Retrato de um Homem com uma Medalha de Cosimo, o Velho (Portrait of a Man with a Medal of Cosimo the Elder) - Sandro Botticelli

 

Retrato de um Homem com uma Medalha de Cosimo, o Velho (Portrait of a Man with a Medal of Cosimo the Elder) - Sandro Botticelli
Galleria degli Uffizi, Florença, Itália
Têmpera sobre painel - 57x44 - 1474-1475

Portrait of a Man with a Medal of Cosimo the Elder, also known as Portrait of a Youth with a Medal, is a tempera painting by Italian Renaissance painter Sandro Botticelli. The painting features a young man displaying in triangled hands a medal stamped with the likeness of Cosimo de' Medici. The identity of the young man has been a long-enduring mystery. Completed in approximately 1475, it is on display in the Uffizi Gallery of Florence.
Central to the painting, seated before a landscape, is a young man with a medal between his hands. The man gazes out into the audience, while the medal displays the profiled likeness of Cosimo de' Medici. The medal is a pastiglia imitation of a real metal medal, made of gilded gesso and inset into the portrait. As the medal is not reversed, evidently Botticelli either had access to the original mold or made a cast from the medal to produce his gesso. The medal appears to be the same as one possibly designed by Donatello and cast in 1465, an example of which is in the collection of the Victoria and Albert Museum in London, England, called "Cosimo de' Medici as Pater Patriae".
The identity of the young man in the portrait has never been agreed, but there has been considerable speculation. Writing in 1900, art historian George Noble Plunkett colorfully identified whom he believed the youth portrayed:
one realizes painfully that this is the Piero who has left an indelible stain on the Medici family by his betrayal of Florence. The small covetous eyes, the ignoble nose, the pursed animal mouth, with only the restraint of selfishness on it, the very manner in which he holds up the memorial of his house's founder, as though it were his badge of honor!
Contemporary biographer Guido Cornini notes other theories held by historians: the youth—who wears garments appropriate to the middle class—may be one of the possible designers of the medal (Michelozzo Niccolò Fiorentino, Cristoforo di Geremia), a member of the Medici family (including, possibly, Cosimo de' Medici himself) or, as he personally felt more likely, Antonio Botticelli, Botticelli's brother. This, he asserts, is based on the strength of the likeness of the youth to Botticelli himself, as portrayed in his Adoration of the Magi. Antonio Botticelli had also recast and gilded medals, working in the court of the Medicis. He would have been about 40 at the time of the portrait. Conversely, the direct eye contact could be that of the artist looking in the mirror.
Frederick Hartt suggested it might be Lorenzo di Pierfrancesco de' Medici (Il Popolano, 1463–1503), whose two certain portraits, both profiles on medals, vary considerably, though one resembles this. He is also sometimes claimed to be the subject of other Botticelli portraits, with completely different features.
The appearance at an auction in 1982, from the Thomas Merton collection, of a rarely seen painting by Botticelli of a Portrait of a Young Man holding a Medallion identified (with no real evidence) as Giovanni il Popolano in a similar pose, holding up a round medallion cut from a much older painting (albeit of a bearded saint, not Cosimo), has led to speculation that this might be a companion piece, and thus that the young man in this portrait is possibly his brother, Lorenzo di Pierfrancesco de' Medici.
The cut-out now in place may not be the original insertion; it may have been another medal of Cosimo. If so, the meaning of the medallion over the heart may simply be a profession of the loyalty of the cadet branch of the Popolani to the branch of Cosimo.
In Botticelli (2004), Sean Connolly says that some critics also believe that the young man may have been a Medici follower, but notes that "the subject is almost as mysterious as Leonardo's Mona Lisa.
Gloria Fossi in Uffizi Gallery (2001) calls the subject "one of the most enigmatic models of the Renaissance."

Rua Guatapará, Década de 1950, Ribeirão Preto, São Paulo, Brasil

 

Rua Guatapará, Década de 1950, Ribeirão Preto, São Paulo, Brasil
Ribeirão Preto - SP
Fotografia


Vista da Rua Guatapará, a esquerda, no alto, ficava a Rua Saldanha da Gama. A direita, a Avenida Caramuru. Conforme imagem abaixo, ainda existe, ainda que modificado, um dos prédios vistos na imagem do post.

Mercedes Benz 300 SL Roadster 1957, Alemanha

Mercedes Benz 300 SL Roadster 1957, Alemanha

Fotografia

Introduced in gullwing Coupe form for 1954, the Mercedes-Benz 300 SL was a halo offering designed to showcase the very best of what the automaker could offer on the performance front; it stood at the pinnacle of the Mercedes-Benz lineup alongside the 300 “Adenauer” flagship, which aimed to demonstrate the marque’s luxury prowess. Incorporating lessons learned from the successful W194 race car, both the 300 SL Coupe and the 300 SL Roadster—which debuted for 1957—boasted competition-derived technology, including lightweight tube-frame construction and a powerful fuel-injected inline-six engine. Praised by drivers when new, the 300 SL Coupe and Roadster are celebrated today for their engaging performance and timeless style.
Yet while both 300 SL variants share an obvious resemblance, the Roadster, of which 1,858 were built between 1957 and 1963, is a somewhat different car beneath its skin—and one that incorporated the most advanced technology available to Mercedes-Benz at the time. To start, roadsters came standard with a 240-horsepower version of the Bosch mechanical fuel-injected M198 engine with a competition-derived camshaft; this higher-performance engine had previously been an option on the coupe. A revised rear suspension system featuring a lower-roll-center single-pivot trailing arm rear axle, meanwhile, made for more neutral and predictable handling. Finally, and most obviously, the Roadster did away with the Coupe’s statement-making (yet entry and egress-inhibiting) gullwing doors, lending the open-top version a somewhat higher degree of everyday livability.
Dating from the first year of Roadster production, this 1957 300 SL was originally finished in Elfenbein (Ivory) over a red leather interior; it was one of 554 completed that year. Besides the fact that it was apparently sold new through Los Angeles—sports car-crazy California proved, unsurprisingly, to be a popular market for these cars— little is presently known about this car’s first decades.
In the early 1990s, the Roadster was reportedly acquired by 300 SL enthusiast William Alff. Mr. Alff began the process of overhauling the car, but unfortunately, he died before it could be completed. In 2003, its next owner retained the services of respected San Francisco Bay-area restorer Jurgen Klockemann to execute a high-level cosmetic and mechanical restoration of the car. In the process, the car was refinished in the present factory-appropriate color of Light Green Metallic, which pairs wonderfully with the finely trimmed dark green leather interior and dark green cloth top.
At some point in its past, and for reasons unknown, the car traded its W198 engine and four-speed manual transmission for a non-300 SL powertrain. During its restoration, an appropriate 300 SL engine and transmission, which had initially been sourced and rebuilt at the behest of Mr. Alff, were installed. These components would remain in the car for over a decade.
Following its acquisition by the consignor in 2014, the Roadster’s original engine was located, overhauled, and reunited with the car; the fortuitous return of the correct, factory-installed heart only serves to make this already appealing Roadster even more desirable. Further upgrades performed at this time include the installation of electronic-assist power steering and Bluetooth-enabled audio; both enjoyment-enhancing systems are carefully concealed from view, and only become apparent after a close inspection of the under-dash area. Finally, reproduction Rudge knock-off wheels in body-color Light Green Metallic were installed at this time, reinforcing the Roadster’s already sporting appearance and character.
While 300 SL production ceased in 1963, the esteem in which the model is held has only grown as the decades have passed. It remains an integral and honored part of Mercedes-Benz’s heritage and an important point of reference for high-performance offerings from the marque, including, most recently, the high-performance Mercedes-Benz SLS AMG of 2010 (a model which, like the originals, was available as both a Roadster and a gullwing-equipped Coupe).
Far from a relic, however, the 300 SL’s masterful blend of exquisite style and remarkable engineering—and, when it comes to the Roadster in particular, its ease of use—make it an excellent, robust, and highly sought companion for long-distance touring at high speeds. For all these reasons and more, it is hard to imagine the appeal of the model fading for the foreseeable future.
Suitable for top-level tour events around the world and display on the concours field, this first-year 300 SL Roadster will also serve as an ideal point of entry to the engaging and active Mercedes-Benz 300 SL community. It is accompanied by color-matched fitted luggage, owner’s manual, tool kit, and a copy of the original factory data card.