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Updated: June 25, 2025
What Poliziano wrote was that Savonarola confessed Lorenzo and retired without volunteering the blessing. Razzi says the interview between Savonarola and Lorenzo took place without witnesses; Pico and Burlamacchi relate the event as they heard of it from the lips of Savonarola.
The laughter of the other boys came to their ears, and Lorenzo turned. "Thy faun is done; to-morrow will I speak with Poliziano of our new sculptor. What is Granacci saying over there? Come with me and listen." So, the prince's arm resting affectionately on the boy's shoulder, they crossed the garden to the noisy group. Life was gay then in Florence.
Nor do his octave stanzas in praise of rural life form an exception to this statement; for these are imitated from Poliziano, so far as they attempt pictures of the country, and their chief poetical feature is the masque of vices belonging to human nature in the city. His stock-in-trade consists of a few Platonic notions and a few Petrarchan antitheses.
And, as though the men of the old state saw the need of effacing themselves to make way for new blood, several prominent representatives and friends of the Medici house died during this period. Angelo Poliziano had passed away this year, on September 24th, "loaded with as much infamy and public opprobrium as a man could well bear."
Here, among many others, were to be found such "epoch-makers" as Poliziano, Ficino, and Landino, Pico della Mirandola, Leo Battista Alberti, Michelangelo, Luigi Pulci men who glorified their age by crowning it with the nimbus of their genius. The literary and artistic greatness of Florence was not due, however, to the comparative intellectual poverty of the other states in Italy.
His pleasing voice, his picturesque appearance, grace of bearing and elegance of gesture, together with his ability to play his own accompaniments, marked him as the ideal impersonator of the Greek poet, and accordingly Poliziano secured his services for this important part. For the other rôles and for the chorus the numerous singers of the court were sufficient.
"If he lives," concluded Poliziano, "to complete the measure of his days," and "perseveres in the path of fame, as he has begun, he will, I venture to predict, prove a person, whom, for admirable qualities and attainments, mankind must unite to venerate as something more than human."
Those then who, like the Medici, aspired to tyranny and sought to found a dynasty of princes, entered the arena against a host of unknown and unseen gladiators. On his deathbed, in 1492, Lorenzo lay between two men Angelo Poliziano and Girolamo Savonarola. Poliziano incarnated the genial, radiant, godless spirit of fifteenth-century humanism.
In course of time the laws both of language and construction were more accurately studied; invention was superseded by pedantry; after Poliziano and Alberti came Bembo and Palladio. In proportion as architects learned more about Vitruvius, and scholars narrowed their taste to Virgil, the style of both became more cramped and formal.
Angelo Poliziano, who was certainly the chief scholar of his age in the new learning, and no less certainly one of its truest poets in the vulgar language, lived as tutor to Lorenzo's children in the palace of the Medici at Florence. Benozzo Gozzoli introduced his portrait, together with the portraits of his noble pupils, in a fresco of the Pisan Campo Santo.
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