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The reconciliation was sealed by a marriage between the two families; the city prefect, Giovanni della Rovere, Giuliano's brother, betrothing his eighteen-year-old son Francesco Maria to Angela Borgia, September 2, 1500. Angela's father, Giuffrè, was a son of Giovanni, sister of Alexander VI, and of Guglielmo Lanzol.
It was at this juncture that Alexander VI received his answer from Bajazet II: the reason of so long a delay was that the pope's envoy and the Neapolitan ambassador had been stopped by Gian della Rovere, the Cardinal Giuliano's brother, just as they were disembarking at Sinigaglia.
The next day, at Giuliano's request, the Sacred College ordered the Orsini to leave Rome for the whole time occupied by the Conclave. On the 31st of October 1503, at the first scrutiny, Giuliano delta Rovere was elected pope, and took the name of Julius II.
The praises of Lorenzo's tournament had been sung by Luca Pulci: Giuliano's were sung by Poliziano, under the title "La Giostra di Giuliano de' Medici," and it is this poem which Botticelli may be said to have illustrated, for both poet and artist employ the same imagery. This, Botticelli translates into exquisite tempera with a wealth of pretty thoughts.
In a little room leading from the sacristy I was shown by a smiling custodian Lorenzo the Magnificent's coffin, crumbling away, and photographs of the skulls of the two brothers: Giuliano's with one of Francesco de' Pazzi's dagger wounds in it, and Lorenzo's, ghastly in its decay. I gave the man half a lira.
A painter apart Sandro Filipepi Artists' names Piero de' Medici The "Adoration of the Magi" The "Judith" pictures Lucrezia Tornabuoni, Lorenzo and Giuliano's mother The Tournaments The "Birth of Venus" and the "Primavera" Simonetta A new star Sacred pictures Savonarola and "The Calumny" The National Gallery Botticelli's old age and death.
These the King granted to him most liberally, both for love of the Magnificent Lorenzo and on account of Giuliano's own worth; and they were a head of the Emperor Hadrian, which is now above the door of the garden at the house of the Medici, a nude woman, more than life-size, and a Cupid sleeping, all in marble and in the round.
But before that, when still a mere lad, he began his studies in the garden of the Medici on the Piazza di S. Marco, in which, attending to the study of art under the sculptor Bertoldo, he formed such strait friendship and intimacy with Michelagnolo Buonarroti, that he was much beloved by Buonarroti ever afterwards; which Michelagnolo did not so much because of any depth that he saw in Giuliano's manner of drawing, as on account of the extraordinary diligence and love that he showed towards art.
When the tumult was over, Andrea del Castagno painted the portraits of the traitors head-downwards upon the walls of the Bargello Palace, in order that all men might know what fate awaited the foes of the Medici and of the State of Florence. Meanwhile a bastard son of Giuliano's was received into the Medicean household, to perpetuate his lineage.
After touching on the sack of Prato and the consternation which ensued in Florence, Vettori describes the return of the Medici in 1512. Giuliano, the son of Lorenzo, was the first to appear: after him came the Cardinal Giovanni, and Giuliano's son Giulio. The elder among their partisans persuaded them to call a Parlamento and assume the government in earnest.
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