Francesco de’ Pazzi - banker

Medici rival at heart of Pazzi Conspiracy

The moment at which Giuliano de' Medici is killed,
imagined by 19th century painter Stefano Ussi

The banker Francesco de’ Pazzi, a central figure in the Pazzi Conspiracy that sought to overthrow the Medici family as the rulers of Florence, was born on this day in 1444.

De’ Pazzi killed Giuliano de’ Medici, stabbing him to death during mass at the Florence Duomo as the conspirators attempted to seize control.

But Giuliano’s brother, Lorenzo the Magnificent, with whom he was joint ruler, escaped with only minor wounds.

Simultaneously, other conspirators rode into the Piazza della Signoria declaring themselves the liberators of the city. But the people of Florence were loyal to the Medicis and attacked them.

Within hours, despite Lorenzo appealing for calm, an angry mob determined to exact revenge had hunted down and killed more than 30 conspirators or suspected conspirators, including Francesco.

One of nine children born to Antonio de’ Pazzi and Nicolosa, daughter of Alessandro degli Alessandri, Francesco was an important figure in the Pazzi banking business, having been appointed papal treasurer.

Sandro Botticelli's portrait of the
ill-fated Giuliano de' Medici

This in itself made for a tense relationship between the Medici and the Pazzi, even though they were actually related thanks to the marriage of Guglielmo de' Pazzi and Bianca de' Medici, Lorenzo’s elder sister.

The administration of the papal finances was a coveted prize for any banking family and Pope Sixtus IV’s decision to take responsibility away from the Medici Bank in favour of the Pazzi antagonised Lorenzo in particular.

Sixtus IV, from a poor bacground originally, was determined to enrich both his own Della Rovere family and their cousins, the Riario family. He had designs on the rich Florentine territories for the benefit of his nephews, including the nobleman Girolamo Riario, and also to finance the expensive works undertaken by him in Rome.

The rift between Rome and the Medicis occurred when Galeazzo Maria Sforza, the Duke of Milan, changed his mind about selling the town of Imola, which occupied a strategic position on the trade route between Florence and Venice, to Lorenzo de’ Medici in favour of a deal with Sixtus IV, provided that Sixtus agreed to the marriage of his daughter, Caterina Sforza, to Girolamo Riario.

Lorenzo, as Sforza’s banker, refused to finance the deal, not wishing to see an extension of the papal states, at which Sixtus turned to the Pazzis and handed the contract for the papal treasury to them.

There were suspicions that the Pazzi Conspiracy was actually conceived in Rome but the Pazzi had reasons of their own to turn against the Medici, not least the decision of Lorenzo to introduce a law that prevented a considerable sum of money flowing into the Pazzi coffers with the death of Giovanni Borromei, the very wealthy father in law of Giovanni de’ Pazzi, another of Francesco’s brothers.

Da Vinci's drawing of
Bandini's hanging

Borromei’s fortune should have passed to Beatrice Borromei, Giovanni de’ Pazzi’s wife. But Lorenzo changed the law so that daughters could not inherit in the absence of any brothers, and that in those circumstances any legacy would pass instead to male cousins.

A further source of friction between Lorenzo and the Pazzi was his appointment of Lorenzo's brother-in-law Rinaldo Orsini as Archbishop of Florence in succession to the late Pietro Riario in 1474. The candidates overlooked included Francesco Salviati, a relative of the Pazzi family and friend of Francesco.

Whatever its origins, it is generally accepted that the chief conspirators in the Pazzi Conspiracy were Girolamo Riario, Francesco de' Pazzi and Francesco Salviati, the trio who attacked Lorenzo and Giuliano in the Florence duomo, the magnificent Cathedral of Santa Maria del Fiore, on the morning of April 26, 1478.

Giuliano was assassinated by Francesco de' Pazzi together with Bernardo Bandini di Baroncelli, suffering a sword wound to the head as well as being stabbed 19 times.  Lorenzo was attacked by two of Jacopo Pazzi's men, but managed to escape.

Salviati then took a number of Jacopo Pazzi's men to the Piazza della Signoria hoping to be received by the Florentine populace as liberators. Instead, they were attacked. Along with Francesco de' Pazzi and several others, Salviati was hanged from the windows of the Palazzo Vecchio.

More than 30 suspected conspirators were caught and killed within hours of the attack and over the course of the next eight months some 50 more were captured and executed, including Bandini dei Baroncelli, who had escaped to Constantinople but was arrested and returned, to be hanged from a window of the Palazzo del Capitano del Popolo while still dressed in Turkish clothing. 

Jacopo de' Pazzi, head of the family, escaped from Florence but was caught and brought back to be tortured and then hanged from the Palazzo della Signoria next to the decomposing corpse of Salviati. 

All other members of the Pazzi family were banished from Florence, and their lands and property confiscated. The family name was erased from public registers, while all buildings and streets carrying it were renamed. Anyone named Pazzi had to take a new name; anyone married to a Pazzi was barred from public office.

The Palazzo Vecchio guards 
over Piazza della Signoria

Travel tip:

The Piazza della Signoria has been the focal point of the city of Florence since the 14th century. Overlooked by the imposing Palazzo Vecchio, it was the scene of the triumphant return of the Medici family in 1530, three and a half decades after they had been driven from the city by the supporters of the fanatical priest, Girolamo Savonarola. The controversial cleric's famous bonfires of the vanities were built in the middle of the square.  The piazza della Signoria contains several important sculptures and statues, including a copy of Michelangelo's David - the original is in the Galleria dell'Accademia - Baccio Bandinelli's Hercules and Cacus, Bartolomeo Ammannati’s Fontana del Nettuno and Benvenuto Cellini’s statue of Perseo holding Medusa's head.

The Cattedrale di Santa Maria del Fiore is the 
dominant feature of the Florence skyline

Travel tip:

The Florence duomo - the Cattedrale di Santa Maria del Fiore - with its enormous dome by Filippo Brunelleschi and campanile by Giotto, is one of Italy's most recognisable and most photographed sights, towering above the city and the dominant feature of almost every cityscape. From groundbreaking to consecration, the project took 140 years to complete and involved a series of architects. Arnolfo di Cambio, who also designed the church of Santa Croce and the Palazzo Vecchio, was the original architect.  When he died in 1410, 14 years after the first stone was laid, he was succeeded by Giotto, who himself died in 1337, after which his assistant Andrea Pisano took up the project.  Pisano died in 1348, as the Black Death swept Europe, and a succession of architects followed, culminating in Brunelleschi, who won a competition to build the dome, which remains the largest brick-built dome ever constructed.

Also on this day:

1453: The birth of Renaissance beauty Simonetta Vespucci

1608: The birth of physiologist and physicist Giovanni Alfonso Borelli

1813: The birth of scientist Paolo Gorini

1969: The birth of world champion swimmer Giorgio Lamberti

1978: The birth of goalkeeper Gianluigi Buffon

Home

Simonetta Vespucci – Renaissance beauty

Noblewoman hailed as embodiment of female perfection

Simonetta Vespucci, as recalled by Sandro
Botticelli in his 1480s Portrait of a Woman

Simonetta Vespucci, a young noblewoman who became the most sought-after artist’s model in Florence in the mid-15^th century, is thought to have been born on this day in 1453.

Born Simonetta Cattaneo to a Genoese family, she was taken to Florence in 1469 when she married Marco Vespucci, an eligible Florentine nobleman who was a distant cousin of the explorer and cartographer Amerigo Vespucci.

She quickly became the talk of Florentine society. Soon known as La Bella Simonetta, she captivated painters and young noblemen alike with her beauty. 

It is said that, shortly before her arrival, a group of artists had been discussing their idea of the characteristics of perfect female beauty and were stunned, on meeting Simonetta, to discover that their idealised woman actually existed.

The Medici brothers, Lorenzo and Giuliano, were said to have been besotted with her, Giuliano in particular, while she is thought to have been the model for several of Sandro Botticelli’s portraits of women.

The female figure standing on a shell in Botticelli’s masterpiece, The Birth of Venus, so closely resembles the woman in the paintings accepted as being Simonetta Vespucci that some critics insist he must have based his Venus on her.

The Venus in Botticelli’s Primavera has the same hair colour and similar facial features, as does one of the figures in his Three Graces.

Another Botticelli Portrait of a Woman,
clearly of the same model

The romantic notion that Botticelli, who never married, carried with him an unrequited love for Simonetta is reinforced by the story that, having outlived her, he asked to be buried at the Church of Ognissanti in Florence because she had been laid to rest there, although historians have pointed out that he had been baptized there and was buried with his family.

Other artists were similarly inspired by her. The 1490 Portrait of a woman by Piero di Cosimo is also believed to be Simonetta Vespucci.

Considering the impact she supposedly made, in reality her life was tragically short.

The daughter of a Genoese nobleman, Gaspare Catteneo, she was probably born in Genoa but some like to believe she was born in Porto Venere, the coastal town near La Spezia, the place that legend says was the birthplace of Venus herself.

Whichever it is true, she is said to have met Marco Simonetti while he was attending the Banco di San Giorgio. The young man asked her father for her hand and Gaspare, aware that the marriage would enhance his family’s social standing through Vespucci’s connection with the Medici, gave his approval.

In any event, both Lorenzo and Giuliano fell for her charms on their first meeting, and offered the couple use of a palazzo in Via Larga for the wedding ceremony followed by the wedding breakfast at their lavish Villa di Careggi.  The groom and his bride were both around 16 years old.

The Botticelli masterpiece The Birth of Venus is thought to
have been inspired by Simonetta Vespucci

Afterwards, Lorenzo was too busy with the politics of the day to pay Simonetta much attention but it was a different story for Giuliano, who did not conceal his feelings despite her now being married.

On one occasion, he took part in La Giostra, a jousting tournament, carrying a banner on which was a picture of Simonetta and an inscription, in French, that read La Sans Pareille, which translates in context as ‘The Woman Unparalleled’.

Guiliano won the tournament and dedicated his victory to ‘the Queen of Beauty’ and there have been suggestions that the pair become lovers, although historians think this was unlikely.

Simonetta died just one year later, at the age of 22.  It is thought she was stricken with tuberculosis, known at the time as ‘the subtle evil’ and a disease that was usually fatal.

During her funeral procession, it is said that the coffin was opened so that onlookers could appreciate her beauty one last time, although it appears to have been preserved for posterity in art.

The Uffizi overlooks the Arno river in central Florence

Travel tip:

Botticelli’s paintings The Birth of Venus and Primavera can both be found in the Uffizi Gallery in Florence, one of the largest and most important art museums in the world and the most visited art gallery in Italy, attracting more than two million visitors a year, with so many wanting to make it part of their experience of Florence that turning up without a pre-booked ticket can mean waiting up to five hours to be allowed in.  The complex of buildings that make up the gallery was originally designed by Giorgio Vasari on behalf of Cosimo I de’ Medici as offices – uffizi – for the Florentine magistrates.

The Villa di Castello is set in extensive gardens

Travel tip:

It is thought Cosimo I de’ Medici also commissioned Botticelli to provide some paintings to decorate the walls of a country house, the Villa di Castello, that the family had acquired in the hills northwest of Florence, near the town of Sesto Fiorentino and not far from the city's airport. Cosimo also commissioned an engineer, Piero di San Casciano, to build a system of aqueducts to carry water to the villa and gardens, a sculptor, Niccolo Tribolo, to create fountains and statues in the gardens and Vasari to restore and enlarge the main building.

Home