But there was another tradition of those earlier, more serious Florentines, of which Michelangelo is the inheritor, to which he gives the final expression, and which centres in the sacristy of San Lorenzo, as the tradition of the Creation centres in the Sistine Chapel. It has been said that all the great Florentines were preoccupied with death. Outre-tombe! Outre-tombe!--is the burden of their thoughts, from Dante to Savonarola. Even the gay and licentious Boccaccio gives a keener edge to his stories by putting them in the mouths of a party of people who had taken refuge in a country-house from the danger of death by plague. It was to this inherited sentiment, this practical decision that to be preoccupied with the thought of death was in itself dignifying, and a note of high quality, that the seriousness of the great Florentines of the fifteenth century was partly due; and it was reinforced in them by the actual sorrows of their times. How often, and in what various ways, had they seen life stricken down, in their streets and houses La bella Simonetta dies in early youth, and is borne to the grave with uncovered face. The [93] young Cardinal Jacopo di Portogallo dies on a visit to Florence--insignis forma fui et mirabili modestia--his epitaph dares to say. Antonio Rossellino carves his tomb in the church of San Miniato, with care for the shapely hands and feet, and sacred attire; Luca della Robbia puts his skyiest works there; and the tomb of the youthful and princely prelate became the strangest and most beautiful thing in that strange and beautiful place. After the execution of the Pazzi conspirators, Botticelli is employed to paint their portraits. This preoccupation with serious thoughts and sad images might easily have resulted, as it did, for instance, in the gloomy villages of the Rhine, or in the overcrowded parts of medieval Paris, as it still does in many a village of the Alps, in something merely morbid or grotesque, in the Danse Macabre of many French and German painters, or the grim inventions of Dürer. From such a result the Florentine masters of the fifteenth century were saved by the nobility of their Italian culture, and still more by their tender pity for the thing itself. They must often have leaned over the lifeless body, when all was at length quiet and smoothed out. After death, it is said, the traces of slighter and more superficial dispositions disappear; the lines become more simple and dignified; only the abstract lines remain, in a great indifference. They came thus to see death in its distinction. Then following it perhaps one [94] stage further, dwelling for a moment on the point where all this transitory dignity must break up, and discerning with no clearness a new body, they paused just in time, and abstained, with a sentiment of profound pity.