A sign of how important the mordant was to the church's finances is a provision of Pope
Leo X's sweeping indulgence of 1517--the one that set off Martin Luther.
The Prado's magnificent exhibition provided a unique opportunity to explore the last seven years of Raphael's life, taking
Leo X's proclamation as Pope in 1513 as its starting point, and ending with the artist's death aged 37.
This was made all the more feasible with the election of Giovanni de' Medici, taking the name
Leo X, to the papal throne.
When Luther nailed his famous 'Ninety-Five Theses' (attacking the sale of 'indulgences' to forgive sins) to the door of the Castle Church in Wittenberg on October 31st, 1517 and, three years later, publicly burnt Pope
Leo X's papal bull condemning him, Cranach was steadfast in his support.
But of this, and, indeed, of the Councils of Lyons, Vienne, Pisa, Constance, Basel-Ferrara-Florence, we hear nothing--even though a full chapter is devoted to Lateran V, which at the time of Trent the French delegation was still loathe to recognize as a legitimate general council and which Dollinger was later to deride as
Leo X's "italienisches Taschenkonzils." All of this despite the fact that those late medieval councils had not only identified so many of the abuses that were later to be addressed by Trent's disciplinary reforms but had also made an historic attempt to grapple with the most pressing ecclesiological issue of the day, one that the worried papal legates at Trent were finally forced to put on hold.
In this regard, incidentally, it is surprising that the editors chose to exclude the oldest love song in Yiddish, a brief but quite charming lyric, which exists uniquely on the front leaf of a fourteenth-century (primarily parchment) manuscript of Rashi's commentaries on the Prophets and Hagiography, originally in the collection of Pope
Leo X's secretary, Pietro Bembo (now Milan, Biblioteca Ambrosiana, C.
a comparison between Castiglione's Book of the courtier and the La cortigiana, the presentation of Cortigiana as a virtual tribute to Pasquino and his pasquinate, an analysis of how Aretinos comedy is a mirror of
Leo x's papal court, and a bibliography of primary and secondary-sources.
For twelve years, beginning in 1984, the group portrait
Leo X with Cardinals Giulio de' Medici and Luigi de' Rossi (fig.
Randolph's analysis of Pope
Leo X's use of leonine imagery (11-18) to Mary-Ann Winkelmes' thoughts on the acoustics of Renaissance churches (307-12).
Peter as
Leo X. Leo was quick to establish strong diplomatic ties with his native city.
Leo X - son of Lorenzo de'Medici and pope from 1513 to 1521 who excommunicated Martin Luther and who in 1521 bestowed on Henry VIII the title of Defender of the Faith (1475-1521)