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Medici giraffe
A giraffe depicted in Ghirlandaio's The Adoration of the Magi between 1485 and 1490
DiedJanuary 1488
Florence, Republic of Florence
Known fora diplomatic gift from Egypt
OwnerLorenzo de' Medici

The Medici giraffe was a giraffe presented to Lorenzo de' Medici on November 18, 1487 [1], by al-Ashraf Qaitbay, the Burji Mamluk Sultan of Egypt, in an attempt to win the support of the Medici.

It caused a great stir on its arrival in Florence. Although the Medici maintained a large menagerie and had previously featured a giant mannequin of a giraffe in the animal entertainments they provided to the citizenry, this was the first time a living example had been seen in the city. It was also reputedly the first living giraffe to be seen in Italy since the days of Ancient Rome. It did not survive for long and another giraffe was not seen in Europe for almost 300 years.

Lorenzo's idea of acquiring a Giraffe[edit]

The animal spectacle of his grandfather, Cosimo de' Medici, first inspired Lorenzo's acquisition of a giraffe. When he was little, he witnessed Cosimo's failure, building his first idea of gaining respect through actual political power. Another inspiration was Caesar's triumphs where the first giraffe appeared in Europe.[2]

A wooden giraffe in Cosimo’s animal spectacle[edit]

When Cosimo received Pope Pius II and Galeazzo Maria Sforza in April 1459, he assembled animal combat, including "a wild boar, two horses, four bulls, two young buffalo, some goats, a cow, and a calf" plus "twenty-six lions".[3] The lions were borrowed from the Florentine city while Cosimo was responsible for other expenses. However, the lions got bored and lost interest in other animals since they had been fed too well. Lions – fierce and proud symbols of Florentine city – were not ready to show their powers to other animals. Consequently, Cosimo's stature was at stake. He sent a "Trojan giraffe" – a wooden animal containing armed warriors inside – not only to excite the lions but save his reputation. Nevertheless, the lions remained bored.[4]

Witnessing his grandfather's catastrophic spectacle, Lorenzo realized that he would not achieve absolute respect from his peers with money alone, and that he needed real political power at home and abroad.[5]

Caesar’s giraffe[edit]

In 46 BC, Caesar staged a series of spectacular triumphs to celebrate his accomplishments in defeating Pompey, conquering Asia Minor and Egypt, and asserting his power back in Rome.[2] A spectacular parade of lions, leopards, black panthers, baboons, green monkeys, Egyptian saluki dogs, parrots, flamingos, and ostriches was marching through the streets. Among those animals was a unique creature – a giraffe that the Romans called "cameleopard", for its characteristics seemed to be a combination of camel and leopard. Caesar's giraffe, which lions later shredded, was the first to be brought to Europe, facilitating his power solidification in Rome. Although Lorenzo and Caesar had much in common, attaining success despite internal and external enemies, winning respect despite being accused of violating republican principles and becoming tyrants, and being an object of assassination conspiracies, he did not plan to emulate Caesar.[6]

It is unclear when Lorenzo first thought of obtaining a giraffe. He might have been greatly interested in Caesar's triumphs and his giraffe due to owning Dio Cassius's Roman History and Pliny the Elder's Natural History in his library, describing Caesar's animal parade.[7] Lorenzo saw this giraffe as part of "his multilayered strategy of social ascent" while putting more focus and effort into art collections. And a live giraffe would enable Lorenzo to enhance his reputation.[8]

Giraffe as a political tool[edit]

Historical context[edit]

In 1422, the Florentine government had concluded a commercial treaty with the sultan of Egypt and Syria,[9] initiating a marine line for goods transportation to and from the East. Nevertheless, no significant achievements emerged from these efforts. In the mid-1480s, after the post-Pazzi conspiracy wars, the Florentines decided to try again to help develop the state. Indeed, the Florentines preferred trading directly with Egypt instead of working through intermediaries like the Venetians. Consequently, to create new trading tight between Florence and Egypt, Paolo da Colle, a Florentine ambassador, went to the court of the sultan of Egypt in Cairo, which was under the Qaitbay's Mamluk dynasty, in 1485. And here, he must have spotted what Lorenzo longed for: a giraffe.[10]

During this time, the Ottoman sultan Bayezid II threatened the Mamluk territories. Bayezid's political problem, a dynastic struggle between Bayezid and his brother – Cem, kept him from waging war on Egypt. If he returned to Egypt, Cem could be a deterrent to Bayezid's aggression or even overthrow his brother with Qaitbay's aid.[11] And Qaitbay wanted Lorenzo's help in keeping it that way.

At the same time, Pope Innocent VIII benefited from taking the custody of Cem since Bayezid had threatened to invade Europe. As such, this could assist Qaitbay's strategy, for Cem leading Christian armies against Bayezid would keep him from attacking Egypt, which only occurred if the French agreed to give up Cem. In return, the Medici would acquire a long-standing friendship with the French whilst forging a familial relationship with Pope Innocent VIII.[12] Thus, Lorenzo could help resolve Qaitbay's dilemma, and Paolo da Colle was in an ideal position to negotiate with Egypt's sultan.

Lorenzo the Magnificent receives the tribute of the ambassadors by Giorgio Vasari and Marco da Faenza is a fresco in Palazzo Vecchio, illustrating Lorenzo in a light blue gown receiving homages from ambassadors of different kingdoms of Italy. Among those are believed to be envoys from Cairo, Egypt. The other two brightest spots are Lorenzo's young son – Giovanni – in the crimson cardinal’s robe kneeling in front of him, and the yellow giraffe.(1556-58)[13]

Giraffe: a diplomatic instrument[edit]

Given the intense relations between Egypt and Ottoman, it is unclear why Qaitbay stole presents that an ambassador from India had brought to Bayezid in 1485. Inevitably, Bayezid was "on the warpath against him"[12]. Qaitbay wrote to France, where Cem was kept, discussing Cem's transfer to Egypt. After asking for Lorenzo's diplomatic assistance, Qaitbay and Lorenzo agreed: "a giraffe for an Ottoman prince"[12], which also facilitated securing Lorenzo's prestige. This giraffe represented Qaitbay's efforts "to establish good diplomatic relations with the Florentines in order to make them intervene on their behalf in the inter-Muslim conflict."[14]

Lorenzo then offered Anne of France to forward a giraffe to her in exchange for her aid. The giraffe would help amplify "Lorenzo's stature as a prince wielding international authority"[12] if he could obtain and use the giraffe as a diplomatic tool with France. This giraffe also served as a negotiating instrument with his Italian allies, the Ferdinand I of Naples and the Duke of Milan. They were hesitant to strike a mutual assistance agreement with Lorenzo. Another advantage of keeping this giraffe was enhancing Lorenzo's persuasive negotiation with the Pope for a cardinal's hat for his son, Giovanni de' Medici.[12]

On November 11, 1487, the giraffe with other exotic animals arrived in Florence and took the spectators' breath away, and seven days later it was officially presented to Lorenzo.[1]

Another issue that Qaitbay would like Lorenzo to settle in June 1488 was the Pope's permission to buy weapons. The Venetians ignored the arms sales ban issued by the Pope and kept selling arms to the Ottomans while deleting such traces in their records, leading to Qaitbay's request to Lorenzo to negotiate with the Pope. Consequently, the weapons were permitted for purchase with papal authorization on January 17, 1489.[15] Regarding Cem's custody, he was brought from France to Rome in March 1489.[15] However, Cem died in February 1495 in Capua, where he accompanied King Charles VIII of France, Anne's brother, to march south.[16]

Meanwhile, Lorenzo was enjoying the fruits of his "giraffe" diplomacy. His daughter Maddalena married Franceschetto Cibo – the illegitimate son of Pope Innocent VIII in January 1488.[17] And in March 1489, his thirteen-year-old son, Giovanni, was made a cardinal.[18]

About the giraffe, she did not live long. She panicked when her head got stuck in the barn beams. She broke her neck when jerking her head too hard and died in January 1488. Anne of France would never receive her despite her longing for the giraffe. Still, the giraffe was one of Lorenzo's political tools that leveraged his prestige due to its contribution to his influence with the Pope.[17]

Other giraffes[edit]

It was reported that "giraffes were also kept at other Italian courts; for instance, by Alphonso II, duke of Calabria, in his villa Poggio Reale, and by Duke Hercules I in the Barco Park at Ferrara".[19] If they had existed, they had certainly not had the fame that Lorenzo's giraffe enjoyed: it was immortalized in paintings and frescos by Botticini, Vasari, and Bacchiacca. Meanwhile, in the eastern world, a giraffe was brought to Beijing in 1414 from Bengal as a tributary gift. The second giraffe was later dispatched directly from the city of Melinda in 1421 to the emperor with much celebration and fanfare.[20]

A living giraffe was not seen in Europe again until Muhammad Ali of Egypt sent three Nubian giraffes as gifts in 1820s, one to Charles X of France in 1826, one to George IV of the United Kingdom in 1827, and one to Francis II, Emperor of Austria. Each caused a stir in London, Vienna, and Paris, respectively. However, the first, the female giraffe, known today as Zarafa, survived for more than two years and was later put in the Jardin des Plantes of Paris.[21]

Gallery[edit]

Frescos and paintings[edit]

The Adoration of the Magi by Domenico Ghirlandaio, part of the frescoes on the left wall of Tornabuoni Chapel, was painted just after the arrival of the Medici giraffe (1486-90)
The Gathering of Manna by Francesco Bacchiacca (1540-55)
The Adoration of the Magi by Raffaello Botticini (c. 1495)

Details[edit]

Detail of The Adoration of the Magi shows the giraffe descending a hill on the right-hand side
Detail of The Gathering of Manna. The artist's accurate depiction owes a debt to the Medici giraffe.
Detail of The Adoration of the Magi shows a small giraffe on the right side

See also[edit]

References[edit]

  1. ^ a b Landucci, Luca (1927). A Florentine diary from 1450 to 1516. London : New York: J.M. Dent & Sons; Dutton. p. 44. Retrieved 2022-06-13.
  2. ^ a b Joost-Gaugier, Christiane L. (1987). "Lorenzo the Magnificent and the Giraffe as a Symbol of Power". Artibus et Historiae. 8 (16): 94. doi:10.2307/1483302.
  3. ^ Belozerskaya, Marina (2009). The Medici giraffe: and other tales of exotic animals and power. New York: Little, Brown and Co. p. 90. ISBN 978-0-316-07642-5. OCLC 461332997.
  4. ^ Belozerskaya, Marina (2009). The Medici giraffe: and other tales of exotic animals and power. New York: Little, Brown and Co. p. 91. ISBN 978-0-316-07642-5. OCLC 461332997.
  5. ^ Belozerskaya, Marina (2009). The Medici giraffe: and other tales of exotic animals and power. New York: Little, Brown and Co. p. 92. ISBN 978-0-316-07642-5. OCLC 461332997.
  6. ^ Belozerskaya, Marina (2009). The Medici giraffe: and other tales of exotic animals and power. New York: Little, Brown and Co. pp. 102–103. ISBN 978-0-316-07642-5. OCLC 461332997.
  7. ^ Joost-Gaugier, Christiane L. (1987). "Lorenzo the Magnificent and the Giraffe as a Symbol of Power". Artibus et Historiae. 8 (16): 95. doi:10.2307/1483302.
  8. ^ Belozerskaya, Marina (2009). The Medici giraffe: and other tales of exotic animals and power. New York: Little, Brown and Co. p. 104. ISBN 978-0-316-07642-5. OCLC 461332997.
  9. ^ Wansbrough, John (1965). Venice and Florence in the Mamluk Commercial Privileges. Vol. 28. Cambridge University Press. p. 483. ISSN 0041-977X. Retrieved 2022-06-13.
  10. ^ Belozerskaya, Marina (2009). The Medici giraffe: and other tales of exotic animals and power. New York: Little, Brown and Co. pp. 105–106. ISBN 978-0-316-07642-5. OCLC 461332997.
  11. ^ Hattox, Ralph S. (2002). Qaytbay's Diplomatic Dilemma: Concerning the Flight of Cem Sultan (1481-82). The Middle East Documentation Center (MEDOC). pp. 184–186. doi:10.6082/M1ZK5DT0. ISSN 1947-2404. Archived from the original on 2022-06-13. Retrieved 2022-06-13.
  12. ^ a b c d e Belozerskaya, Marina (2009). The Medici giraffe: and other tales of exotic animals and power. New York: Little, Brown and Co. pp. 110–112. ISBN 978-0-316-07642-5. OCLC 461332997.
  13. ^ "Lorenzo the Magnificent receives the tribute of the ambassadors". Google Arts and Culture. Archived from the original on 2022-06-14. Retrieved 2022-06-14.
  14. ^ Ringmar, Erik (2006). "Audience for a Giraffe: European Expansionism and the Quest for the Exotic". Journal of World History. 17 (4): 382. doi:10.1353/jwh.2006.0060. ISSN 1527-8050 – via Project MUSE.
  15. ^ a b Belozerskaya, Marina (2009). The Medici giraffe: and other tales of exotic animals and power. New York: Little, Brown and Co. p. 117. ISBN 978-0-316-07642-5. OCLC 461332997.
  16. ^ Fisher, Sydney Nettleton (1948). The Foreign Relations Of Turkey, 1481-1512. pp. 48–49.
  17. ^ a b Belozerskaya, Marina (2009). The Medici giraffe: and other tales of exotic animals and power. New York: Little, Brown and Co. p. 118. ISBN 978-0-316-07642-5. OCLC 461332997.
  18. ^ Landucci, Luca (1927). A Florentine diary from 1450 to 1516. London : New York: J.M. Dent & Sons; Dutton. p. 47. Retrieved 2022-06-13.
  19. ^ Laufer, Berthold (1928). "The Giraffe in History and Art". Anthropology Leaflet (27): 82. ISSN 2167-6208. JSTOR 41444127. Retrieved 2022-06-13 – via JSTOR.
  20. ^ Ringmar, Erik (2006). "Audience for a Giraffe: European Expansionism and the Quest for the Exotic". Journal of World History. 17 (4): 390–391. doi:10.1353/jwh.2006.0060. ISSN 1527-8050 – via Project MUSE.
  21. ^ Laufer, Berthold (1928). "The Giraffe in History and Art". Anthropology Leaflet (27): 88–89. ISSN 2167-6208. JSTOR 41444127. Retrieved 2022-06-13 – via JSTOR.

Bibliography[edit]

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