After Lorenzino Medici had murdered the Duke Alessandro (1537), and then escaped, an apology for the deed appeared,8 which is probably his own work, and certainly composed in his interest, and in which he praises tyrannicide as an act of the highest merit; on the supposition that Alessandro was a legitimate Medici, and, therefore, related to him, if only distantly, he boldly compares himself with Timoleon, who slew his brother for his country's sake. Others, on the same occasion, made use of the comparison with Brutus, and that Michelangelo himself, even late in life, was not unfriendly to ideas of this kind, may be inferred from his bust of Brutus in the Bargello. He left it unfinished, like nearly all his works, but certainly not because the murder of Caesar was repugnant to his feeling, as the couplet beneath declares.
A popular radicalism in the form in which it is opposed to the monarchies of later times, is not to be found in the despotic States of the Renaissance. Each individual protested inwardly against despotism but was disposed to make tolerable or profitable terms with it rather than to combine with others for its destruction. Things must have been as bad as at Camerino, Fabriano, or Rimini, before the citizens united to destroy or expel the ruling house. They knew in most cases only too well that this would but mean a change of masters. The star of the Republics was certainly on the decline.
