波提切利后期失去了美第奇家族赞助的虔诚绘画应该怎么解读？

How are Botticelli's later pious paintings, bereft of Medici patronage, to be read?

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从梅第奇家族赞助艺术开始，艺术家就一直无法摆脱寄生的地位。

Since the sponsorship of the Medici Family, artists have never escaped from the position of parasitism.

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例如波提切利的《春》，在16世纪美第奇家族收藏目录中被称作《有九个人物的波提切利油画》。

Botticelli's Primavera, for example, was described as a "Painting by Botticelli with Nine Figures" in a 16th-century catalog of the Medici family's holdings.

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Spinoza taking him, taking his book to be a warning to the people about the dangers of princely rule, Rousseau believing that he had deliberately disguised his love of freedom because he had to appeal to the tyrannical nature of the Medici family.

斯宾诺莎把他看作，把他的书看作是,告诫人们提防君主统治危险性的警告，卢梭认为他是故意,伪装他对自由的热爱的，因为他不得不,投合具有暴君本性的美第奇家族的口味。

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