Lorenzo de' Medici, the Magnificent (vol. 1 of 2)Reumont, Alfred von
History
Lorenzo de' Medici, the Magnificent (vol. 1 of 2)
Reumont, Alfred von
Medici, Lorenzo de', 1449-1492
The danger arose from a combination of home and foreign affairs. Like
his grandfather, Lorenzo had always been careful not to allow any of
the families attached to him to become powerful enough to cause him
anxiety. It may be easily understood that this constant endeavour to
gain the upper hand, although it secured his position, gave rise to
disaffection and hatred. Thus it was with the Pazzi. We have seen
how this family, who at first did not find it easy to obtain popular
favour, rose to high honours, and how closely they were allied to the
Medici. Guglielmo de’ Pazzi had for years always been present at the
tourneys, fêtes, and amusements of his brother-in-law. But in his case
as in others Lorenzo does not appear to have deviated from his usual
policy. He avoided allowing the Pazzi any part in such public offices
as they might well claim, considering their position, and at times he
appeared almost envious of the rising wealth of this family. Still,
for several years harmony was preserved between them. Two letters
directed to Lorenzo in 1474 by Jacopo de’ Pazzi, then at Avignon,
professing gratitude for services rendered to him, and the hope of
future good understanding, are preserved in the archives of the family.
This, however, could not last long, nor was the fault all on the Pazzi
side. In the year 1476, Lorenzo caused a law on the inheritance _ab
intestato_ to pass, which deprived Giovanni de’ Pazzi of the rich
Borromeo succession to which his wife had a claim. Giuliano warned
his brother, but in vain. Francesco de’ Pazzi, Jacopo’s nephew, who
resided in Rome, considered himself ill-used by the magistracy of the
Eight. Still it is hardly to be believed that the Pazzi would have put
themselves at the head of a perilous enterprise in their native town,
if complications in Rome had not brought on a crisis. In the ensuing
tragedy, the Pazzi appear as chief actors, but it is more likely they
were merely the instruments of Girolamo Riario.[223]
Public-domain text, read in full here on John Shaqi.
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