波提切利后期失去了美第奇家族赞助的虔诚绘画应该怎么解读？
How are Botticelli's later pious paintings, bereft of Medici patronage, to be read?
从梅第奇家族赞助艺术开始，艺术家就一直无法摆脱寄生的地位。
Since the sponsorship of the Medici Family, artists have never escaped from the position of parasitism.
例如波提切利的《春》，在16世纪美第奇家族收藏目录中被称作《有九个人物的波提切利油画》。
Botticelli's Primavera, for example, was described as a "Painting by Botticelli with Nine Figures" in a 16th-century catalog of the Medici family's holdings.
1478年，帕奇家族像他们的名字所代表的含义“疯狂”一样，从梅第奇家族手里攫取了教皇的生意。
In 1478, the Pazzi family managed-for all that their name means "mad" -to snatch the papal business from the Medici.
他这样说，某种程度上是因为历史记载：美第奇家族银行的衰落及最终崩溃对整个银行体系本身影响甚少。
He does so, partly to record that the decline and eventual collapse of the Medici bank had little impact on the banking system as a whole.
这幅名为《矮人morgante的肖像》的画作中的人物是文艺复兴时期佛罗伦萨的美第奇家族的一位宫廷弄臣。
Known as the "Portrait of Dwarf Morgante," the subject was a court jester, part of the Medici court in the Florentine Renaissance.
15世纪，美第奇-里卡迪宫作为美第奇家族的官邸而修建。那时这里是真正让你眩晕的地方。它拥有的艺术作品洋洋大观，让人惊叹。
In the 15th century, when it was built as the town house of the Medici family, this was truly a place to make you pass out.
尽管书中的建议指向意大利美第奇家族，但其原则仍然真实有效，至少对如何混迹政界、如何在一潭浑水里也游刃有余还是有借鉴之处的。
Though the advice was meant for the Medici ruling family in Italy, the principles can still hold true, or at least shed a light on how to weave through the murky waters of politics.
举个例子，他坚持修正关于美第奇家族的一个观点，拒绝称颂科西莫·美第奇(Cosimo)和洛伦佐·美第奇(Lorenzode’Medici)，尽管他们依照流行的历史观点被认为是佛洛伦萨文艺复兴时期的英雄。
For example, he has a revisionist view of the Medici, stubbornly refusing to eulogise Cosimo or Lorenzo de’ Medici, the conventional heroes of popular histories of Renaissance Florence.
举个例子，他坚持修正关于美第奇家族的一个观点，拒绝称颂科西莫·美第奇(Cosimo)和洛伦佐·美第奇(Lorenzode’Medici)，尽管他们依照流行的历史观点被认为是佛洛伦萨文艺复兴时期的英雄。
For example, he has a revisionist view of the Medici, stubbornly refusing to eulogise Cosimo or Lorenzo de’ Medici, the conventional heroes of popular histories of Renaissance Florence.
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