For many people, mere mention of the name ‘Medici’ automatically evokes associations with wealth,
intrigue, and power – and rightly so. From the end of the 14th century, the Medici rose from provincial
bankers to de facto rulers of Florence and surrounding Tuscany, with popes, grand dukes and even
royalty among the scions of this remarkable family.

In its latest, focused display – Cosimo I de’ Medici: Art and Dynasty – the Wallace Collection puts the spotlight on one
family member who contributed significantly to their rise to fame.
Through a group of five magnificent objects, including paintings, arms and armour and maiolica (earthenware), the
exhibition explores how Cosimo I de’ Medici (1519–1574), Duke of Florence, first Grand Duke of Tuscany and one of
the 16th century’s most powerful Italian princes, fashioned himself to legitimise his rule, express the magnificence of
his court, and further establish the power of the Medici dynasty.

At the heart of the display is a monumental wine cooler made in the prolific Urbino workshop of Flaminio Fontana in
1574, just before Cosimo’s death. It is one of few maiolica objects that can be firmly associated with Cosimo by the
inclusion of his personal emblem, a turtle with a sail, a witty interpretation of his celebrated motto festina lente, or
‘make haste slowly’ and infused with references to classical antiquity. Supporting the bowl of the cooler are two monstrous-looking satyrs who appear to be struggling to support its weight. The cooler’s sheer size (over 70cms long) and pictorial richness
reflect a court that fused artistic patronage with great spectacle.

Two pieces drawn from the museum’s world-famous arms and armour collection are other major highlights of the
display. One of these is a short sword (or falchion) from around 1550. Engraved with Cosimo’s heraldry and with a
lion’s head pommel, referring to the ancient hero Hercules, the falchion was both a functional weapon and
fashionable piece of parade armour. Its symbolism placed Cosimo in direct comparison with the gods of the classical
world. In 1539, Cosimo significantly reinforced his financial and political position by marrying the daughter of the viceroy of
Naples, Eleonora di Toledo (1522–1562). Visitors will come face to face with Cosimo’s politically astute wife in the
form of an arresting portrait of her. It is thought that the painting was made just after her death (1562), in the studio
of her favourite artist, Agnolo Bronzino (1503-1572).

As the objects in the exhibition show, Cosimo proved to be a cunning politician who was adept at manipulating
public opinion, as well as a master of appearances. Building on the ideal of the ‘Medici dynasty’, he actively drew
close connections with his ancestors in order to give a sense of continuity, dynastic power and legitimacy.
When seen together, the works in Cosimo I de’ Medici: Art and Dynasty offer a fascinating glimpse of Renaissance
splendour and the ways images and objects were harnessed to secure dynastic ambition. Curatorial Assistant and curator of the display, Dr Julia van Zandvoort, says: “These splendorous objects related to Cosimo’s court show how design and image can be choreographed to project dynastic authority. This display helps visitors ‘read’ historical objects as instruments of power, not just things of beauty.”

Dr Xavier Bray, Director of the Wallace Collection, says: “Cosimo’s Florence demonstrates how art projected authority
across a dynasty. Together, they open the museum to new conversations and invite visitors to look again at creativity
as a force that shapes public life.”