Within the tradition of the villa – and recent study would confirm it –
that the Prince Giovan Carlo de’ Medici, younger brother of the Grand
Duke, was arranged to marry an overwhelmingly rich girl from Naples, Anna
Caràfa di Stigliano, as a result of dynastic effort of the court in
Florence, Mantua and Vienna (Giovan Carlo was son of Maria Magdalena of
Austria).
Unusually for the time, Giovan Carlo fell in love with the noblewoman.
He decided then that the Villa in Mezzomonte, recently bought, would be
dedicated to his future wife, and would serve as their residence.
Thus, under the strict supervision of the Prince, several major artists of
the time worked in Mezzomonte, and developed a sequence of frescoes at
times lovely, sensual, familiar, playful, with several remembrance of
romantic and feminine themes.
Unfortunately, the Giovan Carlo was not eventually allowed to marry Anna,
because of the strong opposition at the Court of Spain of the powerful
Enrique de Guzman, Count Duke of Olivares and main assistant to the King
Philip II.
Donna Anna was the last heiress of very rich and strategic feuds, that
would be inherited by the Medici (Piombino and the Elba island, strategic
to control the Tyrrhenian sea; the Duchy of Sabbioneta near Mantua – the
“small Athens” – from her grandmother Isabella Gonzaga; and several feuds
in southern Italy, from her mother Elena Aldobrandini).
The Count Duke of Olivares sent to Naples his step-son, Ramiro Guzmàn Duke
of Medina, that was at the time widower of Olivares only daughter,
promising him a rich marriage and appointing him as vice King of Naples.
Giovan Carlo, meanwhile, was appointed Cardinal, and on his new position
joined in Rome the court of the Queen Christine of Sweden. He did not have
any specific jobs from the Holy See; a man with a smart intelligence and a
strong taste, he continued to deal with art, collecting paintings,
sculptures, and furniture he considered “beautiful”. We owe him the birth
of a first general collection of art at the Uffizi.
