Monthly Archives: March 2025

BLOG JOHN FITZGERALD KENNEDY (May 29, 1917–November 22, 1963), 35th U.S. PRESIDENT.

FEATURE image: Portrait of President John F. Kennedy. “President John F. Kennedy” by U.S. Embassy New Delhi is licensed under CC BY-ND 2.0.

INTRODUCTION.
by John P. Walsh

I think – and I am sure this is the view of the people and the states- the right to vote is very basic. If we are going to neglect that right, then all of our talk about freedom is hollow. And therefore we shall give every protection that we can to anybody who is seeking the vote. News conference, September 13, 1962.

The men who create power make an indispensible contribution to the nation’s greatness. But the men who question power make a contribution just as indispensible for they determine whether we use power or power uses us. Remarks at Amherst College, October 26, 1963.

(starts @ 28 seconds) Grand Prairie, Texas, in September 1960. https://youtu.be/iJHrgw8-QEc?si=NMUyZjDxJZXTy1bi – retrieved November 2, 2025.

One of the rare joint appearances of Senators John Kennedy and Lyndon Johnson, the Democratic Presidential ticket, during the 1960 campaign which they prevailed over the Republican ticket of Nixon-Lodge. Here the two men make a joint campaign appearance in Grand Prairie, Texas, in September 1960. Kennedy nor Johnson were natural campaigners—Kennedy’s hands would be shaking hidden under a table or podium as he spoke, his voice growing hoarse. Johnson, who was uncomfortable in crowds and tried too hard, often worked himself on the campaign trail into a sick exhaustion.

Though both candidates wanted to have more joint appearances on the campaign trail, both senators’ aides mutually agreed it mostly hurt the ticket’s—and more precisely, Kennedy’s —image. Though Johnson was only nine years older than Kennedy—both men were the first U.S. presidents born in the 20th century— aides believed that wherever they showed up together Kennedy looked as if he might be LBJ’s son. However, the press and LBJ griped for weeks and months that the candidates should make more joint campaign appearances running as they were for the highest offices in the land.

When it was hinted in the press that there was a growing rift between the candidates and that that was to blame for their not campaigning together, another joint appearance of JFK and LBJ was scheduled in November 1960 five days before Election Day. For the campaign event at the Biltmore in Los Angeles Lyndon Johnson flew out especially to be there and the event received glowing national print and television coverage. On that Thursday before the Tuesday when Americans went to the polls, both candidates and their campaigns viewed the event as a big plus.

Let us not seek the Republican answer or the Democratic answer, but the right answer. Let us not seek to fix the blame for the past. Let us accept our own responsibility for the future. Speech at Loyola College Alumni Banquet, Baltimore, Maryland, February 18, 1958.

Above: Rev. Dr. Michael Ramsey (1904-1988), Archbishop of Canterbury, and JFK, met on Halloween in 1962. Their Wednesday meeting took place just 3 days following the end of the Cuban Missile Crisis. The world breathed a great sigh of relief that armed confrontation which likely would lead to nuclear war between superpowers was avoided. The previous Saturday, October 27, 1962, was in fact one of the tensest days in the entire ordeal. A U-2 plane was shot down by Soviet-supplied SAM missiles. They killed the USAF pilot and Kennedy’s own ExCOMM demanded immediate military action against those sites. Kennedy resisted the advice. Upon shooting down and killing the U.S. pilot, the Soviets demanded tougher terms for negotiating the removal of 42 mid and long-range nuclear missiles in Cuba. That night, Robert Kennedy met secretly with Soviet Ambassador Anatoly Dobrynin in Washington, D.C. where they reached a basic understanding that only needed approval by Moscow. The next morning. Sunday, October 28, 1962, Radio Moscow announced that the Soviet Union had accepted Kennedy’s proposed solution. The 13-day Cuban Missile Crisis was over. Michael Ramsey was appointed Archbishop of Canterbury on May 31, 1961, and installed in June 1961. He served in this position until 1974. In 1962 Dr. Ramsey was then serving as president of the World Council of Churches (1961 to 1968) and, during his archbishopric, the first woman Anglican priest – Chicago-born high altitude balloonist Jeannette Piccard (1895 -1981) – was ordained in the United States in 1974.

This nation was founded on the principle that all men are created equal, and that the rights of every man are diminished when the rights of one man are threatened. Televised address to the nation on Civil Rights, June 11, 1963.

July 1989. John F. Kennedy Library, Columbia Point, Boston, MA.
President-Elect John F. Kennedy and Chester Bowles emerge from a breakfast conference at Kennedy’s Georgetown home in Washington, on Nov. 29, 1960. Bowles was appointed Under Secretary of State and later was Kennedy and Johnson’s ambassador to India.
October 2003. 3307 N Street, Georgetown, Washington, D.C. In June 1957 Massachusetts Senator John F. Kennedy (1917-1963) bought this three story Federal-style house as a gift for his wife, Jackie, following the birth of their daughter, Caroline. John Jr. was also born while the Kennedys lived here. Jackie hosted teas in the house’s double living room after JFK’s 1958 Senate re-election campaign and during the 1960 presidential campaign. The front entrance became famous when President-elect Kennedy made regular announcements of national news such as cabinet appointments, including younger brother and campaign manager, Robert F. Kennedy as U.S. Attorney General. The house was sold when the Kennedys moved into the White House in 1961.
August 2005. The John Fitzgerald Kennedy National Historic Site in Brookline, Massachusetts, a suburb adjacent to Boston, is the birthplace and childhood home of President John F. Kennedy. The house on Beals Street was purchased by Kennedy’s father, Joseph Patrick Kennedy in August 1914 in anticipation of his marriage to Rose Elizabeth Fitzgerald in October 1914. JFK’s father was a shrewd, opportunistic and driven bank president and businessman who started to make his fortune by building warships and transports in Quincy shipyards in World War I. Joe Kennedy was an affectionate father who instilled a spirited sense of competition in the Kennedy children starting in their years in Brookline.
August 2005. The John Fitzgerald Kennedy National Historic Site in Brookline, Massachusetts. John Kennedy was born in this upstairs master bedroom on May 29, 1917. The family lived here until 1920 when they moved a 5-minute walk away to a larger home on Abbottsford where they lived until 1927. Then the Kennedys moved to New York. Rose Fitzgerald, who was the daughter of Boston’s first American-born Irish mayor, had seven of her nine children in Brookline and was reluctant to leave. Joe’s father was a saloonkeeper and politician. While Joe instilled the competitive spirit in to his children, Rose, who as a young woman studied in Europe, taught her children an appreciation of the arts: music, painting, and history. A deeply religious person she would take her young children on walks with the family dog in tow, as they went to the weekday market and afterward to the church so they would know that their faith was not restricted to Sunday. After JFK’s assassination in 1963, Rose Kennedy established this house as a gift to the American people so that, as she said, “Future generations will be able to visit it and see how people lived in 1917 and thus get a better appreciation of the history of this wonderful country.” see – https://www.nps.gov/jofi/index.htm – retrieved May 29, 2025.
(56 seconds). “We are not afraid to entrust the American people with unpleasant facts, foreign ideas, alien philosophies, and competitive values. For a nation that is afraid to let its people judge the truth and falsehood in an open market is a nation that is afraid of its people.” -John F. Kennedy, Voice of America speech, February 26, 1962.

SPEAKING OF FREEDOM OF INFORMATION IN A FREE COUNTRY TO THE ENTIRE WORLD. Voice of America speech, February 26, 1962. FULLER CONTEXT: “What we do here in this country, and what we are, what we want to be, represents really a great experiment in a most difficult kind of self-discipline, and that is the organization and maintenance and development of the progress of free government. And it is your task, as the executives and participants in the Voice of America, to tell that story around the world.
This is an extremely difficult and sensitive task. On the one hand you are an arm of the Government and therefore an arm of the Nation, and it is your task to bring our story around the world in a way which serves to represent democracy and the United States in its most favorable light. But on the other hand, as part of the cause of freedom, and the arm of freedom, you are obliged to tell our story in a truthful way, to tell it, as Oliver Cromwell said.. with all our blemishes and warts, …And we hope that the bad and the good is sifted together by people of judgment and discretion and taste and discrimination, that they will realize what we are trying to do here.
This presents to you an almost impossible challenge, ..The first words that the Voice of America spoke were [IN 1942]. They said, “The Voice of America speaks. Today America has been at war for 79 days. Daily at this time we shall speak to you about America and the war, and the news may be good or bad. We shall tell you the truth”…
In 1946 the United Nations General Assembly passed a resolution reading in part, “freedom of information is a fundamental human right, and the touchstone of all the freedoms to which the United Nations is consecrated.” This is our touchstone…We seek a free flow of information across national boundaries and oceans, across iron curtains and stone walls. We are not afraid to entrust the American people with unpleasant facts, foreign ideas, alien philosophies, and competitive values. For a nation that is afraid to let its people judge the truth and falsehood in an open market is a nation that is afraid of its people.
The Voice of America thus carries a heavy responsibility. Its burden of truth is not easy to bear. It must explain to a curious and suspicious world what we are. It must tell them of our basic beliefs. It must tell them of a country which is in some ways a rather old country–certainly old as republics go. And yet it must make our ideas alive and new and vital in the high competition which goes on around the world since the end of World War II.
…The advent of the communications satellite, the modernization of education of less-developed nations, the new wonders of electronics and technology, all these and other developments will give our generation an unprecedented opportunity to tell our story. And we must not only be equal to the opportunity, but to the challenge as well. For in the next 20 years your problem and ours as a country, in telling our story, will grow more complex. …
We believe that people are capable of standing the burdens and the pressures which choice places upon them, …And as you tell it, it spreads. And as it spreads, not only is the security of the United States assisted, but the cause of freedom.” See – https://www.presidency.ucsb.edu/documents/remarks-the-20th-anniversary-the-voice-america – retrieved May 29, 2025.

August 2005. National Portrait Gallery, Washington, D.C. Jacqueline Kennedy, the King of Hearts – Stop Action Reaction, 1997, by Tian Mion (b. 1960). see – https://www.si.edu/object/jacqueline-kennedy-king-hearts-stop-action-reaction:npg_S_NPG.2007.6 – retrieved May 29, 2025.

Report to the American People on Civil Rights – June 11, 1963.

https://www.youtube.com/watch?v=PTHowggASwY

June 11, 2025 – (13.23 minutes). On May 27, 1963 the Supreme Court stated that it was not going to tolerate the evasion of its 1954 landmark decision Brown v. Board of Education that segregated schools. They stated such in another desegregation case involving public parks. When the High Court made their decision in 1954, in no way could they have foreseen the years of delay. On June 5, 1963 a federal court enjoined Alabama Gov. George Wallace from in any way impeding the admission of two qualified Black citizens from enrolling in the University of Alabama. President John F. Kennedy, on June 10, 1963, reinforced this decision by writing to Gov. Wallace urging him not to interfere. The following day, June 11, 1963, Wallace carried out his pledge to “stand in the schoolhouse door” and blocked the Black students from enrolling. When Wallace was confronted by Kennedy’s federal marshals, and refused the students’ entry, the president nationalized the Alabama Guard. When troops appeared on the scene the governor relented and the Black students entered and registered for classes. That evening from the Oval Office Kennedy appeared on radio and television to deliver what is called the “Report to the American People on Civil Rights” in which he set out the moral and legal issues involved with Civil Rights and proposed legislation that would later become the landmark Civil Rights Act of 1964. In the first two years of Kennedy’s term, he had been slow and cautious in his support of civil rights and desegregation in the United States. Ever the politician he was concerned that any bold actions or initiatives on his part in this area would alienate Congressmen he needed to get through his stalled legislative agenda. On June 11, 1963 in a radical departure from his and the nation’s past Kennedy gave his full-throated endorsement to Civil Rights and Civil Rights legislation in this 13-minute speech. Later that night, in the early hours of June 12, 1963, civil rights activist Medgar Evers, who had been listening to Kennedy’s remarks on the radio, was killed by a sniper as he returned to his home in Jackson, Mississippi. On June 13, 1963 82 black marchers protesting Evers’ death were arrested by Jackson police. On June 19, 1963 Kennedy asked Congress to introduce his bill to desegregate public facilities, take federal action to end job discrimination, and allow the U.S. Attorney General to start desegregation suits. In the meantime, as Congressional negotiation and debate was beginning on the Civil Rights bill, Kennedy asked civil rights leaders to suspend protests and marches which they refused to do. Instead, in the face of a Congressional filibuster of Kennedy’s civil rights bill, they announced a March for Jobs and Freedom in Washington, D.C. to take place in August 1963. Within a week of Evers’s murder, a white suspect was arrested and charged with the slaying. See- Kennedy and the Press, edit. Harold W. Chase and Allen H. Lerman, introduction by Pierre Salinger, Thomas Y. Crowell Company, New York, 1965, p. 452.

(27 seconds). Berlin speech at Rudolph Wilde Platz, June 26 1963
Texas motorcade & remarks at the dedication of the Aerospace Medical Health Center, San Antonio – November 21, 1963
White house 1963  – color recording of remarks for “Seas around us”.
Moon speech, Rice University, Houston, Texas – September 12, 1962
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https://youtu.be/cgHGg8PiAqo?si=aSZpzJKa_NEeHsP4 – retrieved November 1, 2025. For transcript of speech SEE – The President and the Press: Address before the American Newspaper Publishers Association, April 27, 1961 | JFK Library

On April 27, 1961, President John F. Kennedy delivered his 2400-word+ major speech known as “President and the Press” before the American Newspaper Publishers Association at the Waldorf-Astoria Hotel in New York City. In the speech delivered just days after the failed Bay of Pigs Invasion the new president made a plea for responsible journalism in the face of Cold War threats. The remarks remain relevant today on the topics of press freedom, misinformation, and national security.

I am not asking your newspapers to support the Administration, but I am asking your help in the tremendous task of informing and alerting the American people. For I have complete confidence in the response and dedication of our citizens whenever they are fully informed. Waldorf-Astoria Hotel, New York City, Address before the American Newspaper Publishers Association, April 27, 1961. see – https://www.jfklibrary.org/archives/other-resources/john-f-kennedy-speeches/american-newspaper-publishers-association-19610427#:~:text=This%20Administration%20intends%20to%20be,out%20when%20we%20miss%20them. – retrieved March 25, 2025.
I not only could not stifle controversy among your readers–I welcome it. This Administration intends to be candid about its errors; for as a wise man once said: “An error does not become a mistake until you refuse to correct it.” We intend to accept full responsibility for our errors; and we expect you to point them out when we miss them. Waldorf-Astoria Hotel, New York City, Address before the American Newspaper Publishers Association, April 27, 1961. see – https://www.jfklibrary.org/archives/other-resources/john-f-kennedy-speeches/american-newspaper-publishers-association-19610427#:~:text=This%20Administration%20intends%20to%20be,out%20when%20we%20miss%20them. – retrieved March 25, 2025.

This explanatory article is periodically updated.

The 550th Anniversary of the Birth of Italian Renaissance Artist Michelangelo Buonarroti (March 6, 1475-1564). 17 Artworks & Illustrations.

FEATURE Image: Portrait of Michelangelo, Marcello Venusti (1510-1579), after 1550. Casa Buonarroti, Florence, Italy. see – https://artsandculture.google.com/asset/ritratto-di-michelangelo/AgFcI66SXt6qGg?hl=it – retrieved March 6, 2025.

Attributed to Michelangelo Buonarotti, 1513, terracotta, Casa Buonarroti, Florence, Italy. The work is a study of a male torso, conceived to be without the head and upper and lower limbs. The work has been identified as a preparatory model for one of the figures of the Prisoners, intended to decorate the tomb of Julius II in Rome. see – https://artsandculture.google.com/asset/torso-virile/zQGx46asE5jBIg?hl=it&ms=%7B%22x%22%3A0.5%2C%22y%22%3A0.5%2C%22z%22%3A9.086882915528859%2C%22size%22%3A%7B%22width%22%3A3.3866676762513332%2C%22height%22%3A1.2375000000000005%7D%7D – retrieved March 6, 2025.
Michelangelo Buonarotti, Madonna della Scala, 1490. Casa Buonarroti, Florence, Italy. Though it is small-sized the relief subject of the Madonna and child presents a monumental scope. The female figure fills the entire space. The meaning of the ladder (“scala”) in the title is ambiguous and may have reference to the children playing and holding a drape behind the Madonna. The date of the relief has been much discussed. However, a placement around 1490, before the Battle of the Centaurs, seems to be confirmed. see – https://artsandculture.google.com/asset/madonna-della-scala/xQF2nwLhAXd26w?hl=it – retrieved March 6, 2025.
Michelangelo Buonarotti, Nude female, 1533, Casa Buonarroti, Florence, Italy. This figure of a female nude is linked to the New Sacristy in Florence to accompany the marble effigy of Giuliano de’ Medici. It has been linked to the figure of the Earth that, together with the Sky, was to be part of Giuliano’s marble effigy. The project of building a proper Medici family mausoleum was conceived in 1520, when Michelangelo began work on the New Sacristy upon the request of Cardinal Giulio de Medici, the future Pope Clement VII, who expressed a desire to erect the mausoleum for some members of his family including Lorenzo the Magnificent and his brother Giuliano assassinated in Florence’s Duomo in 1478. After completing the architectural works in 1524, Michelangelo worked until 1533 on the sculptures and the sarcophagi that were to be featured on the chapel walls. The only ones actually completed were the statues of Lorenzo, the Duke of Urbino; Giuliano, the Duke of Nemours; the four statues of the allegories of Day and Night, and Dawn and Dusk; and the group representing the Madonna and Child. see – https://artsandculture.google.com/asset/nudo-femminile/xgHfNWIKU6r13g?hl=it – retrieved March 6, 2025 and http://www.museumsinflorence.com/musei/Medici_chapels.html#:~:text=The%20project%20of%20building%20a,the%20Magnificent%20and%20his%20brother – retrieved March 6, 2025.  
Michelangelo, crucifix, 1493, wood, Santo Spirito, Florence. It was placed by the artist in 1493 above the lunette of the high altar and has been there since.

The Italian Renaissance artist was born in Florentine territory in Caprese in the provinces of Tuscany where his father was a government bureaucrat. The family soon relocated to Florence where Michaelangelo grew up. Becoming friends with Francesco Granacci (1469-1543) who saw Michaelangelo’s drawing talent, at 13 years old Michelangelo announced he wanted to be an artist. Despite his parents objection, they eventually yielded to their son’s aspirations, and he was apprenticed to Domenico Ghirlandaio (1448-1494) for the next three years.

Domenico Ghirlandaio (1448-1494), Expulsion of Joachim From the Temple, fresco (detail), 1486-1490. Santa Maria Novella, Cappella Tornabuoni, Florence. In the background, the mitered high priest receives sacrificial lambs at the altar where a fire burns. Joachim, according to sacred tradition, father of the Virgin Mary and grandfather of Jesus Christ, is sent away at this time since he is childless. He is married to Anne. To the right Ghirlandaio depicts an assembled group of contemporary Florentines including, second from right, Ghirlandaio himself. In 2nd century apocryphal writings, childless Joachim left for the desert where he prayed and fasted for 40 days. Angels appeared to Joachim and his wife Anne, and promised them a child. Joachim then returned to Jerusalem and embraced Anne at the city gate, a scene popularly depicted in medieval and Renaissance art. After this, Anne became pregnant and became the mother of the Virgin Mary and Jesus’s grandmother. This apocryphal relating of Joachim and Anne to Biblical figures Elizabeth and Zechariah and the birth of their son, John the Baptist (Luke 1) and Abraham and Sarah and the birth of their son, Isaac (Genesis 21) was a popular subject depicted in Christian art until the Council of Trent (1545–1563) when the church restricted public displays of these simple stories and events from apocryphal sources in a severe reaction to the Protestant reformation.

Michelangelo’s training was erratic, likely having left Ghirlandaio before his contract was complete, and working under the city’s ruler, Lorenzo de Medici for his contracted master, Bertoldo (1420-1491). Later in life Michelangelo did not advertise his training credentials as he believed art – such as freeing subjects from stone – emerged by the sheer artistic power of the individual. In this period, as a teenager, Michelangelo learned the art of fresco painting and drawing, copying previous masters such as Giotto (1267-1337) and Masaccio (1401-1428). Michelangelo absorbed the artwork of the naturalists, such as Paolo Uccello (1397-1475), whose artwork looked to present subjects with a viewpoint like a scientist interested in objective fact rather than looking to convey some established figural attitude. Where young Michelangelo was materially as great as Giotto and Masaccio, he also possessed a new means undreamt by those previous masters, as he drunk of the art of Donatello (1386-1466), Pollaiuolo (1429-1498), Verrocchio (c.1435-1488) and Leonardo da Vinci (1452-1519). Further, Michelangelo understood better than these others, that the epitome of these Renaissance artistic studies was to be expressed by one subject above all: the human nude.

Bernard Berenson described Michelangelo as “the pupil of nobody, the heir of everybody, who felt profoundly and powerfully what to his precursors had been vague instinct, who saw and expressed the meaning of it all.” 

Giotto, The Arrest of Christ (Kiss of Judas ), 1304, Padua, Scrovegni Chapel.
Michelangelo after Giotto, Drawing from “Ascension of the Evangelist,” 1490-1492. Louvre. see – https://collections.louvre.fr/en/ark:/53355/cl020001224 – retrieved March 6, 2025.
Paolo Uccello, Sacrifice of Noah And Noah’s Drunkenness (detail), 1447-48. Uccello was not interested primarily in conveying in art the possible “artistic” intention of this story’s scene. Instead, as Bernard Berenson described it, the artist produced “nothing but the scientific intention to find out how a man swooping down head-foremost would have looked if at a given instant of his fall he had been suddenly congealed and suspended in space.” These studies of reproducing objects as they really are, in anatomy and perspective, had a great bearing for the art of Leonardo da Vinci and Michelangelo. quoted in Berenson, p.54.
Masaccio, Distribution of Alms and Death of Ananias (detail), 1425-1427, Brancacci Chapel, Florence. An episode from Acts of the Apostles (4:43-37 and 5: 1-11) depicting Ananias’s wife and child whose husband withheld their tithe from the early church leaders with the outcome being that Ananias dropped dead in divine retribution. When it was painted, viewers in the 1420’s and afterwards, read it as an artistic display of a New Testament endorsement of the equitable redistribution of wealth and the divine punishment of death forthwith for those who falsely withheld their fair share. 67% 7.95mb

When the Medici fell and Florence became a theocracy under Savonarola (1452-1498), 19-year-old Michelangelo decided to leave Florence. He lamented the fall of Lorenzo the Magnificent, his artistic patron, and the young artist lived hand to mouth going to Bologna, then to Venice, and back to Bologna, and finally to Rome in June 1496. The popes’ tremendous influence in capitalist Italy started in the 13th century and augmented into the 17th century, leading to what art critic Bernard Berenson (1865-1959) called an encroachment of “soulless Vaticanism” towards modern art. But clearly Rome had no use for a firebrand friar who refused to support the pope’s troops against the invading French army. As Columbus set out to discover America, It was the unpleasant chapter of the Italian War of the 1490s that helped fill the times with ongoing brutality, duplicity, complicity, intrigue, opportunism and expedience. A looming danger of looting and violence of the invading French army were emphasized by the impassioned sermons of Girolamo Savonarola that frightened the people and led to their heightened resentment against the ruling Medici. Florence was traditionally pro-French, but Piero di Lorenzo de’ Medici (“Piero the Unfortunate”) (1472-1504), son of Lorenzo the Magnificent, had deployed against them to defend Naples. Under pressure from citizens and outside French forces promising church reforms and civic transparency, the Medici was forced to flee and the city was proclaimed a Republic. The Florentines, with Savonarola in the lead, facilitated the invasion of French king Charles VIII (1470-1498) and against the pope which they considered corrupt. Pope Alexander VI (1431-1503), a Borgia and one of the most corrupt popes in history, ascended to the papal throne in 1492 and was immediately condemned in fiery sermons by Savonarola. Yet all was not well between “liberator” Charles VIII and his Florentine supporters. Immediately the French king demanded a huge sum of money, a ransom payment of sorts, from the Florentines in appreciation, as well as to pay for, the pro-French liberation. The Florentine government refused and the king threatened to loot the city. Faced with a backlash and real threat of popular revolt, the French bully relented and continued onto Rome. Charles postured, but was constantly fearful of antagonizing the European powers and announced his decision that he would not depose the corrupt old pope after all. By having kidnapped the pope’s mistress Giulia Farnese, wife of the pope’s military ally Orsino Orsini, who commanded 4,000 Neapolitan soldiers freshly landed to defend papal interests on the peninsula, Charles VIII was able to extract full entry into Rome in exchange for her release. Once in Rome the French troops looted the city. The pope, in a panic, arranged a quick safe passage for Charles VIII out of the Papal States towards Naples during which the king’s army massacred many hundreds of local inhabitants.

Charles VIII, roi de France, anonymous, c. 1550. Entering Florence in a power vacuum the invading French king demanded a huge sum of money from the citizens who refused to pay and leading to a stand-off. Public Domain.
Domenico Ghirlandaio’s 15th century portrait of Piero the Unfortunate. Eldest son of Lorenzo the Magnificent, Piero di Lorenzo de’ Medici succeeded him as ruler of Florence in 1492. When Piero determined in 1494 to stay neutral during French king Charles VIII’s invasion of Italy, effectively defending Naples the object of the king’s campaign, he was challenged. Suffering from an abandonment of the Florentine elite under the spell of Savonarola, Piero totally capitulated to Charles VIIi’s demands. Having succeeded in alienatating everyone in Florence, Piero fled to Venice, aided by a French diplomat, in November 1494. Attempting to make a comeback several times to Florence he was constantly rebuked, Piero drowned in the Garigliano River while attempting to flee the aftermath of the Battle of Garigliano in 1503, Public Domain.
Pope Alexander VI Borgia, c.1495, attributed to Spanish painter Pedro Berruguete (c. 1450-1504), Vatican Museums. Alexander Vi was a wily politician from a prominent family who practiced nepotism and sired several children by way of his many mistresses.

Savonarola played an important role in this French infiltration in Italy — and Rome did not forget. Then, in February 1497, during Mardi Gras of that year, Savonarola, whose message was a combination of religious purist and civic republican preached his most dramatic act of cultural desecration by seeking that artworks, books, clothing items and cosmetics were thrown into a bonfire of the vanities as a sign of monied and other social decadence. The flames became his final undoing: Savonarola was excommunicated for heresy and sedition by Pope Alexander VI on May 12, 1497 after the preacher called “the contemporary Church leadership…a pockmarked whore sitting on Solomon’s throne.” The pope also threatened Florence with severe interdictions if they continued to be a sanctuary for Savonarola and his ilk. Savonarola was imprisoned on April 7, 1498 after failing a literal public trial by fire (it rained). Finally, he was dragged from his prison cell and with two other contemptible friars was condemned as a heretic and schismatic and hanged and burned at the stake on May 23, 1498, with the Vatican and the Medici observing it all from a safe distance. Yet the cult of Savonarola, his person as well as his political and religious ideas, did not go quietly up in smoke. Though seen today as a sort of vile figure, his supporters around 1500 and afterwards saw him as a martyr and encouraged his veneration as a saint to which many complied. In Florence Savonarola’s disputed legacy went on until the Medici more or less permanently re-installed themselves in 1530. Yet Protestant reformers in Germany and Switzerland were intrigued and influenced by Savonarola’s ideas and, in 1558, even Pope Paul IV, who was 22 years old when Savonarola was executed, declared him not a heretic and always in communion with the Catholic Church. Saint Philip Neri (1515-1595), a Florentine established in Rome, and regularly characterized as a most relatable prelate of and for the masses, also defended Savonarola’s memory.

Francesco Rosselli (1445-1513), The Execution of Savonarola and Two Companions at Piazza della Signoria, 16th century, oil on canvas, Galeria Corsini
Bernard Berenson as a young man, Berenson described Michelangelo as “the pupil of nobody, the heir of everybody, who felt profoundly and powerfully what to his precursors had been vague instinct, who saw and expressed the meaning of it all.” quoted in Berenson p. 72. Public Domain.
Donatello – David – Florença” by original file by Patrick A. Rodgers is licensed under CC BY-SA 2.0.
Verrocchio, Equestrian Statue of Bartolomeo Colleoni, 1480s, Venice. Bartolomeo Colleoni (1400-1475) was an Italian condottiero, who became captain-general of the Republic of Venice. Colleoni gained a reputation as the foremost tactician and disciplinarian of the 15th century. “Bartolomeo Colleoni by Andrea del Verrocchio” by Didier Descouens is licensed under CC BY-SA 4.0.
Antonio del Pollaiuolo, Nude Dancers, 1470s, Fresco Arcetri, Villa La Gallina. A fresco frieze of dancing nude figures, in a villa near Florence, shows the artist’s same interest in extreme body poses. Public Domain.

Meanwhile, in Rome, Michelangelo sculpted his first major marble works. The first, Bacchus, was commissioned by Cardinal Raffaele Riario (1461-1521) in partnership with Jacopo Galli, a Roman collector, that was displayed in Galli’s garden until it was sold in 1572 to the Medici and is today in the Bargello. The second is the sublime Pietà (St. Peter’s Basilica, Vatican City) that was commissioned by a French cardinal in Rome and placed in the Santa Maria della Febbre. Vasari described the Pietà as “a revelation of all the potentialities and force of the art of sculpture.” Though the Pietà made Michelangelo famous in Rome, he returned to Florence following its installation to work on the David, a commission made by the Florentine republic after the expulsion of the Medici.

Michelangelo, Bacchus, marble. 1497, Bargello, Florence.
Michelangelo, Pietà, marble, 1498-1499, St. Peter’s Basilica, Rome. A 24-year-old Michelangelo was all the rage in Rome as an artist in the late 1490’s and wrote his name promonently across the sash of the Blessed Mother. The artist did this after it was completed and heard a group admiring the artwork and attributing it to a different artist. Michelangelo was having none of it and one night whet into the chapel and chiseled his name for none to miss seeing. Pieta (Michelangelo)” by elixirk is licensed under CC BY-NC-SA 2.0.
Michelangelo’s David, created in c. 1501-1504, has been in the Galleria dell’Accademia since 1873, The biblical figure of David came to symbolize the defense of civil liberties embodied in the 1494 constitution of the Republic of Florence, an independent city-state threatened on all sides by more powerful rival states and by the political aspirations of the Medici family. Author’s collection.

This explanatory article may be periodically updated.

SOURCES:

Bernard Berenson, The Italian Painters of the Renaissance, Phaidon, New York, 1959.

Ornella Casazza, Masaccio and the Brancacci Chapel, Scala, 1990.

Enzo Carli, translated by Susan Bellamy, Giotto and His Contemporaries, Crown Publishers, 1958.

Andreas Quermann, Ghirlandaio, Könemann, 1998.

A Dictionary of Art and Artists, Peter and Linda Murray, Penguin Books; Revised,1998.

Giorgio Vasari, trans. George Bull, Lives of the Artists, Penguin Books, Harmondsworth, Middlesex, England, 1965.

https://www.virtualuffizi.com/francesco-granacci.html – retrieved March 6, 2025.

https://www.brepols.net/products/IS-9781915487117-1 – retrieved March 6, 2025.