Not only princes but private citizens were lovers and patrons of art. In almost every city of the North--excepting Piedmont--there was some artist of whom the whole city was proud. Nevertheless, throughout the reign of Lorenzo the Magnificent Florence continued to be the most intellectual of Italian cities, as she had been for many generations; but on Lorenzo's death the primacy in the arts and in matters of the mind passed from Florence to Rome. By a flattering chance that primacy seemed to follow the fortunes of a single family. Under Cosimo, Piero, and Lorenzo dei Medici, the Renaissance may be said to have made Florence its home; in the later period it found its fullest expression in Rome, and even there took its name, the Age of Leo, from another Medici, Lorenzo's son. It was not to Pope Leo, however, but to his predecessors, that Rome was indebted for preeminence. At the summons of the Papacy men of genius went to Rome from all Italy, but chiefly from Florence; and a distinguished Tuscan, almost a Florentine, who went from Florence to Rome at the culmination of a brilliant career, fairly serves as the personification of this intellectual migration. Tommaso Parentucelli, who was born in a little town near Lucca, was educated in Florence and Bologna. He took holy orders early, and, going back to Florence, quickly became intimate with the clever set of humanists who surrounded Cosimo. He was a great student, and won so high a reputation for learning that it was to him Cosimo applied for advice, when he wanted the right books for the library at Fiesole. This collection became famous and was copied both at Rimini and Urbino. Parentucelli was a very capable and attractive man, and embodied in its best form the essence of Florentine humanistic culture. His character, talents, and accomplishments were recognized in the Church; he became bishop, cardinal, and finally Pope, as Nicholas V (1447-55).