Perhaps it was the gay life at Lorenzo's splendid court that had taught him to spend money so carelessly, and to have no thought but to eat, drink, and be merry. But very soon a change began to steal over his life.

There was one man in Florence who looked with sad condemning eyes on all the pleasure-loving crowd that thronged the court of Lorenzo the Magnificent. In the peaceful convent of San Marco, whose walls the angel-painter had covered with pictures `like windows into heaven,' the stern monk Savonarola was grieving over the sin and vanity that went on around him. He loved Florence with all his heart, and he could not bear the thought that she was forgetting, in the whirl of pleasure, all that was good and pure and worth the winning.

Then, like a battle-cry, his voice sounded through the city, and roused the people from their foolish dreams of ease and pleasure. Every one flocked to the great cathedral to hear Savonarola preach, and Sandro Botticelli left for a while his studio and his painting and became a follower of the great preacher. Never again did he paint those pictures of earthly subjects which had so delighted Lorenzo. When he once more returned to his work, it was to paint his sad-eyed Madonnas; and the music which still floated through his visions was now like the song of angels.

The boys of Florence especially had grown wild and rough during the reign of pleasure, and they were the terror of the city during carnival time. They would carry long poles, or `stili,' and bar the streets across, demanding money before they would let the people pass. This money they spent on drinking and feasting, and at night they set up great trees in the squares or wider streets and lighted huge bonfires around them. Then would begin a terrible fight with stones, and many of the boys were hurt, and some even killed.

No one had been able to put a stop to this until Savonarola made up his mind that it should cease. Then, as if by magic, all was changed.

Instead of the rough game of `stili,' there were altars put up at the corners of the streets, and the boys begged money of the passers-by, not for their feasts, but for the poor.

`You shall not miss your bonfire,' said Savonarola; `but instead of a tree you shall burn up vain and useless things, and so purify the city.'

So the children went round and collected all the `vanities,' as they were called--wigs and masks and carnival dresses, foolish songs, bad books, and evil pictures; all were heaped high and then lighted to make one great bonfire.

Some people think that perhaps Sandro threw into the Bonfire of Vanities some of his own beautiful pictures, but that we cannot tell.

Then came the sad time when the people, who at one time would have made Savonarola their king, turned against him, in the same fickle way that crowds will ever turn. And then the great preacher, who had spent his life trying to help and teach them, and to do them good, was burned in the great square of that city which he had loved so dearly.

After this it was long before Botticelli cared to paint again. He was old and weary now, poor and sad, sick of that world which had treated with such cruelty the master whom he loved.

One last picture he painted to show the triumph of good over evil. Not with the sword or the might of great power is the triumph won, says Sandro to us by this picture, but by the little hand of the Christ Child, conquering by love and drawing all men to Him. This Adoration of the Magi is in our own National Gallery in London, and is the only painting which Botticelli ever signed.

`I, Alessandro, painted this picture during the troubles of Italy ... when the devil was let loose for the space of three and a half years. Afterwards shall he be chained, and we shall see him trodden down as in this picture.'

It is evident that Botticelli meant by this those sad years of struggle against evil which ended in the martyrdom of the great preacher, and he has placed Savonarola among the crowd of worshippers drawn to His feet by the Infant Christ.

It is sad to think of those last days when Sandro was too old and too weary to paint. He who had loved to make his figures move with dancing feet, was now obliged to walk with crutches. The roses and lilies of spring were faded now, and instead of the music of his youth he heard only the sound of harsh, ungrateful voices, in the flowerless days of poverty and old age.

There is always something sad too about his pictures, but through the sadness, if we listen, we may hear the angel-song, and understand it better if we have in our minds the prayer which Botticelli left for us.

`Oh, King of Wings and Lord of Lords, who alone rulest always in eternity, and who correctest all our wanderings, giver of melody to the choir of angels, listen Thou a little to our bitter grief, and come and rule us, oh Thou highest King, with Thy love which is so sweet.'