[572] Fabroni, l. c. ii. 398. Cerretani reports that of the whole number in the Council 483 voted Aye and 63 No. ‘Herein was seen a token of harmony and secure hope for the future; but it all came from the popularity of Lorenzo, who was lamented not only by his fellow-citizens and the people, but by all Italy.’
[573] Burcard, p. 171-178. On the appointment as legate cf. Stefano da Castrocaro’s letter to Piero, Rome, April 15, 1402; Fabroni, Vita Leonis X. p. 13, and note 10; Roscoe, Leo X. Ap. xxiv.
[574] Cod. Aragon., l. c. p. 74, 75.
[575] Fabroni, l. c. ii. 396.
[576] Fabroni, Laur. Med. Vita, i. 212. There is no better warrant for this speech than for that on the election of Pope Alexander VI.
[577] Diary of Paris de’ Grassi, in Fabroni, Vita Leonis X., p. 95.
[578] Moreni, Descrizione istorico-critica delle tre Cappelle Medicee in S. Lorenzo (Flor. 1813), p. 103. At the revolution of 1494 the party hostile to the Medici did not entirely spare even the monuments, for the inscription on the tomb of Cosimo the elder was removed on account of the ‘Pater patriæ’; in 1497, during the Savonarola excitement, all the Medici coats of arms were taken away or covered, and replaced by the red cross of the people. The reappearance of the ball-escutcheon after the revolution of 1512 was referred to in an epigram by the father of Benvenuto Cellini, wherein he prophesies the attainment of the Papal dignity by one of the family:—
‘Quest’arme, che sepolta è stata tanta,
Sotta la croce mansueta,
Mostra hor la faccia gloriosa e lieta,
Aspettando di Pietro il sacro ammanto.’
[579] This curious monody, so unlike Politian’s other Latin compositions, stands at the end of his works in the edition of 1498. [In Del Lungo, p. 274.] The poem in terza rima, on Lorenzo’s death, printed in the edition of his Italian poems published at Florence in 1814, from a Riccardi MS. (in Carducci’s ed. p. 382 et seq.) is unquestionably not Politian’s.
[580] The object of this table is simply to facilitate a survey of the chronological sequence of the different parts of the work.