"On the other hand, it is impossible to prove that the despotisms of the fifteenth century were necessary to the perfecting of art and literature. All that can be safely advanced upon this subject is that the pacification of Italy was demanded as a preliminary condition, and that this pacification came to pass through the action of the princes, checked and equilibrated by the oligarchies of Venice and Florence. It might further be urged that the despots were in close sympathy with the masses of the people, shared their enthusiasms, and promoted their industry.... To be a prince and not to be the patron of scholarship, the pupil of the humanists, and the founder of libraries, was an impossibility. In like manner they employed their wealth upon the development of arts and industries. The great age of Florentine painting is indissolubly connected with the memories of Casa Medici. Rome owes her magnificence to the despotic popes. Even the pottery of Gubbio was the creation of the ducal house of Urbino."[576] The criticism of this well-marshalled passage may best be put in a summary form, as thus:-- I. (_a_) The despot promoter of arts and letters is here admittedly the pupil and product of a previous culture. That being so, he could avail for fresh culture in so far as he gave it economic furtherance. He might even give such furtherance on some sides in a fuller degree than ever did the Republics. But he could _not_ give (though after the invention of printing he could not wholly destroy) the mental atmosphere needed to produce great literature. None of the above-cited illustrations goes any way to prove that he could; and it is easy to show that his influence was commonly belittling to those who depended on him. (_b_) The point as to pacification is unduly pressed, or is perhaps accidentally misstated. It is not to be denied that the despot in the Italian cities, as in old Greece and Rome, did in a measure earn popular support by giving the common people relief from the strifes of Guelphs and Ghibellines. But the despots did not pacify Italy, though they to some extent set up local stability by checking faction feuds. (_c_) The popes were in the earlier Middle Ages a main cause of the ill-development of Rome. Their splendid works were much later than many of those of the Republics. St. Mark's at Venice, a result of Byzantine contact, was built in the eleventh century, as was the duomo of Pisa, whose baptistery and tower belong to the twelfth. The Campo Santa of Pisa, again, belongs to the thirteenth and fourteenth, and the Palazzo Vecchio of Florence to the end of the thirteenth. And the great architects and sculptors of the thirteenth century were mostly Pisans.[577]