COSIMO I DE MEDICI AND ASTROLOGY: THE SYMBOLISM OF PROPHECY (ITALY)

In recent decades historians of culture and philosophy have amply demonstrated the significant impact of astrology and the occult sciences on Renaissance society. However, serious consideration of the influence of astrological thinking and practice on the visual arts has been generally limited. Since Fritz Saxl demonstrated the horoscopic source of the imagery and organization of the ceiling frescoes in the Sala di Galatea in 1934, there have been few attempts at a similar kind of interpretive study. Extending the potential of Saxl's methodology, the dissertation applies a combined iconological and technical approach to astrological content in the public and private imagery of Cosimo I de' Medici, the first Grand Duke of Tuscany.;Chapter II examines the myth of the returning golden age, from its origins in the prophetic literature of the ancient world, to the reintegration of the theme with astrological symbolism in Medici art preceding the reign of Cosimo I. Special attention is given to the iconography of the Sala dei Pontefici of Pope Leo X. The motif is then discussed in the imagery of the Duke himself where it was thoroughly transformed from a poetic or dynastic metaphor, to one of personal power and prophetic fulfillment.;The concluding chapter interprets astrological content in the art of Cosimo I, from medals and smaller works, to the large decorative projects of Castello and the Palazzo Vecchio apartments--notably the Sala degli Elementi and the Sala Grande. In these it was possible to discern the close relationship between official propaganda, and the Duke's profound belief in the power of the stars on his destiny.;Although the artistic patronage of this intriguing sixteenth century prince has received a fair amount of scholarly attention in recent years, analysis of astrological symbolism in the Duke's imagery has been superficial. Like most of his peers, Cosimo I held a strong belief in astrology, and was interested in other occult sciences popular at the time. The first chapter of this study presents the specifically astrological and prophetic allusions in the most ubiquitous of Cosimo's personal imprese, and the origins of its corpus in his natal horoscope. In demonstrating the importance of the device, its significance is not only discussed within the context of the rulership myth of the "new Augustus" promulgated by the Duke, but also in relation to sixteenth century attitudes toward astrological destiny or fate. An understanding of these attitudes is critical to a full appreciation of both Cosimo's and his contemporaries' adaptation of astrological imagery as a vehicle for rulership propaganda.