who was to effect this, managed his interview so clumsily that Petrucci suspected something, those being suspicious times, and, instead of submitting to capture, himself turned the key on his visitors. The Pazzi faction in the city, meanwhile, hoping that all had gone well in the Palazzo Vecchio, as well as in the cathedral (as they thought), were running through the streets calling "Viva la Libertà!" to be met with counter cries of "Palle! palle!"—the palle being the balls on the Medici escutcheon, still to be seen all over Florence and its vicinity and on every curtain in the Uffizi.
The truth gradually spreading, the city then rose for the Medici and justice began to be done. The Archbishop was handed at once, just as he was, from a window of the Palazzo Vecchio. Francesco de' Pazzi, who had got home to bed, was dragged to the Palazzo and hanged too. The mob meanwhile were not idle, and most of the Pazzi were accounted for, together with many followers—although Lorenzo publicly implored them to be merciful. Poliziano, the scholar-poet and friend of Lorenzo, has left a vivid account of the day. With his own eyes he saw the hanging Salviati, in his last throes, bite the hanging Francesco de Pazzi. Old Jacopo succeeded in escaping, but not for long, and a day or so later he too was hanged. Bandini got as far as Constantinople, but was brought back in chains and hanged. The two priests hid in the Benedictine abbey in the city and for a while evaded search, but being found they were torn to pieces by the crowd. Montesecco, having confessed, was beheaded in the courtyard of the Bargello.
The hanging of the chief conspirators was kept in the minds of the short-memoried Florentines by a representation outside the Palazzo Vecchio, by none other than the wistful, spiritual Botticelli; while three effigies, life size, of Lorenzo—one of them with his bandaged neck—were made by Verrocchio in coloured wax and set up in places where prayers might be offered. Commemorative medals which may be seen in the Bargello, were also struck, and the family of Pazzi was banished and its name removed by decree from the city's archives. Poor Giuliano, who was generally beloved for his charm and youthful spirits, was buried at S. Lorenzo in great state.
I have often attended High Mass in this Duomo choir—the theatre of the Pazzi tragedy—but never without thinking of that scene.
Luca della Robbia's doors to the new sacristy, which gave the young cardinal his safety, had been finished only eleven years. Donatello was to have designed them, but his work at Padua was too pressing. The commission was then given to Michelozzo, Donatello's partner, and to Luca della Robbia, but it seems likely that Luca did nearly all. The doors are in very high relief, thus differing absolutely from Donatello's at S. Lorenzo, which are in very low. Luca's work here is sweet and mild rather than strong, and the panels derive their principal charm from the angels, who, in pairs, attend the saints. Above the door was placed, at the time of Lorenzo's escape, the beautiful cantoria, also by Luca, which is now in the museum of the cathedral, while above the door of the old sacristy was Donatello's cantoria. Commonplace new ones now take their place. In the semicircle over each door is a coloured relief by Luca: that over the bronze doors being the "Resurrection," and the other the "Ascension"; and they are interesting not only for their beauty but as being the earliest-known examples in Luca's newly-discovered glazed terra-cotta medium, which was to do so much in the hands of himself, his nephew Andrea, and his followers, to make Florence still lovelier and the legend of the Virgin Mary still sweeter. But of the della Robbias and their exquisite genius I shall say more later, when we come to the Bargello.
As different as would be possible to imagine is the genius of that younger sculptor, the author of the Pietà at the back of the altar, near where we now stand, who, when Luca finished these bronze doors, in 1467, was not yet born—Michelangelo Buonarroti. This group, which is unfinished, is the last the old and weary Titan ever worked at, and it was meant to be part of his own tomb. Vasari, to whose "Lives of the Painters" we shall be indebted, as this book proceeds, for so much good human nature, and who speaks of Michelangelo with peculiar authority, since he was his friend, pupil, and correspondent, tells us that once when he went to see the sculptor in Rome, near the end, he found him at work upon this Pietà, but the sculptor was so dissatisfied with one portion that he let his lantern fall in order that Vasari might not see it, saying: "I am so old that death frequently drags at my mantle to take me, and one day my person will fall like this lantern". The Pietà is still in deep gloom, as the master would have liked, but enough is revealed to prove its pathos and its power.
In the east end of the nave is the chapel of S. Zenobius, containing a bronze reliquary by Ghiberti, with scenes upon it from the life of this saint, so important in Florentine religious history. It is, however, very hard to see, and should be illuminated. Zenobius was born at Florence in the reign of Constantine the Great, when Christianity was by no means the prevailing religion of the city, although the way had been paved by various martyrs. After studying philosophy and preaching with much acceptance, Zenobius was summoned to Rome by Pope Damasus. On the Pope's death he became Bishop of Florence, and did much, says Butler, to "extirpate the kingdom of Satan". The saint lived in the ancient tower which still stands—one of the few survivors of Florence's hundreds of towers—at the corner of the Via Por S. Maria (which leads from the Mercato Nuovo to the Ponte Vecchio) and the Via Lambertesca. It is called the Torre de' Girolami, and on S. Zenobius' day—May 25th—is decorated with flowers; and since never are so many flowers in the city of flowers as at that time, it is a sight to see. The remains of the saint were moved to the Duomo, although it had not then its dome, from S. Lorenzo, in 1330, and the simple column in the centre of the road opposite Ghiberti's first Baptistery doors was erected to mark the event, since on that very spot, it is said, stood a dead elm tree which, when the bier of the saint chanced to touch it, immediately sprang to life again and burst into leaf; even, the enthusiastic chronicler adds, into flower. The result was that the tree was cut completely to pieces by relic hunters, but the column by the Baptistery, the work of Brunelleschi (erected on the site of an earlier one), fortunately remains as evidence of the miracle. Ghiberti, however, did not choose this miracle but another for representation; for not only did Zenobius dead restore animation, but while he was himself living he resuscitated two boys. The one was a ward of his own; the second was an ordinary Florentine, for whom the same modest boon was craved by his sorrowing parents. It is one of these scenes of resuscitation which Ghiberti has designed in bronze, while Ridolfo Ghirlandaio painted it in a picture in the Uffizi. We shall see S. Zenobius again in the fresco by Ridolfo's father, the great Ghirlandaio, in the Palazzo Vecchio; while the portrait on the first pillar of the left aisle, as one enters the cathedral is of Zenobius too.
The date of the Pazzi Conspiracy was 1478. A few years later the same building witnessed the extraordinary effects of Savonarola's oratory, when such was the terrible picture he drew of the fate of unregenerate sinners that his listeners' hair was said actually to rise with fright. Savonarola came towards the end of the Renaissance, to give it its death-blow. By contrast there is a tablet on the right wall of the cathedral in honour of one who did much to bring about the paganism and sophistication against which the impassioned reformer uttered his fiercest denunciations: Marsilio Ficino (1433–1491), the neo-Platonist protegé of Cosimo de' Medici, and friend both of Piero de' Medici and Lorenzo. To explain Marsilio's influence it is necessary to recede a little into history. In 1439 Cosimo de' Medici succeeded in transferring the scene of the Great Council of the Church to Florence. At this conference representatives of the Western Church, centred in Rome, met those of the Eastern Church, centred in Constantinople, which was still Christian, for the purpose of discussing various matters, not the least of which was the protection of the Eastern Church against the Infidel. Not only was Constantinople continually threatened by the Turks, and in need of arms as well as sympathy, but the two branches of the Church were at enmity over a number of points. It was as much to heal these differences as to seek temporal aid that the Emperor John Palaeologus, the Patriarch of Constantinople, and a vast concourse of nobles, priests, and Greek scholars, arrived in Italy, and, after sojourning at Venice and Ferrara, moved on to Florence at the invitation of Cosimo. The Emperor resided in the Peruzzi palace, now no more, near S. Croce; the Patriarch of Constantinople lodged (and as it chanced, died, for he was very old) at the Ferrantini palace, now the Casa Vernaccia, in the Borgo Pinti; while Pope Eugenius was at the convent attached to S. Maria Novella. The meetings of the Council were held where we now stand—in the
