railway Company.
Pilade di Pietro: Fourteenth Marquis de Caiazzo, had ten children, of whom ten, eight women.
Olga di Pilade: Fifteenth Marquesa de Caiazzo, being the first woman, married Alfredo of the Marciano family and worked at Industrias Reunidas Factories Matarazzo in the 1950. She had four children, and of the four, three were women.
Almir di Olga: Sixteenth Marquis de Caiazzo, married in 1994 Angela Capalbo, daughter of Antonio Capalbo, an Italian family from the Calabria region.
Gislaine di Almir: Seventeenth Marquesa de Caiazzo, the second woman with this title, was born in 1977 and was a great businesswoman, with business in Ribeirão Preto, his hometown, and London in England. Marcos Vinícius and Matheus were born from Gislaine.
Marcos Vínicius, called "Vinci Corsi": Eighteenth Marquis de Caiazzo, born in 1997, is the current representative of the Domenico branch, based in London, where today he is known as Vinci Corsi, his stage name, being an Italian-Brazilian lawyer, singer, composer and writer.
Legacy
Artistic
Books, Compositions and Music
Giulio Caccini
From 1578, Jacopo Corsi was in contact for at least a decade with Giulio Caccini, giving him money and countless gifts.[6]
For at least a year, Giulio was a salaried artist and sponsored by Jacopo, and provided not only artistic works, but also several pieces of furniture for the family: a studio made in marble and a walnut side table for folding and holding music books.[6]
The friendship between the two had been long-standing and the Composer was known to be an intermediary in the purchase of furniture from Palazzio Corsi, at the request of Jacopo. In 1604, two years after the death of his friend, Giulio was still in charge of selling some of his goods, such as "a large wooden organ" and a viola.[6]
Mascherata di Pan
The Mascherata di Pan was one of Jacopo's first compositions, created in 1586. However, it was never presented or published, and ended up being lost in time, having only recorded its existence in the Family Archives located in the Archivo di Stato di Firenze.[6]
Daphne
Although very forgetful about the credits of the song, if it weren't for Jacopo Corsi, it would be sure that Daphne did not exist. This is because in addition to contributing to part of the play and sponsoring it, he ceded his palace, Palazzo Tornabuoni in Florence, for its private debut at the Carnival of 26 December 1597, under the eyes and presence of important authorities Florentine.[7]
It all started in 1590, when Jacopo Corsi became associated with the singer and composer Jacopo Peri. Both felt that contemporary art was inferior to classical Greek and Roman works, and decided to try to recreate the Greek tragedy of Apollo and Daphne. Peri and Corsi had the participation of Ottavio Rinuccini to create the libretto. Years later, around 1594, the project was completed and was consecrated as the first world opera.[8][6]
At the Carnival of 26 December 1597, Jacopo presented her in his palace in the presence of distinguished authorities, such as Mr. Don Giovanni de' Medici, having incredible repercussions and promoting opera in the most noble Florentine layers.[6]
Corsi and Peri were friends for a long time and shared the same ideals, a friendship that lasted centuries through their works.[6]
Six fragments of the composition survived, two by Corsi and four by Peri, however, most of the music written by Corsi and Peri is lost. The libretto, by Ottavio Rinuccini, survived intact.[9]
Euridice
Although it was an opera commissioned for a wedding by the Medici family, it did not finance the production of this opera, much less organize it. Most of the funding and support came from Jacopo Corsi and his brother Bardo, who, using their own heritage and influence, carried it out as part of the festive wedding between Marie de' Medici and the King Henry IV of France which they were organizing. It was Bardo himself who advanced a large sum necessary for the dowry of the newlyweds, and, for the same reason, that the court celebrated the realization of this wedding in his Palace, at Villa Corsi, today known as Villa Guicciardini Corsi Salviati.[6]
The Opera, which opened on 6 October 1600 at the Palazzo Pitti (Pitti Palace), was composed by Jacopo Peri and Giulio Caccini, with libretto by Ottavio Rinuccini, same components and members who built "Dafne", years ago, close friends of Jacopo Corsi.[6]
The memorable event in this musical feature was also characterized, mainly, by the scenography of Ludovico Cigoli, in the creation of costumes of great beauty designed by him.[6]
In addition to financing and directing the event, Jacopo also participated playing the harpsichord (an old kind of piano) in the presentation.[6]
Years after the presentation, in Jacopo's inventory punctuated after his death in 1602, the costumes designed by Ludovico were found. The clothes of Pluto and Orpheus, and, in addition, ten dresses of nymphs draped in Gold. Evidently, they remained in Jacopo's possession because he had financed Euridice and made his existence possible.[6]
All the achievements and efforts of Jacopo Corsi are summed up in Euridice, a culmination of years of study, research, and contacts that he has acquired throughout his life. Euridice affirmed the family socially before the highest cream of Florence nobles, and her attempts at resurrection and homage persist to this day. In commemoration of this feat, Jacopo commissioned the statue of "Orpheus" to Cristofano Stati in 1600.[6][10]
L'Argonautica
Years after the first success with Euridice and the excellent marital organization of the wedding of Marie de' Medici and the King Henry IV of France, in 1608 Bardo Corsi was in charge of Medici family to take care of the wedding celebration of Cosimo II de' Medici, Grand Duke of Tuscany and Mary Magdalene of Austria, however, on this occasion, Bardo did not count on the help of his brother Jacopo Corsi and his such an influence in the artistic environment of Florence, since he had died in 1602.[6]
Among other things, Bardo financed one of the eighteen fantastic ships for L'Argonautica's presentation on the River Arno on 3 November 1608 in Florence. Bardo ordered the ship directly from Giulio Parigi, the official architect of the celebrations, and from Pompeo Caccini, the designs of costumes and equipment for the crew of his boat. According to the description given by Francesco Cini, the Bardo's ship was that of the Anfião, the mythical husband of Niobe who managed, with the magic of the sound of his lyre, to move the stones necessary to build the walls of Thebes.[6]
A host, at the time, was interpreted by the Bardo himself, who, in that capacity, directed the ship. The scene made by Bardo, with all the others from Argonáutica, were depicted in an engraving by Remigio Cantagallina.[6]
Sculptures
Orpheu
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On 23 February 1601, a year before his death, Jacopo Corsi, in celebration of the success of the opera "Euridice" which was financed, supported and organized by him and his brother for the wedding of Maria de' Medici and the King Henry IV of France, ordered the sculpture of "Orpheus" and a "Triton" to Cristofano Stati for ten escudos, being recognized as the last of his orders.[6][10]
Although the statue of "Triton" was lost in time, "Orpheus" still lives.[6]
From 1601 to 1607, the statue rested in Jacopo's Main Palace of Arts, located on Via Del Parione.[6]
In 1607 the statue was transported to the Tornabuoni Palace by his brother Bardo Corsi, to integrate his personal collection of works of art and receive a room for his dedication, the "sala d'Orfeu" located on the 7'2nd floor of the palace. "Orpheu" was seen, since then, under the possession of the Marquis of Caiazzo Bardo Corsi, Jacopo's brother, who had inherited his assets and curated his children until his death. Bardo cared too much about the statue, which in theory, related to his brother and gave it outstanding prominence in his palace. Not only completing the original project of Jacopo and Cristoforo Stati of having conceived it as a sculpture for a fountain, but also guaranteeing the relief that it possessed in the family's history. The statue was still able to express its symbolic meaning and served as a reminder of the works and actions of Jacopo, who had died prematurely, also referring to a remarkable event in the history of the family: the representation of Eurídice, in turn connected with the marriage of Maria de' Medici, a fact that sanctioned the importance and prominence of the Corsi family among the aristocracy linked to the Medici court.[6]
In 1638, 14 years after the death of Bardo Corsi, the children of Jacopo, Monsignor Lorenzo Corsi, who like his father had cultivated a love for music and was a patron, and Marquis Giovanni Corsi, who he had inherited the assets and titles of Bardo, who had died without children, redecorated the room in Orpheus, giving it maintenance, at the same time when they were focused on the beautification of Palazzo Tornabuoni and Villa Corsi in Sesto Fiorentino. Jacopo's memory was still present at this time, where he was constantly remembered and associated with the statue by his children.[6]
In the 19th century, the family suffered a great economic collapse, which fortune the Corsi family never recovered. "Orpheu" was a consequence of this serious crisis and was sold by Marquis Tommaso Corsi, a member of the branch of Lapo di Francesco that owned the Palazzo Tornabuoni at the time, on 10 January 1824, where he mistakenly classified the statue as "An Apollo that plays the violin". This attitude, to this day, is still considered an offense to the memory of Jacopo to the other cadet members of the family.[6]
After being sold continuously between 1926 and 1930, it was part of the luxurious catalog by Stella Rubinstein, called Blumenthal and the collection of Joseph Spiridon, at the beginning of the 20th century.[6]
Soon after, at a period not specified in history, it became the property of American tycoon George Blumenthal, until it was donated to the Metropolitan Museum of New York in 1941 where it remains today.[6][11]
Orpheus entered the museum with the erroneous attribution to Pietro Francavilla and the equally incorrect but understandable identification, Apollo, the fault of Tommaso himself who had so sold it years ago, being corrected only in 1948 when Filippo Rossi Provided the managers of the Metropolitan Museum with precious attribution correction on the piece in his possession.[6]
Busts Made by Giovanni Caccini
In 1588, Jacopo hired the sculptor Giovanni Caccini and the painter Santi di Tito for 63 ducats for the posthumous realization of the Bust of Giulio Corsi, Jacopo's brother who died in 1586 in Madrid, Spain, and his father Giovanni di Jacopo, who had died many years before.[6] The works have been completed and erected in 1593, at the Palazzio Corsi, in Sesto Fiorentino.[10]
Jacopo liked the work of the painter Santi di Tito so much that he commissioned other paintings, making him, years later, the main portraitist of the family. He first ordered one for himself, another for his daughters Giulia and Alessandra, and a last one with his son Giovanni. These paintings, unfortunately, were lost, with only the payment tickets remaining at the Archivo di Stato di Firenze.[12]
For his two marriages he hired Niccolò Betti to paint the family's coat of arms and renovate the Corsi Palace.[12][10]
After his death, his goods and collections were left to his children, curated by Bardo Corsi, the only brother left alive at the time.
The Miseno
When in 1573, Antonio di Jacopo paid 223 lire to the sculptor Stoldo Lorenzi for making 4 fountains for the garden in Villa Corsi, he was portrayed as Messer, an honorary title given mainly to the Italian judiciary at the time, specifically to judges, implying that Antonio has pursued a legal career throughout his life. The "Miseno" statue was commissioned to decorate the "Fountain of the Court", probably inspired and a tribute to the Court to which Antonio belonged as a jurist. This statue, in fact, still exists and can be found in the New York Metropolitan Museum, in addition to the fountain, which can be found in the courtyard of Villa Corsi in Sesto Florentino.[6]
Mercury by Zanobi Lastricati
Mercury is the messenger of the gods, also known as Hermes. He is typically portrayed as a young man with wings on his hat or feet.[13]
It was commissioned by Lorenzo Ridolfi in 1549 and completed in 1551, where it rested, for a time, in the center of the courtyard of Palazzo Ridolfi, in Florence. The base inscription states that "Florentine friends Zanobi Lastricati and Ciano Compagni made the figure to learn". The latter was a perfumer employed by the Duke of Florence and, based on an ancient Mercury marble sculpture, he made a model, which Lastricati then used to cast bronze. The inscription expresses the idea that the sculptures of antiquity represented an ideal worthy of imitation. The original pedestal was supported by bronze turtles, now in a private American collection.[13]
In 1607 it was located in the Palazzo Tornabuoni, and had been one of Bardo Corsi's acquisitions at the time, belonging to his personal collection for many years.[6]
Today he is at the Walters Art Museum in Baltimore, in the United States, as part of a private collection, on the second floor.[6][13]
Family Coat of Arms by Orazio Mochi
Orazio Mochi had been a student of Giovanni Caccini, a close friend of the Corsi family and mainly of Jacopo Corsi. For this reason, he was commissioned by Bardo Corsi in 1610 to build the coat of arms of his family that would rest in the Courtyard of the Palazzo Tornabuoni, purchased in 1607.[6]
The sculpture, which persists to the present day, is still found in the Palace and in the same place where it was placed since 1610.
Stemma Corsi di Orazio Mochi.png
Family Busts by Alessandro Rondoni
Domenico, educated by his uncle Monsignor Lorenzo Corsi, inherited his appreciation and love for the arts, in addition to his great ambition and, with his death in 1656 by the great plague, all his collections of paintings from an important Fiorentine collection.[10]
During the years 1685 to 1686 he paid the sculptor Alessandro Rondoni to build the busts of his family. There were 35 escudos for each one, from his father Giovanni, his brother Antonio, his admired uncle Monsignor Lorenzo, and one he would keep in Rome.[14]
In 1687, just before the completion of the busts, it is described that Domenico received, in Rome, sixty paintings from Florence, coming from the Corsi Palace, all of women, flowers, fruits, children and animals which he would send to Florence to finish the gallery he wanted to assemble to ornament where the busts would be.[10]
After the busts were completed in 1688, with the exception of Domenico, all the other members were already dead when it came to ordering, executing and finalizing the project, all of which were considered, in short, posthumous constructions. An unpublished painting by Mario Balassi had been used to build the bust of his father Giovanni.[10]
These four works contracted by Domenico lasted for centuries in the gallery of Villa Corsi Salviati, in Sesto Fiorentino, and were very well taken care of by their descendants.[10]
With his death and the publicity of his inventory designed in 1697, several rare works and statues in his possession were discovered that were divided among several people. His bust stayed in Rome where he had served for many years, and the busts of his family members, who were already in Sesto Fiorentino, remained there, and of the other works many were lost, because they were not under the protection of the family in Florence.[10]
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Busto di Giovanni by Alessandro Rondoni.jpg -
Busto di Antonio Corsi by Alessandro Rondoni.jpg -
Bust of Domenico Maria Corsi by Alessandro Rondoni. -
Bust of Monsignor Lorenzo Corsi by Alessandro Rondoni.
Paintings
Painting by Giovanni Corsi by Mario Balassi
A year after his father's death, on 11 March 1662, Domenico Maria Corsi paid Mario Balassi 15 escudos to make two posthumous paintings of his father that would be used as a foundation for the construction of Alessandro Rondoni's Busts, years later. .[10]
One painting was intended for Domenico in Rome and the other was for Giovanni's widow, Mrs. Maria Virginia Vitelli.[10]
The ties between the Balassi family and Casa Corsi were old. Before this hiring, in 1630, Mario had already worked for both Giovanni and the late Giovanni, as well as for Domenico's uncle, Monsignor Lorenzo Corsi. Mario's brother Fausto, in turn, had also worked as a caretaker of the Corsi and Medici household goods.[10]
Painting by the brothers Valore and Domenico Casini
Around 1628, when he was still young, Giovanni di Jacopo Corsi commissioned a Painting from the Casini brothers. Giovanni is depicted in all his youthful pride, dressed in a sumptuous elegant Turkish-style costume next to a dog, probably a dog that belonged to the family.[10]
The dogs were very remembered and portrayed by the family in several aspects. From 1571 to 1573, Giovanni Antonio Corsi's great-uncle hired Stoldo Lorenzi to build a statue, a Pluto (God of Wealth) of gray stone, which would remain in the fountain where the dog's water was received.[6]
Not far away, in 1593, Jacopo Corsi, Giovanni's father, commissioned Romolo Ferrucci del Tadda to make some animal sculptures for Villa Corsi, proving to be a family tradition of contact with animals.[6]
Titles
County of Montepescali
By sovereign concession, in the 17th century the Lapo di Francesco branch conquered the greater title of Counts of Montepescali in the figure of Antonio di Giovanni di Jacopo, its first owner.
Heredity:
1st Count of Montepescali: Antonio di Giovanni di Jacopo (sovereign concession)
2nd Count of Montepescali: Giovanni di Antonio (inherited)
3rd Count of Montepescali: Antonio di Giovnni (inherited)
4th Count of Montepescali: Giovanni di Antonio and di Laura Riccardi (inherited)
5th Count of Montepescali: Francesco Antonio di Giovanni (inherited)
6th Countess of Montepescali: Giulia di Antonio Francesco (inherited)
7th Count of Montepescali: Francesco di Giulia (inherited)
Marquisate of Caiazzo
In 1617, Bardo di Giovanni bought for 11,700 ducats the fief of Caiazzo of Kingdom of Naples, being elevated and condecorated by the King Philip III of Spain, who granted the title of Marquis to Family. As he died without heirs in 1625, the title was automatically transferred to the children of Jacopo Corsi, children of Giovanni, his brother, whom he had raised as children. When, by sovereign concession, they won the highest title of Counts of Montepescali, in the same century they disposed of the Marquisate of Caiazzo, which holder, in the figure of Antonio di Giovanni di Jacopo, sold the Marquisato to Giovanni di Antonio di Corso Corsi, of the Domenico Branch, also son of Giovanna Boni, powerful noble family of Lucca of old merchants of Silk.
Heredity:
1st Marquis of Caiazzo: Bardo di Giovanni (bought)
2nd Marquis of Caiazzo: Giovanni di Jacopo (inherited)
3rd Marquis of Caiazzo: Count of Montepescali Antonio di Giovanni di Jacopo (inherited-sold)
4th Marquis of Caiazzo: Giovanni di Antonio di Corso (bought)
5th Marquis of Caiazzo: Antonio di Giovanni di Antonio (inherited)
6th Marquis of Caiazzo: Giovanni di Antonio di Giovanni (inherited)
7th Marquis of Caiazzo: Jacopo di Antonio (inherited)
8th Marquis of Caiazzo: Marco di Antonio (inherited)
9th Marquis of Caiazzo: Giovanni di Marco (inherited)
10th Marquis of Caiazzo: Arcangiolo di Giovanni (inherited)
11th Marquis of Caiazzo: Angiolo di Arcangiolo (inherited)
12th Marquis of Caiazzo: Pietro di Angiolo (inherited)
13th Marquis of Caiazzo: Pilade di Pietro (inherited)
14th Marquise de Caiazzo: Olga di Pilade (inherited)
15th Marquis of Caiazzo: Almir di Olga (inherited)
16th Marquise de Caiazzo: Gislaine di Almir (inherited)
17th Marquis of Caiazzo: Marcos Vinícius, said "Vinci Corsi" (inherited)
Barony of Turri and Moggi
Bardo di Jacopo built a monstrous wealth based on the Silk Merchant activity, which earned him titles in the cities of Naples and Messina, joining the noble cast of the respective cities and receiving the title of Baron of Turri and Moggio, granted by the King of the Two Sicilies and today in the hands of Carlo de Raimondo Corsi, born in 1965.
Heredity :
1st Baron of Turri and Moggio: Bardo di Jacopo (concession)
(vacancy)
2nd Baron of Turri and Moggio: Raffaelle di Bardo (inherited)
3rd Baron of Turri and Moggio: Leopoldo di Raffaelle (inherited)
4th Baron of Turri and Moggio: Raimondo di Leopoldo di Raffaelle (inherited)
5th Baron of Turri and Moggio: Carlo di Leopoldo di Raffaelle (inherited)
Properties
Florence
Museo Horne / Palazzo Corsi-Horne / Palazzo Fossi
The Palazzo Corsi-Horne is a Florence palace located in the Santa Croce area, at number 6 of the Via de 'Benci, corner with the Corso dei Tintori, Palazzo Fossi being number 4 on the same street. It was the first property of all acquired by Corsi, which they called Palazzo Corsi. In the 14th century, the houses in this area belonged to the powerful Alberti family and were one Palace. In 1489, due to debt, Alberti sold the property to Jacopo di Simone, who expanded and remodeled the palace from 1495 to 1502 in the dictates of the Renaissance to quadruple its value. Some scholars mistakenly attribute the purchase of the palace to Simone and Luigi, but that would be impossible because both were born after the year 1500. The confusion, justified, is because the owner of the Palace (which was taught), remained for the brothers, including Luigi and Simone who lived there longer, after the execution of the father in 1529. The renovation project carried out by Jacopo was attributed to Giuliano da Sangallo or, according to a greater number of scholars, to Simone del Pollaiolo, said il Cronaca. It was not a very large building, but this was compensated with a well-designed design and very rich stonework, becoming a model for multiple palaces erected in the 16th century.[15]
In 1556, with the election of Simone to the Florentine Senate, Giovanni, who until then lived in Palermo, was invited to return to Florence. Before he bought his own house, he lived in the Corsi-Horne Palace until 1563. It is noteworthy that at that time the palace was described as belonging only to Simone, who must have bought the other brothers' share at some point.[6] It became a non-fixed dwelling place for the owners and after Giovanni's departure, the palace was rented in 1589 by Gino di Filippo of the Rinuccini family, the same family that helped the Corsi in the composition of Daphne's libretto years later, in 1597.[6][15] In the 18th century, from 1700 to 1800, the palace passed from many hands, when it finally left the Corsi . It was first inhabited by the Nencini family, who sold it in 1812, and in the first half of the 19th century it passed to the Fossi, who completely remodeled the building, dividing it into two properties so that they had a Palace of their name.
The rooms belonging precisely on the axis intended for kitchens, warehouses and employee rooms have become what we know today as Palazzo Fossi, and the rest have remained as belonging to Palazzo Corsi-Horne.[6] The then Palazzo Fossi had a sad end, it remained in this family until 1909, until it was sold and acquired by the Union of Insurance against Accidents at Work. In 1933 it was sold to the Mutual Fund between Agricultural and Forestry Insurance Companies for Work Accidents, and merged with INAIL in 1943, officially becoming a Government property.[6] On the other hand, the fate of what was left of the Palazzo Corsi-Horne was glorious. In 1912 it was acquired by Herbert P. Horne, after having tried other Florentine palaces, such as Palazzo Da Cintoia. Horne, from 1912 to 1915, promoted and coordinated a demanding restoration of the building according to the appearance it should have had at the beginning of the Renaissance with the help of engineer Eugenio Campani. It eliminated the partitions with other buildings, including those left by the Palazzo Fossi, the surfaces and coverings made in previous centuries, thus returning legibility and value to the Renaissance building, with a work area on the ground floor, underground cellar (accessible by stairs accessible to horses and pack animals), main floor with the main apartments, and finally a second floor with the kitchens (usually located there so that the smoke does not pass through the house) and the employees' rooms.
After Horne's death in 1916, the palace was ceded to the State and not to the Municipality of Florence by testamentary legacy, and a foundation was created to take care of the works of art kept there and make them accessible to the public. The Horne Foundation Museum was opened in 1921, thanks to the and two friends of Horne, Giovanni Poggi and Carlo Gamba Ghiselli. The latter, in particular, was president of the foundation and curator of the museum from Horne's death to his death in 1963, being responsible for the general preparation of the collections he still presents today.[6] Already affected by some finishing works carried out between 1921 and 1922 with funding from the Ministry of Education (functional reform to make it accessible as a museum), it was submitted to the consolidation of some structures and restoration of the loggia of the top floor in 1954 and 1958 under the care of architect Guido Morozzi of the Monuments Superintendence.
On 4 November 1966, the museum was seriously damaged during the Florence flood, being located in one of the "lowest" areas and, therefore, most severely affected by the disaster. Although it only reopened ten years later, the restoration of the building and collections was only completed in 1989. The new layout of the ground floor and second floor was directed by Ugo Procacci and Luciano Bellosi, updated by new and significant interventions in the recent years thanks to the support of public and private entities. Between 1997 and 2000, the building's façades were restored under the care of architect Marinella Del Buono, of the Superintendence of Environmental and Architectural Heritage, and in 2004 the plasterwork of the internal elevations (architect Fúlvia Zeuli). In the same year, the complex restoration of the basement was completed by a project by the architect Antonio Fara and with the decisive contribution of Cassa di Risparmio di Firenze.[6] The palace appears on the list drawn up in 1901 by the Directorate-General for Antiquities and Fine Arts, as a monumental building considered a national artistic heritage, being subject to architectural restrictions since 1913, shortly after the destruction made by Fossi family of much of the building from 1832 to 1849.[6]
Popular House in the Santo Leo neighborhood
In 1563, the Silk Merchant Giovanni Corsi bought this house, which was located on the current Via dei Pecori (which was formerly called "via della Vacca"). It was a part of the grand palace that belonged for a long time to the Boni Family, who were merchants of Silk, as well as the Corsi. More precisely, it was located between the mercato vecchio and the ghetto ebraico, today, both demolished. The Palazzo dei Boni, which included the space of the house belonging to the Corsi, was demolished in 1803 by Fabio Orlandini, owner of the building at the time, who transformed it into a garden. It was in this old house that Jacopo Corsi, Bardo Corsi and Giulio Corsi spent their childhood. In 1587 when Jacopo Corsi married Settimia Bandini, the family home on via della Vacca underwent a series of improvements and new furniture that involved painters, carpenters and upholsters. In 1584 Jacopo acquired two stone statues that previously belonged to the garden of Don Luigi de Toledo's palace, which remained at the door of this residence until they were removed in 1607, and relocated to Bardo's Palazzo Tornabuoni.[6]
Villa Corsi, later known as Villa Corsi Salviati and Villa Guicciardini Corsi Salviati
It was acquired from Luca di Andrea Carnesecchi in 1503 by Simone di Jacopo, being an extra house, since she lived in the old Palazzo Fossi left by her father Iacopo di Simone. This Villa, which today is one of the most important in the history of Florence, when purchased was nothing more than a simple farm which was changed over the years by the Corsi family. The renovations to the Villa did not even begin until 1556, generations later, after the then Senator Simone invited his brother Giovanni di Jacopo to return to Florence, from which he had moved after his father's death years before. Between 1564 and 1569, it went from Simone to Giovanni, which carried out several reforms that provided housing in the place. Giovanni installed all the existing water and plumbing installations in the place, and made several repairs to the Villa, but died young, in 1571, before he could finish everything he wanted in Villa Corsi Salviati.
Giovanni's death, however, did not stop the reforms of the place, which were taken over by his brother Antonio Corsi, who had taken over the care of his orphaned children: Jacopo Corsi, Giulio Corsi and Bardo Corsi. Antonio, from 1571 to 1573, led the creation of the Garden in the place and provided considerable sculptural embellishment. He hired Stoldo Lorenzi and his workshop, mostly made up of his family, to build four fountains for the place. One of these, unprecedented in all of Florence, represented the figure of Miseno, the mythical trumpeter of Aeneas mentioned in the Virgilian Aeneid. Giovanni's decision, and especially that of Antonio Corsi, in equipping his garden with fountains, may have something to do with his business in the market, and because they spent a long time in Naples and Messina, places that register a generalized presence of gardens and fountains, public and private. The four fountains consisted of a gray stone newt for the fountain in the middle of the garden, a marble Miseno for the court fountain, a gray stone putto that receives water from the dog and a stone river for the lawn strip garden. . The relationship between Stoldo, his workshop, family and the Corsi lasted for many years, being one of the main artists who helped in the renovation of Villa Corsi.
In 1570 Antonio Corsi bought musical instruments for the Villa, like a Cravo (kind of piano), destined for himself or for one of his nephews, Bardo or Jacopo, who ensured that they received a more complete musical education than that received by the families common and rich areas of Florence at the time. After Antonio's death in 1587, he was replaced by Jacopo Corsi and Bardo Corsi in the administration of the place, since Giulio Corsi had died prematurely in 1586. Jacopo was very interested in the garden left by his father Giovanni and uncle Antonio, to the point to want to document it, becoming the main place for social and especially cultural gatherings of the family, mainly for its mythological sculptures, the cave and the jungle, an ideal setting for concerts and musical performances promoted by Jacopo before the purchase of the house in Via del Parione. In 1593, Jacopo ordered from Romolo Ferrucci del Tadda some animal sculptures for Villa Corsi. In fact, Romolo had worked for the family years before, and he had carved a stone whale to ornament the cave's fountain in the same building. To this source he also added two owls and, in 1595, a chicken, the last elements of an ornithological repertoire useful to indicate the probable repetition, in Sesto, of an exemplary cave fountain.
For recreational purposes and being able to receive worthy guests of the highest Florentine class, Jacopo provided a place for basketball games, a pastime that Jacopo often shared with Piero and Giovanni de 'Medici and Virginio Orsini, his friends. On 16 September 1595, Jacopo and Bardo hired Pietro Bernini for 145 lire to make an important sculpture for Villa Corsi. It is the first time that the artist's name emerges in the Corsi's family accounting and later appears in another register in which, in May 1598, he informs that the sculpture has been completed, being a peasant who squeezes grapes, today kept at the Staatliche Museum in Berlin .
After the death of Jacopo in 1602 and his brother Bardo in 1624, the Villa passed in 1625 at the hands of Monsignor Lorenzo, who owned a vast collection of Art built in Rome, and his brother, Marquis Giovanni, who was the current owner and resident of the Villa. Both invested heavily in renovations, mainly in the acquisition of sculptures and other goods.[6] In 1625, Giovanni tried to order still lifes for landscaping and paintings by Baccio del Bianco, Francesco Furini and Pandolfo Sacchi for, together with Lorenzo, create a vast and extensive family gallery.[10]
This gallery, which was completed in the same year, runs through the entire left facade of the Villa that overlooks the garden, being one of the greatest artistic achievements made by the two brothers and which continues today.[10] In 1632, at the behest of Giovanni and Lorenzo, the Villa and its garden also underwent major changes with the hiring of the architect Gherardo Silvani and Antonio Novelli for the restoration of the sculpturespaintings made in the sixteenth century by Antonio Corsi and the construction of a gallery with views of the garden.[16][10] Among the restored works were the Misênio and the Triton by Stoldo Lorenzi and the Satyr by Pietro Bernini.[10] Continuously, from 1640 to 1641, they hired Baccio del Bianco to produce the Frescoes of the Villa and the coat of arms that now adorns its main entrance. Unfortunately, with the exception of the Coat of Arms, many of these works are now lost.[16] Finally, they renovated the entire garden, creating an aviary, a well in the center of the garden, a fish tank and a system of wild vegetation that adorn the entire environment.[16]
The star-shaped garden then became even more immaculate, with a hall for citrus trees and a beautiful field in front of it, with some strategically designed caves, with animal statues inside made by Romolo Del Tadda.[16] Such teachings were followed continuously by Giovanni's children, Count of Montepescali Antonio Corsi and Cardinal Domenico Maria Corsi, who, taught by his uncle Lorenzo and his father, were in charge of renovating, transforming and acquiring more artistic works and new busts, in addition to creating new galleries and terraces for the Villa. In 1687, before the completion of Alessandro Rondoni's busts, sixty paintings, including "portraits of women, flowers, fruits and many kinds of animals" arrived from Rome to the Villa in Florence and were added to the Family Art gallery.[10] Continuously, with Domenico's death in 1697 at the end of the 17th century, Villa Corsi seemed to be at its peak.
In the 18th century, more precisely in 1750, fascinated by the grandeur of the place, Giuseppe Zocchi, one of the greatest engravers of his generation, portrayed the Villa in one of his paintings, entitled "" 'The Villa of the Marquesses Corsi' '".[17] In a family inventory from 1757, the presence of several artistic works on display at the Corsi Gallery is reported: two marble statues of three arms high, one representing Lucrezia Roma, two groups of marble three arms high representing nymphs and shepherds, a statue of a goat playing with a winged boy with a bowl of grapes on a marble base, another of a panther with an elf and a box of grapes, and four marble busts representing, respectively, Monsignor Lorenzo Corsi, Count of Montepescali Antonio Corsi, Cardinal Domenico Maria Corsi and Marquis Giovanni, as well as six oil paintings on canvas three and a half arms high, with insignia of the order of the European courts of dark wood.[10] In addition to these outstanding sculptures, many others were numbered, which, built in 1740 by Vittorio Barbieri, represented mythological figures and were placed in the ornaments of the family's orange groves outside the Villa.[10]
In the second half of the 18th century, the gallery's space was reduced to create two living rooms, the courtyard was closed, and the paintings and statues gradually began to be relocated in a more compact way.[10] In the 19th century, acquisitions were decreasing and when the family went through a severe financial recession they undid some works of art. Since then it has passed from generation to generation, without any prominence, just changing its name, from Villa Corsi to Villa Corsi Salviati, to then Villa Guicciardini Corsi Salviati, now open for visits by tourists interested in learning more about Florentine history. Most of the family administration's historical archives rested in this Villa, and today they belong to the Archivo di Stato di Firenze, donated by the descendants in the early 20th century.[6][10]
Villa Montughi
It was purchased in 1586 by Jacopo Corsi and the Bardo Corsi for 5,500 ducats from the failed heirs of Bernardo de Niccolò Soderini. In Jacopo's inventory, shortly after his death in 1602, the existence of a large harpsichord (similar to the piano) was reported in the residence. The property was sold from the family in 1816.[18]
House on Via del Parione
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It was purchased in 1593 by Jacopo Corsi and resided there and held several meetings of his Academy. It was purchased from Don Giovanni de 'Medici, to whom he was very close and close. This house was in front of Don Giovanni's Palace and was sold by Jacopo's heirs in 1610, a few years after his death. This building, between 1598 and 1600, underwent several whitewashing reforms and the implementation of furniture, all commissioned by Jacopo. It is in this same place that the numerous antiques that had arrived from Rome for him were found, and that had been restored by his sculptors Giovanni Caccini and Cristofano Stati. In January 1599, a "large room" was built in which gilded leather vestments, tapestries, silver-fringed doors, sculptures and busts (most likely the busts made by his family by Giovanni Caccini in 1593) converged on some " stools "painted with the arms and colors of the family by Pompeo Caccini, son of the musician Giulio, also employed by Corsi for many years. A large painting was assigned to this same room with the representation of a Triumph of Bacchus by Andrea Bôscoli, with a Bacchanal procession provided by Cristoforo Stati himself to Jacopo in 1599, erroneously attributed to Diego Velázquez. Many tapestries were purchased, and in large quantities, by Jacopo and Bardo. Ideal naturalistic scenes to create Arcadic and pastoral environments that seem to anticipate the solutions proposed by Cigoli for Euridice's first official representation at Palazzo Pitti. These expenses are intertwined, in increasing purchases and commissions for musical instruments, their respective tunings, and music roles. Indicators show that a "masquerade ball" and a "comedy" were held, that is, very plausibly, Daphne's representations and the first rehearsals for Euridice. It was a kind of private stage for Casa Corsi, merely recreational and cultural, for an illustrious audience, designed in this sense, too, so that Jacopo's commitments to music would not conflict with the normal daily life of the family, which it would have endured for a long time the comings and goings of musicians, scenographers, painters and sculptors necessary for the preparation of complex scenic representations.[6]
Palazzo Tornabuoni
It was purchased in 1607 by the Marquis of Caiazzo Bardo Corsi and remained in the family's possession until the end of the 19th century, around 1880. It became the main palace of Bardo and a great reference, even today, for the history of florence. In this palace, thousands of works rested, and still rests, from paintings to sculptures. In 1607, five years after the death of Jacopo Corsi, Bardo, who had inherited his assets, the curatorship of his children, and, consequently, his works of art, ordered to transport everything that Jacopo had most valuable to him. decorate the Tornabuoni Palace, including Cristofano Stati's "Orpheu". One of the main acquisitions that accompanied the palace was Zanobi Lastricati's "Bronze Mercury", which belonged to the building's previous owners. In addition, the palace was decorated by Bardo with two stone statues that previously belonged to the garden of the palace of Don Luigi de Toledo, acquired by his brother Jacopo in 1584, and a "stone cock", which had been sculpted by Orazio Mochi, as well as family crests, also carved by Orazio, which were only completed in 1610, three years after the purchase of the Palace. In 1609 he began to reorganize the small garden that was located at the rear of the building, facing the current Via dei Pescioni. For this he carried out the "garden divisions", and in September sent "four corbelli of sponges and niches from Pisa to a source". Materials that would serve to cover a cave or niche carved into the wall, probablyas a backdrop for the statue of Orpheus, which he had inherited from his brother Jacopo years before, making Tornabuoni the reference it is today for Florence.[6]
Other Palaces
Palazzo Corsi-Albizi
Giardino Corsi Annalena
Finaly Villa
Palazzo del Circolo dell'Unione
Palazzo Corsi in the city of Anghiari (Arezzo)
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References
- ↑ Litta, Pompeo (1827). Famiglie celebri italiane. Medici di Firenze. Search this book on
- ↑ 2.0 2.1 Fusina, Ghjacumu (1981). Langue Corse Incertitudes et Paris. Ajaccio, Scola Corsa (in corsu). p. 81. Search this book on
- ↑ Jaffe, Alexandra (1999). Ideologies in Action: Language Politics on Corsica. Walter de Gruyter. ISBN 3-11-016445-0. Search this book on
- ↑ 4.0 4.1 4.2 4.3 4.4 4.5 Bacciotti, Emilio (1879). Firenze illustrata nella sua storia: famiglie, monumenti, arti e scienze dalla sua origine fino ai nostri tempi (in italiano). ISBN 978-1013098918. Search this book on
- ↑ 5.00 5.01 5.02 5.03 5.04 5.05 5.06 5.07 5.08 5.09 5.10 5.11 5.12 5.13 5.14 5.15 5.16 5.17 Tiribilli-Giuliani, Demostene (1855). Sommario storico delle famiglie celebri Toscane, compilato da Demostene Tiribilli-Giuliani, riveduto dal Cav. Luigi Passerini (in italiano). ISBN 978-1277580228. Search this book on
- ↑ 6.00 6.01 6.02 6.03 6.04 6.05 6.06 6.07 6.08 6.09 6.10 6.11 6.12 6.13 6.14 6.15 6.16 6.17 6.18 6.19 6.20 6.21 6.22 6.23 6.24 6.25 6.26 6.27 6.28 6.29 6.30 6.31 6.32 6.33 6.34 6.35 6.36 6.37 6.38 6.39 6.40 6.41 6.42 6.43 PEGAZZANO, Donatella. Committenza e collezionismo na Cinquecento La famiglia Corsi a Firenze tra musica e scultura 2010, Rivista Edifir Edizioni Firenze s.r.l., Le Voci del Museo nº. 22, Collana di Museologia e Museografia, 80 pages, ISBN 978-88-7970-451-9 Search this book on .
- ↑ NNDB's Jacopo Peri page
- ↑ Cotello, Beatriz (2004). "Metamorphosis of Dafne in the history of the opera". Scielo, volume Circe clás. Mod. N.9, Santa Rosa ene. One page (9): 101–121. doi:10.2307/4603641. ISSN 1851-1724. JSTOR 4603641.
- ↑ Dafne . Libretto by Ottavio Rinuccini
- ↑ 10.00 10.01 10.02 10.03 10.04 10.05 10.06 10.07 10.08 10.09 10.10 10.11 10.12 10.13 10.14 10.15 10.16 10.17 10.18 10.19 10.20 10.21 BACCHI Andrea, BERTI Federico and PEGAZZANO Donatella. Rondoni and Balassi: The Patronage of Domenico Maria Corsi 2016, volume 1, 46 pages, ISBN 9788894112016 Search this book on ..
- ↑ Metropolitan Museum of Art in New York. = 1 "Orpheu" by Cristoforo Sati
- ↑ 12.0 12.1 CARTER, Tim. Music Renaissance Patronage and Printing 2000, Ashgate, The University of Chicago Press on behalf of Villa I Tatti, The Harvard Center for Italian Renaissance, 294 pages ISBN 9780860788171 Search this book on .
- ↑ 13.0 13.1 13.2 Walters Art Museum. Mercury Charles Street: Second Floor: Sculpture Court, Baltimore, USA.
- ↑ Archivio di Stato di Firenze, Guicciardini Corsi Salviati, Libri di amministrazione 552, c. 75); Villa Corsi, Sesto Fiorentino
- ↑ 15.0 15.1 CARTER, Tim. Renaissance Late Printing and Florence 2000, Ashgate, The University of Chicago Press on behalf of Villa I Tatti, The Harvard Center for Italian Renaissance, 294 pages ISBN 9780860788171 Search this book on .
- ↑ 16.0 16.1 16.2 16.3 GOUDRIAAN, Elisa 20Corsi & f = false | Florentine Patricians and Their Networks: Structures Behind the Cultural Success and the Political Representation of the Medici Court (1600–1660) Volume 14, 408 pages, ISBN 978-90-04-35358-9, 978-90-04-34652-9 Search this book on .. 26 October 2017.
- ↑ BACCHI, Andrea. BERTI, Federico. PEGAZZANO, Donatella. The Patronage of Domenico Maria Corsi Volume 1, 46 pages, ISBN 9788894112016 Search this book on .. 2016, Milan.
- ↑ La Chancellerie des Universités de Paris. / 1427 Villa Montughi all'epoca di splendore con fratelli Corsi
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