A Wanderer in Florence. E. V. Lucas

ruler that Florence ever had and ranks high among the rulers that any state ever had. But he changed the Florentines from an independent people to a dependent one. In his capacity of Father of his Country he saw to it that his children lost their proud spirit. He had to be absolute; and this end he achieved in many ways, but chiefly by his wealth, which made it possible to break the rich rebel and to enslave the poor. His greatest asset—next his wealth—was his knowledge of the Florentine character. To know anything of this capricious, fickle, turbulent folk even after the event was in itself a task of such magnitude that almost no one else had compassed it; but Cosimo did more, he knew what they were likely to do. By this knowledge, together with his riches, his craft, his tact, his business ramifications as an international banker, his open-handedness and air of personal simplicity, Cosimo made himself a power. For Florence could he not do enough. By inviting the Pope and the Greek Emperor to meet there he gave it great political importance, and incidentally brought about the New Learning. He established the Platonic Academy and formed the first public library in the west. He rebuilt and endowed the monastery of S. Marco. He built and rebuilt other churches. He gave Donatello a free hand in sculpture and Fra Lippo Lippi and Fra Angelico in painting. He distributed altogether in charity and churches four hundred thousand of those golden coins which were invented by Florence and named florins after her—a sum equal to a million pounds of to-day. In every direction one comes upon traces of his generosity and thoroughness. After his death it was decided that as Pater Patriae, or Father of his Country, he should be for ever known.

      Cosimo died in 1464, leaving an invalid son, Piero, aged forty-eight, known for his almost continuous gout as Il Gottoso. Giovanni and Cosimo had had to work for their power; Piero stepped naturally into it, although almost immediately he had to deal with a plot—the first for thirty years—to ruin the Medici prestige, the leader of which was that Luca Pitti who began the Pitti palace in order to have a better house than the Medici. The plot failed, not a little owing to young Lorenzo de' Medici's address, and the remaining few years of Piero's life were tranquil. He was a quiet, kindly man with the traditional family love of the arts, and it was for him that Gozzoli worked. He died in 1469, leaving two sons, Lorenzo (1449–1492) and Giuliano (1453–1478).

      Lorenzo had been brought up as the future leading citizen of Florence: he had every advantage of education and environment, and was rich in the aristocratic spirit which often blossoms most richly in the second or third generation of wealthy business families. Giovanni had been a banker before everything, Cosimo an administrator, Piero a faithful inheritor of his father's wishes; it was left for Lorenzo to be the first poet and natural prince of the Medici blood. Lorenzo continued to bank but mismanaged the work and lost heavily; while his poetical tendencies no doubt distracted his attention generally from affairs. Yet such was his sympathetic understanding and his native splendour and gift of leadership that he could not but be at the head of everything, the first to be consulted and ingratiated. Not only was he the first Medici poet but the first of the family to marry not for love but for policy, and that too was a sign of decadence.

      Lorenzo came into power when only twenty, and at the age of forty-two he was dead, but in the interval, by his interest in every kind of intellectual and artistic activity, by his passion for the greatness and glory of Florence, he made for himself a name that must always connote liberality, splendour, and enlightenment. But it is beyond question that under Lorenzo the Florentines changed deeply and for the worse. The old thrift and simplicity gave way to extravagance and ostentation; the old faith gave way too, but that was not wholly the effect of Lorenzo's natural inclination towards Platonic philosophy, fostered by his tutor Marsilio Ficino and his friends Poliziano and Pico della Mirandola, but was due in no small measure also to the hostility of Pope Sixtus, which culminated in the Pazzi Conspiracy of 1478 and the murder of Giuliano. Looking at the history of Florence from our present vantage-point we can see that although under Lorenzo the Magnificent she was the centre of the world's culture and distinction, there was behind this dazzling front no seriousness of purpose. She was in short enjoying the fruits of her labours as though the time of rest had come; and this when strenuousness was more than ever important. Lorenzo carried on every good work of his father and grandfather (he spent £65,000 a year in books alone) and was as jealous of Florentine interests; but he was also "The Magnificent," and in that lay the peril. Florence could do with wealth and power, but magnificence went to her head.

      Lorenzo died in 1492, leaving three sons, of whom the eldest, Piero (1471–1503), succeeded him. Never was such a decadence. In a moment the Medici prestige, which had been steadily growing under Cosimo, Piero, and Lorenzo until it was world famous, crumbled to dust. Piero was a coarse-minded, pleasure-loving youth—"The Headstrong" his father had called him—whose one idea of power was to be sensual and tyrannical; and the enemies of Florence and of Italy took advantage of this fact. Savonarola's sermons had paved the way from within too. In 1494 Charles VIII of France marched into Italy; Piero pulled himself together and visited the king to make terms for Florence, but made such terms that on returning to the city he found an order of banishment and obeyed it. On November 9th, 1494, he and his family were expelled, and the mob, forgetting so quickly all that they owed to the Medici who had gone before, rushed to this beautiful palace and looted it. The losses that art and learning sustained in a few hours can never be estimated. A certain number of treasures were subsequently collected again, such as Donatello's David and Verrocchio's David, while Donatello's Judith was removed to the Palazzo Vecchio, where an inscription was placed upon it saying that her short way with Holofernes was a warning to all traitors; but priceless pictures, sculpture, and MSS. were ruthlessly demolished.

      In the chapter on S. Marco we shall read of what experiments in government the Florentines substituted for that of the Medici, Savonarola for a while being at the head of the government, although only for a brief period which ended amid an orgy of lawlessness; and then, after a restless period of eighteen years, in which Florence had every claw cut and was weakened also by dissension, the Medici returned—the change being the work of Lorenzo's second son, Giovanni de' Medici, who on the eve of becoming Pope Leo X procured their reinstatement, thus justifying the wisdom of his father in placing him in the Church. Piero having been drowned long since, his admirable but ill-starred brother Giuliano, Duke of Nemours, now thirty-three, assumed the control, always under Leo X; while their cousin, Giulio, also a Churchman, and the natural son of the murdered Giuliano, was busy, behind the scenes, with the family fortunes.

      Giuliano lived only till 1516 and was succeeded by his nephew Lorenzo, Duke of Urbino, a son of Peiro, a young man of no more political use than his father, and one who quickly became almost equally unpopular. Things indeed were going so badly that Leo X sent Giulio de' Medici (now a cardinal) from Rome to straighten them out, and by some sensible repeals he succeeded in allaying a little of the bitterness in the city. Lorenzo had one daughter, born in this palace, who was destined to make history—Catherine de' Medici—and no son. When therefore he died in 1519, at the age of twenty-seven, after a life of vicious selfishness (which, however, was no bar to his having the noblest tomb in the world, at S. Lorenzo), the succession should have passed to the other branch of the Medici family, the descendants of old Giovanni's second son Lorenzo, brother of Cosimo. But Giulio, at Rome, always at the ear of the indolent, pleasure-loving Leo X, had other projects. Born in 1478, the illegitimate son of a charming father, Giulio had none of the great Medici traditions, and the Medici name never stood so low as during his period of power. Himself illegitimate, he was the father of an illegitimate son, Alessandro, for whose advancement he toiled much as Alexander VI had toiled for that of Caesar Borgia. He had not the black, bold wickedness of Alexander VI, but as Pope Clement VII, which he became in 1523, he was little less admirable. He was cunning, ambitious, and tyrannical, and during his pontificate he contrived not only to make many powerful enemies and to see both Rome and Florence under siege, but to lose England for the Church.

      We move, however, too fast. The year is 1519 and Lorenzo is dead, and the rightful heir to the Medici wealth and power was to be kept out. To do this Giulio himself moved to Florence and settled in the Medici palace, and on his return to Rome Cardinal Passerini was installed in the Medici palace in his stead, nominally as the custodian of little Catherine de' Medici and Ippolito, a boy of ten, the illegitimate son of Giuliano, Duke of Nemours. That Florence should have put up with this Roman control shows us how enfeebled was her once proud spirit. In 1521 Leo X died, to be succeeded, in spite of all Giulio's