Still Cellini knew that personal violence was not in the line of Michelangelo's character; for Michelangelo, according to his friend and best biographer, Condivi, was by nature, "as is usual with men of sedentary and contemplative habits, rather timorous than otherwise, except when he is roused by righteous anger to resent unjust injuries or wrongs done to himself or others, in which case he plucks up more spirit than those who are esteemed brave; but, for the rest, he is most patient and enduring." Cellini, then, knowing the quality of Michelangelo's temper, and respecting him as a deity of art, adds to his report of Torrigiano's conversation: "These words begat in me such hatred of the man, since I was always gazing at the masterpieces of the divine Michelangelo, that, although I felt a wish to go with him to England, I now could never bear the sight of him." VIII The years Michelangelo spent in the Casa Medici were probably the blithest and most joyous of his lifetime.

The men of wit and learning who surrounded the Magnificent were not remarkable for piety or moral austerity.

Lorenzo himself found it politically useful "to occupy the Florentines with shows and festivals, in order that they might think of their own pastimes and not of his designs, and, growing unused to the conduct of the commonwealth, might leave the reins of government in his hands." Accordingly he devised those Carnival triumphs and processions which filled the sombre streets of Florence with Bacchanalian revellers, and the ears of her grave citizens with ill-disguised obscenity.

Lorenzo took part in them himself, and composed several choruses of high literary merit to be sung by the masqueraders.

One of these carries a refrain which might be chosen as a motto for the spirit of that age upon the brink of ruin:-- _Youths and maids, enjoy to-day: Naught ye know about to-morrow!_ He caused the triumphs to be carefully prepared by the best artists, the dresses of the masquers to be accurately studied, and their chariots to be adorned with illustrative paintings.