as an apology for the method of treatment to be followed in the next chapter, where the painters of the mid-Renaissance period will be reviewed less in relation to their schools and cities than as representatives of the Italian spirit. Since the intellectual unity gained by the Italians in the age of the Renaissance was chiefly due to the Florentines, it is a matter of some moment to reconsider the direct influences brought to bear upon the arts in Florence during the fifteenth century. I have chosen Ghirlandajo as the representative of painting in that period. I have also expressed the opinion that his style is singularly cold and prosaic, and have hinted that this prosaic and cold quality was caused by a defect of emotional enthusiasm, by preoccupation with finite aims. Herein Ghirlandajo did but reflect the temper of his age--that temper which Cosimo de' Medici, the greatest patron of both art and scholarship in Florence before 1470, represented in his life and in his public policy. It concerns us, therefore, to take into account the nature of the patronage extended by the Medici to art. Excessive praise and blame have been showered upon these burgher princes in almost equal quantities; so that, if we were to place Roscoe and Rio, as the representatives of conflicting views, in the scales together, they would balance each other, and leave the index quivering. This bare statement warns the critic to be cautious, and inclines him to accept the intermediate conclusion that neither the Medici nor the artists could escape the conditions of their century. It is specially argued on the one hand against the Medici that they encouraged a sensual and worldly style of art, employing the painters to decorate their palaces with nude figures, and luring them away from sacred to profane subjects. Yet Cosimo gave orders to Donatello for his "David" and his "Judith," employed Michellozzo and Brunelleschi to build him convents and churches, and filled the library of S. Marco, where Fra Angelico was painting, with a priceless collection of MSS. His own private chapel was decorated by Benozza Gozzoli. Fra Lippo Lippi and Michael Angelo Buonarroti were the house-friends of Lorenzo de' Medici. Leo Battista Alberti was a member of his philosophical society. The only great Florentine artist who did not stand in cordial relations to the Medicean circle, was Lionardo da Vinci. This sufficiently shows that the Medicean patronage was commensurate with the best products of Florentine genius; nor would it be easy to demonstrate that encouragement, so largely exhibited and so intelligently used, could have been in the main injurious to the arts.