There is, however, a truth in the old grudge against the Medicean princes. They enslaved Florence; and even painting was not slow to suffer from the stifling atmosphere of tyranny. Lorenzo deliberately set himself to enfeeble the people by luxury, partly because he liked voluptuous living, partly because he aimed at popularity, and partly because it was his interest to enervate republican virtues. The arts used for the purposes of decoration in triumphs and carnival shows became the instruments of careless pleasure; and there is no doubt that even earnest painters lent their powers with no ill-will and no bad conscience to the service of lascivious patrons. "Per la città, in diverse case, fece tondi di sua mano e femmine ignude assai," says Vasari about Sandro Botticelli, who afterwards became a Piagnone and refused to touch a pencil.[196] We may, therefore, reasonably concede that if the Medici had never taken hold on Florence, or if the spirit of the times had made them other than they were in loftiness of aim and nobleness of heart, the arts of Italy in the Renaissance might have shown less of worldliness and materialism. It was against the demoralisation of society by paganism, as against the enslavement of Florence by her tyrants, that Savonarola strove; and since the Medici were the leaders of the classical revival, as well as the despots of the dying commonwealth, they justly bear the lion's share of that blame which fell in general upon the vices of their age denounced by the prophet of S. Marco. We may regard it either as a singular misfortune for Italy or as the strongest sign of deep-seated Italian corruption, that the most brilliant leaders of culture both at Florence and at Rome--Cosimo, Lorenzo, and Giovanni de' Medici--promoted rather than checked the debasing influences of the Renaissance, and added the weight of their authority to the popular craving for sensuous amusement. Meanwhile, what was truly great and noble in Renaissance Italy, found its proper home in Florence; where the spirit of freedom, if only as an idea, still ruled; where the populace was still capable of being stirred to super-sensual enthusiasm; and where the flame of the modern intellect burned with its purest, whitest lustre. FOOTNOTES: [161] See Vol. I., _Age of the Despots_, p. 12. [162] See Vol. II., _Revival of Learning_, pp. 122-129. [163] His real name was Tommaso di Ser Giovanni, of the family of Scheggia. Masaccio means in Tuscan, "Great hulking Tom," just as Masolino, his supposed master and fellow-worker, means "Pretty little Tom." Masolino was Tommaso di Cristofero Fini, born in 1384 in S. Croce. It is now thought that we have but little of his authentic work except the frescoes at Castiglione di Olona, near Milan. Masaccio was born at San Giovanni, in the upper valley of the Arno, in 1402. He died at Borne in 1429.