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———.
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———.
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———.
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———.
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———.
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Panorama of Florence looking north with
Palazzo della Signoria
(left) and
Duomo
(right): The center of Florence looks much as it did in Lorenzo’s day: a sea of terra-cotta rooftops dominated by the centers of secular and religious power, the
Palazzo della Signoria
and the
Duomo
. (Miles Unger)

Palazzo della Signoria
: Built as the seat of government, the
Palazzo della Signoria
(also known as the Palace of the Priors and
Palazzo Vecchio
or “Old Palace”) was a symbol of Florentine might. Its fortresslike appearance reflects the pervasive fear of civil unrest. (Miles Unger)

Palazzo Medici-Riccardi: Cosimo built the new family palace on the widest street in Florence, the Via Larga, as a symbol of his wealth, taste, and power. Designed by Michelozzo di Bartolomeo and with sculptures by Donatello, decorations by artists like Antonio del Pollaiulo and Paolo Ucello, and an unparalleled collection of antiques and rare manuscripts, the building was as much a museum as a residence. (Miles Unger)

Benozzo Gozzoli,
Adoration of the Magi
, Palazzo Medici-Riccardi, c. 1459: This fresco in the chapel of the Medici Palace, ostensibly a biblical scene, contains numerous portraits of the family—including Cosimo, riding a donkey, flanked by Piero on a white horse—along with their chief allies. The ten-year-old Lorenzo is depicted in the retinue of the youngest Magus, Caspar. (Art Resource)

Duomo
, Interior: The center of religious life in Florence was also the scene of its most famous act of violence, the attack on Giuliano and Lorenzo, April 26, 1478. In the distance is the high altar, beneath Brunelleschi’s famous dome, near where Giuliano was struck down. (Art Resource)

Domenico Ghirlandaio, “Angelo Poliziano with the Sons of Lorenzo,” from
The Confirmation of the Rule of the Order of St. Francis by Pope Honorius III,
the Sassetti Chapel, Santa Trinita, c. 1483–86: This fresco was commissioned by Francesco Sassetti, general manager of the Medici bank. In homage to his boss he included portaits not only of Lorenzo but also of his children. Here Angelo Poliziano is shown with Lorenzo’s three sons, from left to right, Giuliano, Piero, and Giovanni. (Art Resource)

Medici Villa at Fiesole, 1450s: Unlike the medieval villas of Trebbio and Caffagiolo with their towers and crenellations, Fiesole, designed by Michelozzo di Bartolomeo, was neither a working farm nor a fortress. It was a favored haunt of poets and intellectuals like Poliziano and Pico della Mirandola. (Miles Unger)

Pazzi Chapel, Santa Croce, 1440–61: This family chapel at Santa Croce was commissioned by Andrea de’ Pazzi, a friend of Piero’s who restored the fortunes of the ancient clan. Designed by Brunelleschi and decorated with terra-cotta reliefs by Luca della Robbia, the chapel was built both to emulate and rival the Medici Chapel at San Lorenzo. (Miles Unger)

The Villa Ambra at Poggio a Caiano, 1480s: Lorenzo’s favorite villa, Ambra was designed by his favorite architect, Giuliano da Sangallo. Lorenzo was himself heavily involved in planning both the building and the landscaping, which reflect his vision of the villa as an ideal place of retreat. This villa was a model for generations of country houses, from those of Palladio to Thomas Jefferson’s Monticello. (Miles Unger)

Sandro Botticelli,
Primavera,
c. 1480: This masterpiece of the Florentine Renaissance is thought to have been commissioned by Lorenzo’s cousin Lorenzo di Pierfrancesco de’ Medici. The erudite classicism and sensuality reflect the ideas of the philosophers and poets who gathered around Lorenzo, and the painting’s allegorical theme appears to be largely based on the poetry of Lorenzo and Poliziano. (Art Resource)