By Brendan Dooley
A bed Maker's Daughter richly illuminates the narrative of 2 humans whose mutual affection formed their very own lives and in many ways their instances. in accordance with the Renaissance legend advised and retold around the centuries, a lady of questionable attractiveness bamboozles a middle-aged warrior-prince into marrying her, and the kin takes revenge. he's Don Giovanni de' Medici, son of the Florentine grand duke; she is Livia Vernazza, daughter of a Genoese artisan. They reside in luxurious for some time, faraway from Florence, and feature a baby. Then, Giovanni dies, the relatives pounces upon the inheritance, and Livia is pressured to come from riches to rags. files, together with long-lost love letters, exhibit one other tale in the back of the legend, suppressed via the family members and forgotten. Brendan Dooley investigates this principally untold tale one of the a variety of settings the place episodes happened, together with Florence, Genoa, and Venice.
In the process explaining their inconceivable liaison and its effects, A bed Maker's Daughter explores early glossy feelings, fabric tradition, heredity, absolutism, and non secular tensions on the crux of 1 of the nice modifications in eu tradition, society, and statecraft. Giovanni and Livia exemplify altering innovations of affection and romance, new criteria of private and non-private behavior, and rising attitudes towards estate and legitimacy simply because the age of Renaissance humanism gave strategy to the tradition of Counter-Reformation and early glossy Europe.
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Additional resources for A Mattress Maker's Daughter: The Renaissance Romance of Don Giovanni de' Medici and Livia Vernazza
Writing came less spontaneously to him than drawing, perhaps because he cared about it so much. Putting words on paper, he found, needed time and inspiration. He chose his literary associations the family business 36 Â� scrupulously, giving his full respect, but not his full attention, to the experts in the newly founded Crusca Academy, supposedly responsible for enforcÂ�Â�ing Tuscan as the literary language of Italy and eventual compilers of the first Italian dictionary. Whether “navile” for “ship” was, properly speaking, a Tuscan word or an illegal borrowing from Venetian or, worse yet, Genoese, probably seemed to him trivial compared to the questions of life and death that usually occupied his mind.
Something had gone terribly wrong, and the reasons lay deep in the past. g He could hold nothing against his mother, Eleonora degli Albizi, of a Florentine patrician family and Cosimo’s penultimate mistress. She remained in Cosimo’s affections only until Camilla Martelli took her place; and while this last mistress became the last wife, she instead was wed to a Medici courtier to save appearances. The man in question, one Carlo Panciatichi, looking for a reprieve from a murder charge plus the promised ten thousand scudi dowry, had no intention of keeping house with her.
7 And rather than by the lessons regarding the virtues of Cosimo, about which Baldini had published an entire book, perhaps he would have been impressed by the lessons on human destiny. 8 Giovanni, possibly taking the cue from such learning, would spend a lifetime attempting to build a future by using his intelligence. His other lessons from Baldini would have included a broad sampling of knowledge in the arts and sciences and some rigorous drilling in verbal skills. He would not simply be an admirer of culture like his father, a man of “mediocre learning” even in the opinion of the flatterers, or his grandfather, who knew only war.