The Florentines in fact did exercise their will upon their art more than any other modern artists, more, perhaps, than any other artists known to us, and their painting and sculpture were the greatest of the modern world. Yet the fact remains that Florentine art declined suddenly and irresistibly, and that all the Florentine intellect, which still remained remarkable and produced men of science like Galileo, could not arrest that decline. Indeed the Florentines themselves seem not to have been conscious of it. They thought that the dull imitators of Michelangelo were greater than his great predecessors. As we say, their taste became bad, their values were perverted; and with that perversion all their natural genius for the arts was wasted. To this day Carlo Dolci is the favourite painter of the ordinary Florentine. He was a man of some ability, and he painted pictures at once feeble and revolting because he himself and his public liked such pictures. There is no accounting for tastes, we say, and in saying that we despair of progress in the arts. For it is ultimately this unaccountable thing called taste, and not the absence or presence of genius, which determines whether the arts shall thrive or decay in any particular age or country. People often say that they know nothing about art, but that they do know what they like; and what they imply is that there is nothing to be known about art except your own likes and dislikes, and further that no man can control those. The Florentines of the seventeenth century happened to like Carlo Dolci, where the Florentines of the fifteenth had liked Botticelli. That is the only explanation we can give of the decline of Florentine painting.