Unanimously elected head of the Academy, the favorite of the late Cosimo de' Medici, the grown-up Marsilio Ficino called himself "a Platonic philosopher, theologian and physician." Slowly, he translated into Latin all the known works of Plato and other ancient philosophers and historians.
Lorenzo, nicknamed the Magnificent, and his friends sought to imitate not only in their studies in the fine arts, philosophy and literature, but also adopted their manner of dressing, talking, and behaving in society. Baldassare Castiglione’s treatise “The Courtier” listed all the qualities of an educated person: the ability to fight well with swords, ride gracefully, dance exquisitely, always speak pleasantly and politely, orate eloquently, be fluent in any musical instrument, always behave simply and naturally, be up to the marrow of the bones of the secular and in the depths of the soul of the believer.
Lorenzo de' Medici listened attentively to Ficino's words when the conversation turned to God and man. Ficino had become by that time the rector of the cathedral in Florence, and all people who considered themselves well-bred gathered to his sermons. He told his listeners that man stands at the pinnacle of creation not because he can comprehend the laws of divine creation, but because he himself is capable of creative creation. The great divine work, crowned with the creation of man, is repeated in the work of man himself, who imitates God exactly and unites with him in this. Man can be called a divine artist.
Ficino argued that human power is almost like divine; what God has created in the world with his thought, the human mind conceives in itself through an intellectual act, expresses through language, depicts, creating buildings and works of art.
Ficino's contemporary Nicholas of Cusa argued that God is creativity, and man is created in the image and likeness of God; therefore, man is also a creator.
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Member of the "Platonic Family" Pico della Mirandola goes even further. He argues that if God is the creator of himself, and man is created in the image and likeness of God, then man must also create himself.
Lorenzo Medici listened to his friends, invited outstanding people of his time to Florence, instructed the best artists to build palaces, temples, public buildings and decorate them with frescoes and paintings, giving royal gifts to the creators. He agreed with Ficino's friend, who argued that a golden age had come, giving birth to golden minds and talents, reviving the liberal arts that had almost perished in the past - grammar, poetry, rhetoric, painting, architecture and the ancient singing of the lyre of Orpheus. And it all happened in Florence.
It seemed that these people, who talked about the divine universal love and creativity, did not see what was happening around them. They wanted life to be a constant celebration, a series of successive carnivals, theatrical performances, military reviews at which citizens demonstrated their manners, beautiful wives and lovers, wealth acquired by fathers and grandfathers.
For one of the carnivals, Lorenzo composed a song that was loved by the inhabitants of Florence. It contained these words:
Oh, how beautiful youth is, But instantly. Sing, laugh! Be happy who wants happiness, And don't hope for tomorrow.
The sad "tomorrow" came in 1478. Part of the influential Florentines, led by representatives of the hostile Medici house of Pazzi, who did not want to reconcile themselves with the rise and unlimited power of their rivals, planned to overthrow the Medici and seize power in Florence. On April 26, during a solemn service in the city cathedral, the conspirators surrounded the unsuspecting Medici brothers. Giuliaio fell, cut down by the assassin's dagger. Lorenzo, wounded, took refuge in the sacristy of the cathedral.
The conspirators hoped that they would be supported by the rest of the citizens of Florence. But that did not happen. And then the Medici began to take revenge: almost all the conspirators were captured and hanged on the streets of the city. Only the murderer of Giuliano, Bernardo Bandini, a dissolute and shameless man, managed to escape. A year later, he showed up in Constantinople, hoping that he had escaped the revenge of Lorenzo. The same, having learned about this, turned to the Turkish Sultan himself with a request to extradite the killer. Bandini was brought to Florence, put in chains and promptly hanged where the bodies of his accomplices had hung a year before. The city fathers adopted a decree according to which every attempt on the life and well-being of Lorenzo was henceforth considered an “insult to majesty” and should have been punished in the most severe way.
