THE RENAISSANCE: STUDIES IN ART AND POETRY WALTER HORATIO PATER
London: 1910. (The Library Edition.)
NOTES BY THE E-TEXT EDITOR:
Notes: The 1910 Library Edition employs footnotes, a style inconvenient in an electronic edition. I have therefore placed an asterisk immediately after each of Pater's footnotes and a + sign after my own notes, and have listed each chapter's notes at that chapter's end.
Pagination and Paragraphing: To avoid an unwieldy electronic copy, I have transferred original pagination to brackets. A bracketed numeral such as  indicates that the material immediately following the number marks the beginning of the relevant page. I have preserved paragraph structure except for first-line indentation.
Hyphenation: I have not preserved original hyphenation since an e-text does not require line-end or page-end hyphenation.
Greek typeface: For this full-text edition, I have transliterated Pater's Greek quotations. If there is a need for the original Greek, it can be viewed at my site, http://www.ajdrake.com/etexts, a Victorianist archive that contains the complete works of Walter Pater and many other nineteenth-century texts, mostly in first editions.
THE RENAISSANCE: STUDIES IN ART AND POETRY WALTER HORATIO PATER
Two Early French Stories: 1 -29
Pico della Mirandola: 30-49
Sandro Botticelli: 50-62
Luca della Robbia: 63-72
The Poetry of Michelangelo: 73-97
Leonardo da Vinci: 98-129
The School of Giorgione: 130-154
Joachim du Bellay: 155-176
To C.L.S February 1873
[vii] Many attempts have been made by writers on art and poetry to define beauty in the abstract, to express it in the most general terms, to find some universal formula for it. The value of these attempts has most often been in the suggestive and penetrating things said by the way. Such discussions help us very little to enjoy what has been well done in art or poetry, to discriminate between what is more and what is less excellent in them, or to use words like beauty, excellence, art, poetry, with a more precise meaning than they would otherwise have. Beauty, like all other qualities presented to human experience, is relative; and the definition of it becomes unmeaning and useless in proportion to its abstractness. To define beauty, not in the most abstract but in the most concrete terms possible, to find not its universal formula, but the formula which expresses most adequately this or that [viii] special manifestation of it, is the aim of the true student of aesthetics.
"To see the object as in itself it really is," has been justly said to be the aim of all true criticism whatever, and in aesthetic criticism the first step towards seeing one's object as it really is, is to know one's own impression as it really is, to discriminate it, to realise it distinctly. The objects with which aesthetic criticism deals—music, poetry, artistic and accomplished forms of human life—are indeed receptacles of so many powers or forces: they possess, like the products of nature, so many virtues or qualities. What is this song or picture, this engaging personality presented in life or in a book, to me? What effect does it really produce on me? Does it give me pleasure? and if so, what sort or degree of pleasure? How is my nature modified by its presence, and under its influence? The answers to these questions are the original facts with which the aesthetic critic has to do; and, as in the study of light, of morals, of number, one must realise such primary data for one's self, or not at all. And he who experiences these impressions strongly, and drives directly at the discrimination and analysis of them, has no need to trouble himself with the abstract question what beauty is in itself, or what its exact relation to truth or [ix] experience—metaphysical questions, as unprofitable as metaphysical questions elsewhere. He may pass them all by as being, answerable or not, of no interest to him.
The aesthetic critic, then, regards all the objects with which he has to do, all works of art, and the fairer forms of nature and human life, as powers or forces producing pleasurable sensations, each of a more or less peculiar or unique kind. This influence he feels, and wishes to explain, by analysing and reducing it to its elements. To him, the picture, the landscape, the engaging personality in life or in a book, La Gioconda, the hills of Carrara, Pico of Mirandola, are valuable for their virtues, as we say, in speaking of a herb, a wine, a gem; for the property each has of affecting one with a special, a unique, impression of pleasure. Our education becomes complete in proportion as our susceptibility to these impressions increases in depth and variety. And the function of the aesthetic critic is to distinguish, to analyse, and separate from its adjuncts, the virtue by which a picture, a landscape, a fair personality in life or in a book, produces this special impression of beauty or pleasure, to indicate what the source of that impression is, and under what conditions it is experienced. His end is reached when he has disengaged that [x] virtue, and noted it, as a chemist notes some natural element, for himself and others; and the rule for those who would reach this end is stated with great exactness in the words of a recent critic of Sainte-Beuve:—De se borner a connaitre de pres les belles choses, et a s'en nourrir en exquis amateurs, en humanistes accomplis.
What is important, then, is not that the critic should possess a correct abstract definition of beauty for the intellect, but a certain kind of temperament, the power of being deeply moved by the presence of beautiful objects. He will remember always that beauty exists in many forms. To him all periods, types, schools of taste, are in themselves equal. In all ages there have been some excellent workmen, and some excellent work done. The question he asks is always:—In whom did the stir, the genius, the sentiment of the period find itself? where was the receptacle of its refinement, its elevation, its taste? "The ages are all equal," says William Blake, "but genius is always above its age."
Often it will require great nicety to disengage this virtue from the commoner elements with which it may be found in combination. Few artists, not Goethe or Byron even, work quite cleanly, casting off all debris, and leaving us only what the heat of their imagination has wholly [xi] fused and transformed. Take, for instance, the writings of Wordsworth. The heat of his genius, entering into the substance of his work, has crystallised a part, but only a part, of it; and in that great mass of verse there is much which might well be forgotten. But scattered up and down it, sometimes fusing and transforming entire compositions, like the Stanzas on Resolution and Independence, or the Ode on the Recollections of Childhood, sometimes, as if at random, depositing a fine crystal here or there, in a matter it does not wholly search through and transmute, we trace the action of his unique, incommunicable faculty, that strange, mystical sense of a life in natural things, and of man's life as a part of nature, drawing strength and colour and character from local influences, from the hills and streams, and from natural sights and sounds. Well! that is the virtue, the active principle in Wordsworth's poetry; and then the function of the critic of Wordsworth is to follow up that active principle, to disengage it, to mark the degree in which it penetrates his verse.
The subjects of the following studies are taken from the history of the Renaissance, and touch what I think the chief points in that complex, many-sided movement. I have explained in the first of them what I understand by the word, [xii] giving it a much wider scope than was intended by those who originally used it to denote that revival of classical antiquity in the fifteenth century which was only one of many results of a general excitement and enlightening of the human mind, but of which the great aim and achievements of what, as Christian art, is often falsely opposed to the Renaissance, were another result. This outbreak of the human spirit may be traced far into the middle age itself, with its motives already clearly pronounced, the care for physical beauty, the worship of the body, the breaking down of those limits which the religious system of the middle age imposed on the heart and the imagination. I have taken as an example of this movement, this earlier Renaissance within the middle age itself, and as an expression of its qualities, two little compositions in early French; not because they constitute the best possible expression of them, but because they help the unity of my series, inasmuch as the Renaissance ends also in France, in French poetry, in a phase of which the writings of Joachim du Bellay are in many ways the most perfect illustration. The Renaissance, in truth, put forth in France an aftermath, a wonderful later growth, the products of which have to the full that subtle and delicate sweetness which belongs to a refined and comely [xiii] decadence, just as its earliest phases have the freshness which belongs to all periods of growth in art, the charm of ascesis, of the austere and serious girding of the loins in youth.
But it is in Italy, in the fifteenth century, that the interest of the Renaissance mainly lies,—in that solemn fifteenth century which can hardly be studied too much, not merely for its positive results in the things of the intellect and the imagination, its concrete works of art, its special and prominent personalities, with their profound aesthetic charm, but for its general spirit and character, for the ethical qualities of which it is a consummate type.
The various forms of intellectual activity which together make up the culture of an age, move for the most part from different starting-points, and by unconnected roads. As products of the same generation they partake indeed of a common character, and unconsciously illustrate each other; but of the producers themselves, each group is solitary, gaining what advantage or disadvantage there may be in intellectual isolation. Art and poetry, philosophy and the religious life, and that other life of refined pleasure and action in the conspicuous places of the world, are each of them confined to its own circle of ideas, and those who prosecute either of them are generally little [xiv] curious of the thoughts of others. There come, however, from time to time, eras of more favourable conditions, in which the thoughts of men draw nearer together than is their wont, and the many interests of the intellectual world combine in one complete type of general culture. The fifteenth century in Italy is one of these happier eras, and what is sometimes said of the age of Pericles is true of that of Lorenzo:—it is an age productive in personalities, many-sided, centralised, complete. Here, artists and philosophers and those whom the action of the world has elevated and made keen, do not live in isolation, but breathe a common air, and catch light and heat from each other's thoughts. There is a spirit of general elevation and enlightenment in which all alike communicate. The unity of this spirit gives unity to all the various products of the Renaissance; and it is to this intimate alliance with the mind, this participation in the best thoughts which that age produced, that the art of Italy in the fifteenth century owes much of its grave dignity and influence.
I have added an essay on Winckelmann, as not incongruous with the studies which precede it, because Winckelmann, coming in the eighteenth century, really belongs in spirit to an earlier age. By his enthusiasm for the things of the intellect [xv] and the imagination for their own sake, by his Hellenism, his life-long struggle to attain the Greek spirit, he is in sympathy with the humanists of a previous century. He is the last fruit of the Renaissance, and explains in a striking way its motive and tendencies.
TWO EARLY FRENCH STORIES
Yet shall ye be as the wings of a dove.
 THE history of the Renaissance ends in France, and carries us away from Italy to the beautiful cities of the country of the Loire. But it was in France also, in a very important sense, that the Renaissance had begun. French writers, who are fond of connecting the creations of Italian genius with a French origin, who tell us how Saint Francis of Assisi took not his name only, but all those notions of chivalry and romantic love which so deeply penetrated his thoughts, from a French source, how Boccaccio borrowed the outlines of his stories from the old French fabliaux, and how Dante himself expressly connects the origin of the art of miniature-painting with the city of Paris, have often dwelt on this notion of a Renaissance in the end of the twelfth and the beginning of the thirteenth century, a Renaissance within the limits of the middle age itself—a brilliant, but in part abortive effort to do for human life and the human mind what was afterwards done in the fifteenth. The word Renaissance, indeed, is now generally used to denote not  merely the revival of classical antiquity which took place in the fifteenth century, and to which the word was first applied, but a whole complex movement, of which that revival of classical antiquity was but one element or symptom. For us the Renaissance is the name of a many-sided but yet united movement, in which the love of the things of the intellect and the imagination for their own sake, the desire for a more liberal and comely way of conceiving life, make themselves felt, urging those who experience this desire to search out first one and then another means of intellectual or imaginative enjoyment, and directing them not only to the discovery of old and forgotten sources of this enjoyment, but to the divination of fresh sources thereof—new experiences, new subjects of poetry, new forms of art. Of such feeling there was a great outbreak in the end of the twelfth and the beginning of the following century. Here and there, under rare and happy conditions, in Pointed architecture, in the doctrines of romantic love, in the poetry of Provence, the rude strength of the middle age turns to sweetness; and the taste for sweetness generated there becomes the seed of the classical revival in it, prompting it constantly to seek after the springs of perfect sweetness in the Hellenic world. And coming after a long period in which this instinct had been crushed, that true "dark age," in which so many sources of intellectual and imaginative enjoyment had  actually disappeared, this outbreak is rightly called a Renaissance, a revival.
Theories which bring into connexion with each other modes of thought and feeling, periods of taste, forms of art and poetry, which the narrowness of men's minds constantly tends to oppose to each other, have a great stimulus for the intellect, and are almost always worth understanding. It is so with this theory of a Renaissance within the middle age, which seeks to establish a continuity between the most characteristic work of that period, the sculpture of Chartres, the windows of Le Mans, and the work of the later Renaissance, the work of Jean Cousin and Germain Pilon, thus healing that rupture between the middle age and the Renaissance which has so often been exaggerated. But it is not so much the ecclesiastical art of the middle age, its sculpture and painting—work certainly done in a great measure for pleasure's sake, in which even a secular, a rebellious spirit often betrays itself—but rather its profane poetry, the poetry of Provence, and the magnificent after-growth of that poetry in Italy and France, which those French writers have in view when they speak of this medieval Renaissance. In that poetry, earthly passion, with its intimacy, its freedom, its variety—the liberty of the heart—makes itself felt; and the name of Abelard, the great scholar and the great lover, connects the expression of this liberty of heart with the free  play of human intelligence around all subjects presented to it, with the liberty of the intellect, as that age understood it.
Every one knows the legend of Abelard, a legend hardly less passionate, certainly not less characteristic of the middle age, than the legend of Tannhauser; how the famous and comely clerk, in whom Wisdom herself, self-possessed, pleasant, and discreet, seemed to sit enthroned, came to live in the house of a canon of the church of Notre-Dame, where dwelt a girl, Heloise, believed to be the old priest's orphan niece; how the old priest had testified his love for her by giving her an education then unrivalled, so that rumour asserted that, through the knowledge of languages, enabling her to penetrate into the mysteries of the older world, she had become a sorceress, like the Celtic druidesses; and how as Abelard and Heloise sat together at home there, to refine a little further on the nature of abstract ideas, "Love made himself of the party with them." You conceive the temptations of the scholar, who, in such dreamy tranquillity, amid the bright and busy spectacle of the "Island," lived in a world of something like shadows; and that for one who knew so well how to assign its exact value to every abstract thought, those restraints which lie on the consciences of other men had been relaxed. It appears that he composed many verses in the vulgar tongue: already the young men sang them on the quay below the house. Those songs, says M. de Remusat,  were probably in the taste of the Trouveres, "of whom he was one of the first in date, or, so to speak, the predecessor." It is the same spirit which has moulded the famous "letters," written in the quaint Latin of the middle age.
At the foot of that early Gothic tower, which the next generation raised to grace the precincts of Abelard's school, on the "Mountain of Saint Genevieve," the historian Michelet sees in thought "a terrible assembly; not the hearers of Abelard alone, fifty bishops, twenty cardinals, two popes, the whole body of scholastic philosophy; not only the learned Heloise, the teaching of languages, and the Renaissance; but Arnold of Brescia—that is to say, the revolution." And so from the rooms of this shadowy house by the Seine side we see that spirit going abroad, with its qualities already well defined, its intimacy, its languid sweetness, its rebellion, its subtle skill in dividing the elements of human passion, its care for physical beauty, its worship of the body, which penetrated the early literature of Italy, and finds an echo even in Dante.
That Abelard is not mentioned in the Divine Comedy may appear a singular omission to the reader of Dante, who seems to have inwoven into the texture of his work whatever had impressed him as either effective in colour or spiritually significant among the recorded incidents of actual life. Nowhere in his great poem do we find the name, nor so much as an allusion to the story of  one who had left so deep a mark on the philosophy of which Dante was an eager student, of whom in the Latin Quarter, and from the lips of scholar or teacher in the University of Paris, during his sojourn among them, he can hardly have failed to hear. We can only suppose that he had indeed considered the story and the man, and abstained from passing judgment as to his place in the scheme of "eternal justice."
In the famous legend of Tannhauser, the erring knight makes his way to Rome, to seek absolution at the centre of Christian religion. "So soon," thought and said the Pope, "as the staff in his hand should bud and blossom, so soon might the soul of Tannhauser be saved, and no sooner"; and it came to pass not long after that the dry wood of a staff which the Pope had carried in his hand was covered with leaves and flowers. So, in the cloister of Godstow, a petrified tree was shown of which the nuns told that the fair Rosamond, who had died among them, had declared that, the tree being then alive and green, it would be changed into stone at the hour of her salvation. When Abelard died, like Tannhauser, he was on his way to Rome. What might have happened had he reached his journey's end is uncertain; and it is in this uncertain twilight that his relation to the general beliefs of his age has always remained. In this, as in other things, he prefigures the character of the Renaissance, that movement in  which, in various ways, the human mind wins for itself a new kingdom of feeling and sensation and thought, not opposed to but only beyond and independent of the spiritual system then actually realised. The opposition into which Abelard is thrown, which gives its colour to his career, which breaks his soul to pieces, is a no less subtle opposition than that between the merely professional, official, hireling ministers of that system, with their ignorant worship of system for its own sake, and the true child of light, the humanist, with reason and heart and senses quick, while theirs were almost dead. He reaches out towards, he attains, modes of ideal living, beyond the prescribed limits of that system, though in essential germ, it may be, contained within it. As always happens, the adherents of the poorer and narrower culture had no sympathy with, because no understanding of, a culture richer and more ample than their own. After the discovery of wheat they would still live upon acorns—apres l'invention du ble ils voulaient encore vivre du gland; and would hear of no service to the higher needs of humanity with instruments not of their forging.
But the human spirit, bold through those needs, was too strong for them. Abelard and Heloise write their letters—letters with a wonderful outpouring of soul—in medieval Latin; and Abelard, though he composes songs in the vulgar tongue, writes also in Latin those  treatises in which he tries to find a ground of reality below the abstractions of philosophy, as one bent on trying all things by their congruity with human experience, who had felt the hand of Heloise, and looked into her eyes, and tested the resources of humanity in her great and energetic nature. Yet it is only a little later, early in the thirteenth century, that French prose romance begins; and in one of the pretty volumes of the Bibliotheque Elzevirienne some of the most striking fragments of it may be found, edited with much intelligence. In one of these thirteenth-century stories, Li Amitiez de Ami et Amile, that free play of human affection, of the claims of which Abelard's story is an assertion, makes itself felt in the incidents of a great friendship, a friendship pure and generous, pushed to a sort of passionate exaltation, and more than faithful unto death. Such comradeship, though instances of it are to be found everywhere, is still especially a classical motive; Chaucer expressing the sentiment of it so strongly in an antique tale, that one knows not whether the love of both Palamon and Arcite for Emelya, or of those two for each other, is the chiefer subject of the Knight's Tale—
He cast his eyen upon Emelya, And therewithal he bleynte and cried, ah! As that he stongen were unto the herte.
What reader does not refer something of the  bitterness of that cry to the spoiling, already foreseen, of the fair friendship, which had made the prison of the two lads sweet hitherto with its daily offices?
The friendship of Amis and Amile is deepened by the romantic circumstance of an entire personal resemblance between the two heroes, through which they pass for each other again and again, and thereby into many strange adventures; that curious interest of the Doppelganger, which begins among the stars with the Dioscuri, being entwined in and out through all the incidents of the story, like an outward token of the inward similitude of their souls. With this, again, is connected, like a second reflection of that inward similitude, the conceit of two marvellously beautiful cups, also exactly like each other—children's cups, of wood, but adorned with gold and precious stones. These two cups, which by their resemblance help to bring the friends together at critical moments, were given to them by the Pope, when he baptized them at Rome, whither the parents had taken them for that purpose, in gratitude for their birth. They cross and recross very strangely in the narrative, serving the two heroes almost like living things, and with that well-known effect of a beautiful object, kept constantly before the eye in a story or poem, of keeping sensation well awake, and giving a certain air of refinement to all the scenes into which it enters. That sense of fate, which  hangs so much of the shaping of human life on trivial objects, like Othello's strawberry handkerchief, is thereby heightened, while witness is borne to the enjoyment of beautiful handiwork by primitive people, their simple wonder at it, so that they give it an oddly significant place among the factors of a human history.
Amis and Amile, then, are true to their comradeship through all trials; and in the end it comes to pass that at a moment of great need Amis takes the place of Amile in a tournament for life or death. "After this it happened that a leprosy fell upon Amis, so that his wife would not approach him, and wrought to strangle him. He departed therefore from his home, and at last prayed his servants to carry him to the house of Amile"; and it is in what follows that the curious strength of the piece shows itself:—
"His servants, willing to do as he commanded, carried him to the place where Amile was; and they began to sound their rattles before the court of Amile's house, as lepers are accustomed to do. And when Amile heard the noise he commanded one of his servants to carry meat and bread to the sick man, and the cup which was given to him at Rome filled with good wine. And when the servant had done as he was commanded, he returned and said, Sir, if I had not thy cup in my hand, I should believe that the cup which the sick man has was thine, for they are alike, the  one to the other, in height and fashion. And Amile said, Go quickly and bring him to me. And when Amis stood before his comrade Amile demanded of him who he was, and how he had gotten that cup. I am of Briquain le Chastel, answered Amis, and the cup was given to me by the Bishop of Rome, who baptized me. And when Amile heard that, he knew that it was his comrade Amis, who had delivered him from death, and won for him the daughter of the King of France to be his wife. And straightway he fell upon him, and began weeping greatly, and kissed him. And when his wife heard that, she ran out with her hair in disarray, weeping and distressed exceedingly, for she remembered that it was he who had slain the false Ardres. And thereupon they placed him in a fair bed, and said to him, Abide with us until God's will be accomplished in thee, for all we have is at thy service. So he and the two servants abode with them.
"And it came to pass one night, when Amis and Amile lay in one chamber without other companions, that God sent His angel Raphael to Amis, who said to him, Amis, art thou asleep? And he, supposing that Amile had called him, answered and said, I am not asleep, fair comrade! And the angel said to him, Thou hast answered well, for thou art the comrade of the heavenly citizens.- -I am Raphael, the angel of our Lord, and am come to tell thee how thou mayest be  healed; for thy prayers are heard. Thou shalt bid Amile, thy comrade, that he slay his two children and wash thee in their blood, and so thy body shall be made whole. And Amis said to him, Let not this thing be, that my comrade should become a murderer for my sake. But the angel said, It is convenient that he do this. And thereupon the angel departed.
"And Amile also, as if in sleep, heard those words; and he awoke and said, Who is it, my comrade, that hath spoken with thee? And Amis answered, No man; only I have prayed to our Lord, as I am accustomed. And Amile said, Not so! but some one hath spoken with thee. Then he arose and went to the door of the chamber; and finding it shut he said, Tell me, my brother, who it was said those words to thee to-night. And Amis began to weep greatly, and told him that it was Raphael, the angel of the Lord, who had said to him, Amis, our Lord commands thee that thou bid Amile slay his two children, and wash thee in their blood, and so thou shalt be healed of thy leprosy. And Amile was greatly disturbed at those words, and said, I would have given to thee my man-servants and my maid-servants and all my goods, and thou feignest that an angel hath spoken to thee that I should slay my two children. And immediately Amis began to weep, and said, I know that I have spoken to thee a terrible thing, but constrained thereto; I pray thee cast me not away  from the shelter of thy house. And Amile answered that what he had covenanted with him, that he would perform, unto the hour of his death: But I conjure thee, said he, by the faith which there is between me and thee, and by our comradeship, and by the baptism we received together at Rome, that thou tell me whether it was man or angel said that to thee. And Amis answered again, So truly as an angel hath spoken to me this night, so may God deliver me from my infirmity!
"Then Amile began to weep in secret, and thought within himself: If this man was ready to die before the king for me, shall I not for him slay my children? Shall I not keep faith with him who was faithful to me even unto death? And Amile tarried no longer, but departed to the chamber of his wife, and bade her go hear the Sacred Office. And he took a sword, and went to the bed where the children were lying, and found them asleep. And he lay down over them and began to weep bitterly and said, Hath any man yet heard of a father who of his own will slew his children? Alas, my children! I am no longer your father, but your cruel murderer.
"And the children awoke at the tears of their father, which fell upon them; and they looked up into his face and began to laugh. And as they were of the age of about three years, he said, Your laughing will be turned into tears, for your innocent blood must now be shed,  and therewith he cut off their heads. Then he laid them back in the bed, and put the heads upon the bodies, and covered them as though they slept: and with the blood which he had taken he washed his comrade, and said, Lord Jesus Christ! who hast commanded men to keep faith on earth, and didst heal the leper by Thy word! cleanse now my comrade, for whose love I have shed the blood of my children.
"Then Amis was cleansed of his leprosy. And Amile clothed his companion in his best robes; and as they went to the church to give thanks, the bells, by the will of God, rang of their own accord. And when the people of the city heard that, they ran together to see the marvel. And the wife of Amile, when she saw Amis and Amile coming, asked which of the twain was her husband, and said, I know well the vesture of them both, but I know not which of them is Amile. And Amile said to her, I am Amile, and my companion is Amis, who is healed of his sickness. And she was full of wonder, and desired to know in what manner he was healed. Give thanks to our Lord, answered Amile, but trouble not thyself as to the manner of the healing.
"Now neither the father nor the mother had yet entered where the children were; but the father sighed heavily, because they were dead, and the mother asked for them, that they might rejoice together; but Amile said, Dame! let  the children sleep. And it was already the hour of Tierce. And going in alone to the children to weep over them, he found them at play in the bed; only, in the place of the sword-cuts about their throats was as it were a thread of crimson. And he took them in his arms and carried them to his wife and said, Rejoice greatly, for thy children whom I had slain by the commandment of the angel are alive, and by their blood is Amis healed."
There, as I said, is the strength of the old French story. For the Renaissance has not only the sweetness which it derives from the classical world, but also that curious strength of which there are great resources in the true middle age. And as I have illustrated the early strength of the Renaissance by the story of Amis and Amile, a story which comes from the North, in which a certain racy Teutonic flavour is perceptible, so I shall illustrate that other element, its early sweetness, a languid excess of sweetness even, by another story printed in the same volume of the Bibliotheque Elzevirienne, and of about the same date, a story which comes, characteristically, from the South, and connects itself with the literature of Provence.
The central love-poetry of Provence, the poetry of the Tenson and the Aubade, of Bernard de Ventadour and Pierre Vidal, is poetry for the few, for the elect and peculiar people of the  kingdom of sentiment. But below this intenser poetry there was probably a wide range of literature, less serious and elevated, reaching, by lightness of form and comparative homeliness of interest, an audience which the concentrated passion of those higher lyrics left untouched. This literature has long since perished, or lives only in later French or Italian versions. One such version, the only representative of its species, M. Fauriel thought he detected in the story of Aucassin and Nicolette, written in the French of the latter half of the thirteenth century, and preserved in a unique manuscript, in the national library of Paris; and there were reasons which made him divine for it a still more ancient ancestry, traces in it of an Arabian origin, as in a leaf lost out of some early Arabian Nights.* The little book loses none of its interest through the criticism which finds in it only a traditional subject, handed on by one people to another; for after passing thus from hand to hand, its outline is still clear, its surface untarnished; and, like many other stories, books, literary and artistic conceptions of the middle age, it has come to  have in this way a sort of personal history, almost as full of risk and adventure as that of its own heroes. The writer himself calls the piece a cantefable, a tale told in prose, but with its incidents and sentiment helped forward by songs, inserted at irregular intervals. In the junctions of the story itself there are signs of roughness and want of skill, which make one suspect that the prose was only put together to connect a series of songs—a series of songs so moving and attractive that people wished to heighten and dignify their effect by a regular framework or setting. Yet the songs themselves are of the simplest kind, not rhymed even, but only imperfectly assonant, stanzas of twenty or thirty lines apiece, all ending with a similar vowel sound. And here, as elsewhere in that early poetry, much of the interest lies in the spectacle of the formation of a new artistic sense. A novel art is arising, the music of rhymed poetry, and in the songs of Aucassin and Nicolette, which seem always on the point of passing into true rhyme, but which halt somehow, and can never quite take flight, you see people just growing aware of the elements of a new music in their possession, and anticipating how pleasant such music might become.
The piece was probably intended to be recited by a company of trained performers, many of whom, at least for the lesser parts, were probably children. The songs are introduced by the rubric,  Or se cante (ici on chante); and each division of prose by the rubric, Or dient et content et fabloient (ici on conte). The musical notes of a portion of the songs have been preserved; and some of the details are so descriptive that they suggested to M. Fauriel the notion that the words had been accompanied throughout by dramatic action. That mixture of simplicity and refinement which he was surprised to find in a composition of the thirteenth century, is shown sometimes in the turn given to some passing expression or remark; thus, "the Count de Garins was old and frail, his time was over"—Li quens Garins de Beaucaire estoit vix et frales; si avoit son tans trespasse. And then, all is so realised! One sees the ancient forest, with its disused roads grown deep with grass, and the place where seven roads meet—u a forkeut set cemin qui s'en vont par le pais; we hear the light- hearted country people calling each other by their rustic names, and putting forward, as their spokesman, one among them who is more eloquent and ready than the rest—li un qui plus fu enparles des autres; for the little book has its burlesque element also, so that one hears the faint, far-off laughter still. Rough as it is, the piece certainly possesses this high quality of poetry, that it aims at a purely artistic effect. Its subject is a great sorrow, yet it claims to be a thing of joy and refreshment, to be entertained not for its matter only, but chiefly for its manner, it is cortois, it tells us, et bien assis.
 For the student of manners, and of the old French language and literature, it has much interest of a purely antiquarian order. To say of an ancient literary composition that it has an antiquarian interest, often means that it has no distinct aesthetic interest for the reader of to-day. Antiquarianism, by a purely historical effort, by putting its object in perspective, and setting the reader in a certain point of view, from which what gave pleasure to the past is pleasurable for him also, may often add greatly to the charm we receive from ancient literature. But the first condition of such aid must be a real, direct, aesthetic charm in the thing itself. Unless it has that charm, unless some purely artistic quality went to its original making, no merely antiquarian effort can ever give it an aesthetic value, or make it a proper subject of aesthetic criticism. This quality, wherever it exists, it is always pleasant to define, and discriminate from the sort of borrowed interest which an old play, or an old story, may very likely acquire through a true antiquarianism. The story of Aucassin and Nicolette has something of this quality. Aucassin, the only son of Count Garins of Beaucaire, is passionately in love with Nicolette, a beautiful girl of unknown parentage, bought of the Saracens, whom his father will not permit him to marry. The story turns on the adventures of these two lovers, until at the end of the piece their mutual fidelity is rewarded. These  adventures are of the simplest sort, adventures which seem to be chosen for the happy occasion they afford of keeping the eye of the fancy, perhaps the outward eye, fixed on pleasant objects, a garden, a ruined tower, the little hut of flowers which Nicolette constructs in the forest whither she escapes from her enemies, as a token to Aucassin that she has passed that way. All the charm of the piece is in its details, in a turn of peculiar lightness and grace given to the situations and traits of sentiment, especially in its quaint fragments of early French prose.
All through it one feels the influence of that faint air of overwrought delicacy, almost of wantonness, which was so strong a characteristic of the poetry of the Troubadours. The Troubadours themselves were often men of great rank; they wrote for an exclusive audience, people of much leisure and great refinement, and they came to value a type of personal beauty which has in it but little of the influence of the open air and sunshine. There is a languid Eastern deliciousness in the very scenery of the story, the full-blown roses, the chamber painted in some mysterious manner where Nicolette is imprisoned, the cool brown marble, the almost nameless colours, the odour of plucked grass and flowers. Nicolette herself well becomes this scenery, and is the best illustration of the quality I mean—the beautiful, weird, foreign girl, whom the  shepherds take for a fay, who has the knowledge of simples, the healing and beautifying qualities of leaves and flowers, whose skilful touch heals Aucassin's sprained shoulder, so that he suddenly leaps from the ground; the mere sight of whose white flesh, as she passed the place where he lay, healed a pilgrim stricken with sore disease, so that he rose up, and returned to his own country. With this girl Aucassin is so deeply in love that he forgets all knightly duties. At last Nicolette is shut up to get her out of his way, and perhaps the prettiest passage in the whole piece is the fragment of prose which describes her escape:—
"Aucassin was put in prison, as you have heard, and Nicolette remained shut up in her chamber. It was summer-time, in the month of May, when the days are warm and long and clear, and the nights coy and serene.
"One night Nicolette, lying on her bed, saw the moon shine clear through the little window, and heard the nightingale sing in the garden, and then came the memory of Aucassin, whom she so much loved. She thought of the Count Garins of Beaucaire, who mortally hated her, and, to be rid of her, might at any moment cause her to be burned or drowned. She perceived that the old woman who kept her company was asleep; she rose and put on the fairest gown she had; she took the bed-clothes  and the towels, and knotted them together like a cord, as far as they would go. Then she tied the end to a pillar of the window, and let herself slip down quite softly into the garden, and passed straight across it, to reach the town.
"Her hair was yellow in small curls, her smiling eyes blue-green, her face clear and feat, the little lips very red, the teeth small and white; and the daisies which she crushed in passing, holding her skirt high behind and before, looked dark against her feet; the girl was so white!
"She came to the garden-gate and opened it, and walked through the streets of Beaucaire, keeping on the dark side of the way to be out of the light of the moon, which shone quietly in the sky. She walked as fast as she could, until she came to the tower where Aucassin was. The tower was set about with pillars, here and there. She pressed herself against one of the pillars, wrapped herself closely in her mantle, and putting her face to a chink of the tower, which was old and ruined, she heard Aucassin crying bitterly within, and when she had listened awhile she began to speak."
But scattered up and down through this lighter matter, always tinged with humour and often passing into burlesque, which makes up the general substance of the piece, there are morsels of a different quality, touches of some intenser sentiment, coming it would seem from  the profound and energetic spirit of the Provencal poetry itself, to which the inspiration of the book has been referred. Let me gather up these morsels of deeper colour, these expressions of the ideal intensity of love, the motive which really unites together the fragments of the little composition. Dante, the perfect flower of ideal love, has recorded how the tyranny of that "Lord of terrible aspect" became actually physical, blinding his senses, and suspending his bodily forces. In this, Dante is but the central expression and type of experiences known well enough to the initiated, in that passionate age. Aucassin represents this ideal intensity of passion—
Aucassin, le biax, li blons, Li gentix, li amorous;—
the slim, tall, debonair, dansellon, as the singers call him, with his curled yellow hair, and eyes of vair, who faints with love, as Dante fainted, who rides all day through the forest in search of Nicolette, while the thorns tear his flesh, so that one might have traced him by the blood upon the grass, and who weeps at eventide because he has not found her, who has the malady of his love, and neglects all knightly duties. Once he is induced to put himself at the head of his people, that they, seeing him before them, might have more heart to defend themselves; then a song relates how the sweet, grave figure goes forth to battle, in dainty, tight-laced  armour. It is the very image of the Provencal love-god, no longer a child, but grown to pensive youth, as Pierre Vidal met him, riding on a white horse, fair as the morning, his vestment embroidered with flowers. He rode on through the gates into the open plain beyond. But as he went, that great malady of his love came upon him. The bridle fell from his hands; and like one who sleeps walking, he was carried on into the midst of his enemies, and heard them talking together how they might most conveniently kill him.
One of the strongest characteristics of that outbreak of the reason and the imagination, of that assertion of the liberty of the heart, in the middle age, which I have termed a medieval Renaissance, was its antinomianism, its spirit of rebellion and revolt against the moral and religious ideas of the time. In their search after the pleasures of the senses and the imagination, in their care for beauty, in their worship of the body, people were impelled beyond the bounds of the Christian ideal; and their love became sometimes a strange idolatry, a strange rival religion. It was the return of that ancient Venus, not dead, but only hidden for a time in the caves of the Venusberg, of those old pagan gods still going to and fro on the earth, under all sorts of disguises. And this element in the middle age, for the most part ignored by those writers who have treated it pre-eminently as the  "Age of Faith"—this rebellious and antinomian element, the recognition of which has made the delineation of the middle age by the writers of the Romantic school in France, by Victor Hugo for instance in Notre-Dame de Paris, so suggestive and exciting—is found alike in the history of Abelard and the legend of Tannhauser. More and more, as we come to mark changes and distinctions of temper in what is often in one all-embracing confusion called the middle age, that rebellion, that sinister claim for liberty of heart and thought, comes to the surface. The Albigensian movement, connected so strangely with the history of Provencal poetry, is deeply tinged with it. A touch of it makes the Franciscan order, with its poetry, its mysticism, its "illumination," from the point of view of religious authority, justly suspect. It influences the thoughts of those obscure prophetical writers, like Joachim of Flora, strange dreamers in a world of flowery rhetoric of that third and final dispensation of a "spirit of freedom," in which law shall have passed away. Of this spirit Aucassin and Nicolette contains perhaps the most famous expression: it is the answer Aucassin gives when he is threatened with the pains of hell, if he makes Nicolette his mistress. A creature wholly of affection and the senses, he sees on the way to paradise only a feeble and worn- out company of aged priests, "clinging day and night to the chapel altars," barefoot or  in patched sandals. With or even without Nicolette, "his sweet mistress whom he so much loves," he, for his part, is ready to start on the way to hell, along with "the good scholars," as he says, and the actors, and the fine horsemen dead in battle, and the men of fashion,* and "the fair courteous ladies who had two or three chevaliers apiece beside their own true lords," all gay with music, in their gold, and silver, and beautiful furs—"the vair and the grey."
But in the House Beautiful the saints too have their place; and the student of the Renaissance has this advantage over the student of the emancipation of the human mind in the Reformation, or the French Revolution, that in tracing the footsteps of humanity to higher levels, he is not beset at every turn by the inflexibilities and antagonisms of some well-recognised controversy, with rigidly defined opposites, exhausting the intelligence and limiting one's sympathies. The opposition of the professional defenders of a mere system to that more sincere and generous play of the forces of human mind and character, which I have noted as the secret of Abelard's struggle, is indeed always powerful. But the incompatibility with one another of souls really "fair" is not essential; and within the enchanted region of the Renaissance, one needs not be for ever on  one's guard. Here there are no fixed parties, no exclusions: all breathes of that unity of culture in which whatsoever things are comely" are reconciled, for the elevation and adorning of our spirits. And just in proportion as those who took part in the Renaissance become centrally representative of it, just so much the more is this condition realised in them. The wicked popes, and the loveless tyrants, who from time to time became its patrons, or mere speculators in its fortunes, lend themselves easily to disputations, and, from this side or that, the spirit of controversy lays just hold upon them. But the painter of the Last Supper, with his kindred, lives in a land where controversy has no breathing-place. They refuse to be classified. In the story of Aucassin and Nicolette, in the literature which it represents, the note of defiance, of the opposition of one system to another, is sometimes harsh. Let me conclude then with a morsel from Amis and Amile, in which the harmony of human interests is still entire. For the story of the great traditional friendship, in which, as I said, the liberty of the heart makes itself felt, seems, as we have it, to have been written by a monk—La vie des saints martyrs Amis et Amile. It was not till the end of the seventeenth century that their names were finally excluded from the martyrology; and their story ends with this monkish miracle of earthly comradeship, more than faithful unto death:—
 "For, as God had united them in their lives in one accord, so they were not divided in their death, falling together side by side, with a host of other brave men, in battle for King Charles at Mortara, so called from that great slaughter. And the bishops gave counsel to the king and queen that they should bury the dead, and build a church in that place; and their counsel pleased the king greatly. And there were built two churches, the one by commandment of the king in honour of Saint Oseige, and the other by commandment of the queen in honour of Saint Peter.
"And the king caused the two chests of stone to be brought in the which the bodies of Amis and Amile lay; and Amile was carried to the church of Saint Peter, and Amis to the church of Saint Oseige; and the other corpses were buried, some in one place and some in the other. But lo! next morning, the body of Amile in his coffin was found lying in the church of Saint Oseige, beside the coffin of Amis his comrade. Behold then this wondrous amity, which by death could not be dissevered!
"This miracle God did, who gave to His disciples power to remove mountains. And by reason of this miracle the king and queen remained in that place for a space of thirty days, and performed the offices of the dead who were slain, and honoured the said churches with great  gifts. And the bishop ordained many clerks to serve in the church of Saint Oseige, and commanded them that they should guard duly, with great devotion, the bodies of the two companions, Amis and Amile."
16. *Recently, Aucassin and Nicolette has been edited and translated into English, with much graceful scholarship, by Mr. F. W. Bourdillon. Still more recently we have had a translation—a poet's translation—from the ingenious and versatile pen of Mr. Andrew Lang. The reader should consult also the chapter on "The Out-door Poetry," in Vernon Lee's most interesting Euphorion; being Studies of the Antique and Mediaeval in the Renaissance, a work abounding in knowledge and insight on the subjects of which it treats.
26. *Parage, peerage:—which came to signify all that ambitious youth affected most on the outside of life, in that old world of the Troubadours, with whom this term is of frequent recurrence. Return.
PICO DELLA MIRANDOLA
 NO account of the Renaissance can be complete without some notice of the attempt made by certain Italian scholars of the fifteenth century to reconcile Christianity with the religion of ancient Greece. To reconcile forms of sentiment which at first sight seem incompatible, to adjust the various products of the human mind to one another in one many-sided type of intellectual culture, to give humanity, for heart and imagination to feed upon, as much as it could possibly receive, belonged to the generous instincts of that age. An earlier and simpler generation had seen in the gods of Greece so many malignant spirits, the defeated but still living centres of the religion of darkness, struggling, not always in vain, against the kingdom of light. Little by little, as the natural charm of pagan story reasserted itself over minds emerging out of barbarism, the religious significance which had once belonged to it was lost sight of, and it came to be regarded as the subject of a purely artistic or poetical treatment. But it was inevitable that from time to time minds should  arise, deeply enough impressed by its beauty and power to ask themselves whether the religion of Greece was indeed a rival of the religion of Christ; for the older gods had rehabilitated themselves, and men's allegiance was divided. And the fifteenth century was an impassioned age, so ardent and serious in its pursuit of art that it consecrated everything with which art had to do as a religious object. The restored Greek literature had made it familiar, at least in Plato, with a style of expression concerning the earlier gods, which had about it something of the warmth and unction of a Christian hymn. It was too familiar with such language to regard mythology as a mere story; and it was too serious to play with a religion.
"Let me briefly remind the reader"—says Heine, in the Gods in Exile, an essay full of that strange blending of sentiment which is characteristic of the traditions of the middle age concerning the pagan religions—"how the gods of the older world, at the time of the definite triumph of Christianity, that is, in the third century, fell into painful embarrassments, which greatly resembled certain tragical situations of their earlier life. They now found themselves beset by the same troublesome necessities to which they had once before been exposed during the primitive ages, in that revolutionary epoch when the Titans broke out of the custody of Orcus, and, piling Pelion on Ossa, scaled  Olympus. Unfortunate gods! They had then to take flight ignominiously, and hide themselves among us here on earth, under all sorts of disguises. The larger number betook themselves to Egypt, where for greater security they assumed the forms of animals, as is generally known. Just in the same way, they had to take flight again, and seek entertainment in remote hiding-places, when those iconoclastic zealots, the black brood of monks, broke down all the temples, and pursued the gods with fire and curses. Many of these unfortunate emigrants, now entirely deprived of shelter and ambrosia, must needs take to vulgar handicrafts, as a means of earning their bread. Under these circumstances, many whose sacred groves had been confiscated, let themselves out for hire as wood-cutters in Germany, and were forced to drink beer instead of nectar. Apollo seems to have been content to take service under graziers, and as he had once kept the cows of Admetus, so he lived now as a shepherd in Lower Austria. Here, however, having become suspected on account of his beautiful singing, he was recognised by a learned monk as one of the old pagan gods, and handed over to the spiritual tribunal. On the rack he confessed that he was the god Apollo; and before his execution he begged that he might be suffered to play once more upon the lyre, and to sing a song. And he played so touchingly, and sang with such magic, and was withal so  beautiful in form and feature, that all the women wept, and many of them were so deeply impressed that they shortly afterwards fell sick. Some time afterwards the people wished to drag him from the grave again, that a stake might be driven through his body, in the belief that he had been a vampire, and that the sick women would by this means recover. But they found the grave empty."
The Renaissance of the fifteenth century was, in many things, great rather by what it designed than by what it achieved. Much which it aspired to do, and did but imperfectly or mistakenly, was accomplished in what is called the eclaircissement of the eighteenth century, or in our own generation; and what really belongs to the revival of the fifteenth century is but the leading instinct, the curiosity, the initiatory idea. It is so with this very question of the reconciliation of the religion of antiquity with the religion of Christ. A modern scholar occupied by this problem might observe that all religions may be regarded as natural products, that, at least in their origin, their growth, and decay, they have common laws, and are not to be isolated from the other movements of the human mind in the periods in which they respectively prevailed; that they arise spontaneously out of the human mind, as expressions of the varying phases of its sentiment concerning the unseen world; that every intellectual product must be judged from the point of  view of the age and the people in which it was produced. He might go on to observe that each has contributed something to the development of the religious sense, and ranging them as so many stages in the gradual education of the human mind, justify the existence of each. The basis of the reconciliation of the religions of the world would thus be the inexhaustible activity and creativeness of the human mind itself, in which all religions alike have their root, and in which all alike are reconciled; just as the fancies of childhood and the thoughts of old age meet and are laid to rest, in the experience of the individual.
Far different was the method followed by the scholars of the fifteenth century. They lacked the very rudiments of the historic sense, which, by an imaginative act, throws itself back into a world unlike one's own, and estimates every intellectual creation in its connexion with the age from which it proceeded. They had no idea of development, of the differences of ages, of the process by which our race has been "educated." In their attempts to reconcile the religions of the world, they were thus thrown back upon the quicksand of allegorical interpretation. The religions of the world were to be reconciled, not as successive stages in a regular development of the religious sense, but as subsisting side by side, and substantially in agreement with one another. And here the first necessity was to misrepresent the language, the conceptions, the sentiments, it was  proposed to compare and reconcile. Plato and Homer must be made to speak agreeably to Moses. Set side by side, the mere surfaces could never unite in any harmony of design. Therefore one must go below the surface, and bring up the supposed secondary, or still more remote meaning,—that diviner signification held in reserve, in recessu divinius aliquid, latent in some stray touch of Homer, or figure of speech in the books of Moses.
And yet as a curiosity of the human mind, a "madhouse-cell," if you will, into which we may peep for a moment, and see it at work weaving strange fancies, the allegorical interpretation of the fifteenth century has its interest. With its strange web of imagery, its quaint conceits, its unexpected combinations and subtle moralising, it is an element in the local colour of a great age. It illustrates also the faith of that age in all oracles, its desire to hear all voices, its generous belief that nothing which had ever interested the human mind could wholly lose its vitality. It is the counterpart, though certainly the feebler counterpart, of that practical truce and reconciliation of the gods of Greece with the Christian religion, which is seen in the art of the time. And it is for his share in this work, and because his own story is a sort of analogue or visible equivalent to the expression of this purpose in his writings, that something of a general interest still belongs to the name of Pico della Mirandola,  whose life, written by his nephew Francis, seemed worthy, for some touch of sweetness in it, to be translated out of the original Latin by Sir Thomas More, that great lover of Italian culture, among whose works the life of Pico, Earl of Mirandola, and a great lord of Italy, as he calls him, may still be read, in its quaint, antiquated English.
Marsilio Ficino has told us how Pico came to Florence. It was the very day—some day probably in the year 1482—on which Ficino had finished his famous translation of Plato into Latin, the work to which he had been dedicated from childhood by Cosmo de' Medici, in furtherance of his desire to resuscitate the knowledge of Plato among his fellow-citizens. Florence indeed, as M. Renan has pointed out, had always had an affinity for the mystic and dreamy philosophy of Plato, while the colder and more practical philosophy of Aristotle had flourished in Padua, and other cities of the north; and the Florentines, though they knew perhaps very little about him, had had the name of the great idealist often on their lips. To increase this knowledge, Cosmo had founded the Platonic academy, with periodical discussions at the Villa Careggi. The fall of Constantinople in 1453, and the council in 1438 for the reconciliation of the Greek and Latin Churches, had brought to Florence many a needy Greek scholar. And now the work was completed, the door of the mystical temple lay open to all who could construe Latin, and the  scholar rested from his labour; when there was introduced into his study, where a lamp burned continually before the bust of Plato, as other men burned lamps before their favourite saints, a young man fresh from a journey, "of feature and shape seemly and beauteous, of stature goodly and high, of flesh tender and soft, his visage lovely and fair, his colour white, intermingled with comely reds, his eyes grey, and quick of look, his teeth white and even, his hair yellow and abundant," and trimmed with more than the usual artifice of the time.
It is thus that Sir Thomas More translates the words of the biographer of Pico, who, even in outward form and appearance, seems an image of that inward harmony and completeness, of which he is so perfect an example. The word mystic has been usually derived from a Greek word which signifies to shut, as if one shut one's lips brooding on what cannot be uttered; but the Platonists themselves derive it rather from the act of shutting the eyes, that one may see the more, inwardly. Perhaps the eyes of the mystic Ficino, now long past the midway of life, had come to be thus half-closed; but when a young man, not unlike the archangel Raphael, as the Florentines of that age depicted him in his wonderful walk with Tobit, or Mercury, as he might have appeared in a painting by Sandro Botticelli or Piero di Cosimo, entered his chamber, he seems to have thought there was something not wholly earthly about  him; at least, he ever afterwards believed that it was not without the co-operation of the stars that the stranger had arrived on that day. For it happened that they fell into a conversation, deeper and more intimate than men usually fall into at first sight. During this conversation Ficino formed the design of devoting his remaining years to the translation of Plotinus, that new Plato, in whom the mystical element in the Platonic philosophy had been worked out to the utmost limit of vision and ecstasy; and it is in dedicating this translation to Lorenzo de' Medici that Ficino has recorded these incidents.
It was after many wanderings, wanderings of the intellect as well as physical journeys, that Pico came to rest at Florence. Born in 1463, he was then about twenty years old. He was called Giovanni at baptism, Pico, like all his ancestors, from Picus, nephew of the Emperor Constantine, from whom they claimed to be descended, and Mirandola from the place of his birth, a little town afterwards part of the duchy of Modena, of which small territory his family had long been the feudal lords. Pico was the youngest of the family, and his mother, delighting in his wonderful memory, sent him at the age of fourteen to the famous school of law at Bologna. From the first, indeed, she seems to have had some presentiment of his future fame, for, with a faith in omens characteristic of her time, she believed  that a strange circumstance had happened at the time of Pico's birth— the appearance of a circular flame which suddenly vanished away, on the wall of the chamber where she lay. He remained two years at Bologna; and then, with an inexhaustible, unrivalled thirst for knowledge, the strange, confused, uncritical learning of that age, passed through the principal schools of Italy and France, penetrating, as he thought, into the secrets of all ancient philosophies, and many Eastern languages. And with this flood of erudition came the generous hope, so often disabused, of reconciling the philosophers with one another, and all alike with the Church. At last he came to Rome. There, like some knight- errant of philosophy, he offered to defend nine hundred bold paradoxes, drawn from the most opposite sources, against all comers. But the pontifical court was led to suspect the orthodoxy of some of these propositions, and even the reading of the book which contained them was forbidden by the Pope. It was not until 1493 that Pico was finally absolved, by a brief of Alexander the Sixth. Ten years before that date he had arrived at Florence; an early instance of those who, after following the vain hope of an impossible reconciliation from system to system, have at last fallen back unsatisfied on the simplicities of their childhood's belief.
The oration which Pico composed for the opening of this philosophical tournament still  remains; its subject is the dignity of human nature, the greatness of man. In common with nearly all medieval speculation, much of Pico's writing has this for its drift; and in common also with it, Pico's theory of that dignity is founded on a misconception of the place in nature both of the earth and of man. For Pico the earth is the centre of the universe: and around it, as a fixed and motionless point, the sun and moon and stars revolve, like diligent servants or ministers. And in the midst of all is placed man, nodus et vinculum mundi, the bond or copula of the world, and the "interpreter of nature": that famous expression of Bacon's really belongs to Pico. Tritum est in scholis, he says, esse hominem minorem mundum, in quo mixtum ex elementis corpus et spiritus coelestis et plantarum anima vegetalis et brutorum sensus et ratio et angelica mens et Dei similitudo conspicitur:—"It is a commonplace of the schools that man is a little world, in which we may discern a body mingled of earthy elements, and ethereal breath, and the vegetable life of plants, and the senses of the lower animals, and reason, and the intelligence of angels, and a likeness to God."
A commonplace of the schools! But perhaps it had some new significance and authority, when men heard one like Pico reiterate it; and, false as its basis was, the theory had its use. For this high dignity of man, thus bringing the dust under his feet into sensible communion with the  thoughts and affections of the angels, was supposed to belong to him, not as renewed by a religious system, but by his own natural right. The proclamation of it was a counterpoise to the increasing tendency of medieval religion to depreciate man's nature, to sacrifice this or that element in it, to make it ashamed of itself, to keep the degrading or painful accidents of it always in view. It helped man onward to that reassertion of himself, that rehabilitation of human nature, the body, the senses, the heart, the intelligence, which the Renaissance fulfils. And yet to read a page of one of Pico's forgotten books is like a glance into one of those ancient sepulchres, upon which the wanderer in classical lands has sometimes stumbled, with the old disused ornaments and furniture of a world wholly unlike ours still fresh in them. That whole conception of nature is so different from our own. For Pico the world is a limited place, bounded by actual crystal walls, and a material firmament; it is like a painted toy, like that map or system of the world, held, as a great target or shield, in the hands of the creative Logos, by whom the Father made all things, in one of the earlier frescoes of the Campo Santo at Pisa. How different from this childish dream is our own conception of nature, with its unlimited space, its innumerable suns, and the earth but a mote in the beam; how different the strange new awe, or superstition, with which it fills our minds! "The silence of those infinite spaces,"  says Pascal, contemplating a starlight night, the silence of those infinite spaces terrifies me":— Le silence eternel de ces espaces infinis m'effraie.
He was already almost wearied out when he came to Florence. He had loved much and been beloved by women, "wandering over the crooked hills of delicious pleasure"; but their reign over him was over, and long before Savonarola's famous "bonfire of vanities," he had destroyed those love-songs in the vulgar tongue, which would have been so great a relief to us, after the scholastic prolixity of his Latin writings. It was in another spirit that he composed a Platonic commentary, the only work of his in Italian which has come down to us, on the "Song of Divine Love"— secondo la mente ed opinione dei Platonici—"according to the mind and opinion of the Platonists," by his friend Hieronymo Beniveni, in which, with an ambitious array of every sort of learning, and a profusion of imagery borrowed indifferently from the astrologers, the Cabala, and Homer, and Scripture, and Dionysius the Areopagite, he attempts to define the stages by which the soul passes from the earthly to the unseen beauty. A change indeed had passed over him, as if the chilling touch of the abstract and disembodied beauty Platonists profess to long for were already upon him. Some sense of this, perhaps, coupled with that over-brightness which in the popular imagination always betokens an early  death, made Camilla Rucellai, one of those prophetic women whom the preaching of Savonarola had raised up in Florence, declare, seeing him for the first time, that he would depart in the time of lilies—prematurely, that is, like the field-flowers which are withered by the scorching sun almost as soon as they are sprung up. He now wrote down those thoughts on the religious life which Sir Thomas More turned into English, and which another English translator thought worthy to be added to the books of the Imitation. "It is not hard to know God, provided one will not force oneself to define Him":—has been thought a great saying of Joubert's. "Love God," Pico writes to Angelo Politian, "we rather may, than either know Him, or by speech utter Him. And yet had men liefer by knowledge never find that which they seek, than by love possess that thing, which also without love were in vain found."
Yet he who had this fine touch for spiritual things did not—and in this is the enduring interest of his story—even after his conversion, forget the old gods. He is one of the last who seriously and sincerely entertained the claim on men's faith of the pagan religions; he is anxious to ascertain the true significance of the obscurest legend, the lightest tradition concerning them. With many thoughts and many influences which led him in that direction,  he did not become a monk; only he became gentle and patient in disputation; retaining "somewhat of the old plenty, in dainty viand and silver vessel," he gave over the greater part of his property to his friend, the mystical poet Beniveni, to be spent by him in works of charity, chiefly in the sweet charity of providing marriage-dowries for the peasant girls of Florence. His end came in 1494, when, amid the prayers and sacraments of Savonarola, he died of fever, on the very day on which Charles the Eighth entered Florence, the seventeenth of November, yet in the time of lilies—the lilies of the shield of France, as the people now said, remembering Camilla's prophecy. He was buried in the conventual church of Saint Mark, in the hood and white frock of the Dominican order.
It is because the life of Pico, thus lying down to rest in the Dominican habit, yet amid thoughts of the older gods, himself like one of those comely divinities, reconciled indeed to the new religion, but still with a tenderness for the earlier life, and desirous literally to "bind the ages each to each by natural piety"- -it is because this life is so perfect a parallel to the attempt made in his writings to reconcile Christianity with the ideas of paganism, that Pico, in spite of the scholastic character of those writings, is really interesting. Thus, in the Heptaplus, or Discourse on the Seven Days of the Creation, he endeavours to reconcile the  accounts which pagan philosophy had given of the origin of the world with the account given in the books of Moses—the Timaeus of Plato with the book of Genesis. The Heptaplus is dedicated to Lorenzo the Magnificent, whose interest, the preface tells us, in the secret wisdom of Moses is well known. If Moses seems in his writings simple and even popular, rather than either a philosopher or a theologian, that is because it was an institution with the ancient philosophers, either not to speak of divine things at all, or to speak of them dissemblingly: hence their doctrines were called mysteries. Taught by them, Pythagoras became so great a "master of silence," and wrote almost nothing, thus hiding the words of God in his heart, and speaking wisdom only among the perfect. In explaining the harmony between Plato and Moses, Pico lays hold on every sort of figure and analogy, on the double meanings of words, the symbols of the Jewish ritual, the secondary meanings of obscure stories in the later Greek mythologists. Everywhere there is an unbroken system of correspondences. Every object in the terrestrial world is an analogue, a symbol or counterpart, of some higher reality in the starry heavens, and this again of some law of the angelic life in the world beyond the stars. There is the element of fire in the material world; the sun is the fire of heaven; and in the super-celestial world there is the fire of  the seraphic intelligence. "But behold how they differ! The elementary fire burns, the heavenly fire vivifies, the super- celestial fire loves." In this way, every natural object, every combination of natural forces, every accident in the lives of men, is filled with higher meanings. Omens, prophecies, supernatural coincidences, accompany Pico himself all through life. There are oracles in every tree and mountain-top, and a significance in every accidental combination of the events of life.
This constant tendency to symbolism and imagery gives Pico's work a figured style, by which it has some real resemblance to Plato's, and he differs from other mystical writers of his time by a genuine desire to know his authorities at first hand. He reads Plato in Greek, Moses in Hebrew, and by this his work really belongs to the higher culture. Above all, we have a constant sense in reading him, that his thoughts, however little their positive value may be, are connected with springs beneath them of deep and passionate emotion; and when he explains the grades or steps by which the soul passes from the love of a physical object to the love of unseen beauty, and unfolds the analogies between this process and other movements upward of human thought, there is a glow and vehemence in his words which remind one of the manner in which his own brief existence flamed itself away.
I said that the Renaissance of the fifteenth  century was, in many things, great rather by what it designed or aspired to do, than by what it actually achieved. It remained for a later age to conceive the true method of effecting a scientific reconciliation of Christian sentiment with the imagery, the legends, the theories about the world, of pagan poetry and philosophy. For that age the only possible reconciliation was an imaginative one, and resulted from the efforts of artists, trained in Christian schools, to handle pagan subjects; and of this artistic reconciliation work like Pico's was but the feebler counterpart. Whatever philosophers had to say on one side or the other, whether they were successful or not in their attempts to reconcile the old to the new, and to justify the expenditure of so much care and thought on the dreams of a dead faith, the imagery of the Greek religion, the direct charm of its story, were by artists valued and cultivated for their own sake. Hence a new sort of mythology, with a tone and qualities of its own. When the ship-load of sacred earth from the soil of Jerusalem was mingled with the common clay in the Campo Santo at Pisa, a new flower grew up from it, unlike any flower men had seen before, the anemone with its concentric rings of strangely blended colour, still to be found by those who search long enough for it, in the long grass of the Maremma. Just such a strange flower was that mythology of the Italian Renaissance, which grew up from the mixture of two traditions, two  sentiments, the sacred and the profane. Classical story was regarded as so much imaginative material to be received and assimilated. It did not come into men's minds to ask curiously of science, concerning the origin of such story, its primary form and import, its meaning for those who projected it. The thing sank into their minds, to issue forth again with all the tangle about it of medieval sentiment and ideas. In the Doni Madonna in the Tribune of the Uffizii, Michelangelo actually brings the pagan religion, and with it the unveiled human form, the sleepy-looking fauns of a Dionysiac revel, into the presence of the Madonna, as simpler painters had introduced there other products of the earth, birds or flowers, while he has given to that Madonna herself much of the uncouth energy of the older and more primitive "Mighty Mother."
This picturesque union of contrasts, belonging properly to the art of the close of the fifteenth century, pervades, in Pico della Mirandola, an actual person, and that is why the figure of Pico is so attractive. He will not let one go; he wins one on, in spite of one's self, to turn again to the pages of his forgotten books, although we know already that the actual solution proposed in them will satisfy us as little as perhaps it satisfied him. It is said that in his eagerness for mysterious learning he once paid a great sum for a collection of cabalistic manuscripts, which turned out to be forgeries; and  the story might well stand as a parable of all he ever seemed to gain in the way of actual knowledge. He had sought knowledge, and passed from system to system, and hazarded much; but less for the sake of positive knowledge than because he believed there was a spirit of order and beauty in knowledge, which would come down and unite what men's ignorance had divided, and renew what time had made dim. And so, while his actual work has passed away, yet his own qualities are still active, and himself remains, as one alive in the grave, caesiis et vigilibus oculis, as his biographer describes him, and with that sanguine, clear skin, decenti rubore interspersa, as with the light of morning upon it; and he has a true place in that group of great Italians who fill the end of the fifteenth century with their names, he is a true humanist. For the essence of humanism is that belief of which he seems never to have doubted, that nothing which has ever interested living men and women can wholly lose its vitality—no language they have spoken, nor oracle beside which they have hushed their voices, no dream which has once been entertained by actual human minds, nothing about which they have ever been passionate, or expended time and zeal.
 IN Leonardo's treatise on painting only one contemporary is mentioned by name—Sandro Botticelli. This pre-eminence may be due to chance only, but to some will rather appear a result of deliberate judgment; for people have begun to find out the charm of Botticelli's work, and his name, little known in the last century, is quietly becoming important. In the middle of the fifteenth century he had already anticipated much of that meditative subtlety, which is sometimes supposed peculiar to the great imaginative workmen of its close. Leaving the simple religion which had occupied the followers of Giotto for a century, and the simple naturalism which had grown out of it, a thing of birds and flowers only, he sought inspiration in what to him were works of the modern world, the writings of Dante and Boccaccio, and in new readings of his own of classical stories: or, if he painted religious incidents, painted them with an under-current of original sentiment, which touches you as the real matter of the picture through the veil of its ostensible subject. What  is the peculiar sensation, what is the peculiar quality of pleasure, which his work has the property of exciting in us, and which we cannot get elsewhere? For this, especially when he has to speak of a comparatively unknown artist, is always the chief question which a critic has to answer.
In an age when the lives of artists were full of adventure, his life is almost colourless. Criticism indeed has cleared away much of the gossip which Vasari accumulated, has touched the legend of Lippo and Lucrezia, and rehabilitated the character of Andrea del Castagno. But in Botticelli's case there is no legend to dissipate. He did not even go by his true name: Sandro is a nickname, and his true name is Filipepi, Botticelli being only the name of the goldsmith who first taught him art. Only two things happened to him, two things which he shared with other artists:—he was invited to Rome to paint in the Sistine Chapel, and he fell in later life under the influence of Savonarola, passing apparently almost out of men's sight in a sort of religious melancholy, which lasted till his death in 1515, according to the received date. Vasari says that he plunged into the study of Dante, and even wrote a comment on the Divine Comedy. But it seems strange that he should have lived on inactive so long; and one almost wishes that some document might come to light, which, fixing the date of his death earlier, might relieve one, in thinking of him, of his dejected old age.
 He is before all things a poetical painter, blending the charm of story and sentiment, the medium of the art of poetry, with the charm of line and colour, the medium of abstract painting. So he becomes the illustrator of Dante. In a few rare examples of the edition of 1481, the blank spaces, left at the beginning of every canto for the hand of the illuminator, have been filled, as far as the nineteenth canto of the Inferno, with impressions of engraved plates, seemingly by way of experiment, for in the copy in the Bodleian Library, one of the three impressions it contains has been printed upside down, and much awry, in the midst of the luxurious printed page. Giotto, and the followers of Giotto, with their almost childish religious aim, had not learned to put that weight of meaning into outward things, light, colour, everyday gesture, which the poetry of the Divine Comedy involves, and before the fifteenth century Dante could hardly have found an illustrator. Botticelli's illustrations are crowded with incident, blending, with a naive carelessness of pictorial propriety, three phases of the same scene into one plate. The grotesques, so often a stumbling-block to painters, who forget that the words of a poet, which only feebly present an image to the mind, must be lowered in key when translated into visible form, make one regret that he has not rather chosen for illustration the more subdued imagery of the Purgatorio. Yet in the  scene of those who "go down quick into hell," there is an inventive force about the fire taking hold on the upturned soles of the feet, which proves that the design is no mere translation of Dante's words, but a true painter's vision; while the scene of the Centaurs wins one at once, for, forgetful of the actual circumstances of their appearance, Botticelli has gone off with delight on the thought of the Centaurs themselves, bright, small creatures of the woodland, with arch baby faces and mignon forms, drawing tiny bows.
Botticelli lived in a generation of naturalists, and he might have been a mere naturalist among them. There are traces enough in his work of that alert sense of outward things, which, in the pictures of that period, fills the lawns with delicate living creatures, and the hillsides with pools of water, and the pools of water with flowering reeds. But this was not enough for him; he is a visionary painter, and in his visionariness he resembles Dante. Giotto, the tried companion of Dante, Masaccio, Ghirlandajo even, do but transcribe, with more or less refining, the outward image; they are dramatic, not visionary painters; they are almost impassive spectators of the action before them. But the genius of which Botticelli is the type usurps the data before it as the exponent of ideas, moods, visions of its own; in this interest it plays fast and loose with those data, rejecting some and  isolating others, and always combining them anew. To him, as to Dante, the scene, the colour, the outward image or gesture, comes with all its incisive and importunate reality; but awakes in him, moreover, by some subtle law of his own structure, a mood which it awakes in no one else, of which it is the double or repetition, and which it clothes, that all may share it, with visible circumstance.
But he is far enough from accepting the conventional orthodoxy of Dante which, referring all human action to the simple formula of purgatory, heaven and hell, leaves an insoluble element of prose in the depths of Dante's poetry. One picture of his, with the portrait of the donor, Matteo Palmieri, below, had the credit or discredit of attracting some shadow of ecclesiastical censure. This Matteo Palmieri, (two dim figures move under that name in contemporary history,) was the reputed author of a poem, still unedited, La Citta Divina, which represented the human race as an incarnation of those angels who, in the revolt of Lucifer, were neither for Jehovah nor for His enemies, a fantasy of that earlier Alexandrian philosophy about which the Florentine intellect in that century was so curious. Botticelli's picture may have been only one of those familiar compositions in which religious reverie has recorded its impressions of the various forms of beatified existence—Glorias, as they were called, like that  in which Giotto painted the portrait of Dante; but somehow it was suspected of embodying in a picture the wayward dream of Palmieri, and the chapel where it hung was closed. Artists so entire as Botticelli are usually careless about philosophical theories, even when the philosopher is a Florentine of the fifteenth century, and his work a poem in terza rima. But Botticelli, who wrote a commentary on Dante, and became the disciple of Savonarola, may well have let such theories come and go across him. True or false, the story interprets much of the peculiar sentiment with which he infuses his profane and sacred persons, comely, and in a certain sense like angels, but with a sense of displacement or loss about them—the wistfulness of exiles, conscious of a passion and energy greater than any known issue of them explains, which runs through all his varied work with a sentiment of ineffable melancholy.
So just what Dante scorns as unworthy alike of heaven and hell, Botticelli accepts, that middle world in which men take no side in great conflicts, and decide no great causes, and make great refusals. He thus sets for himself the limits within which art, undisturbed by any moral ambition, does its most sincere and surest work. His interest is neither in the untempered goodness of Angelico's saints, nor the untempered evil of Orcagna's Inferno; but with men and women, in their mixed and uncertain condition, always  attractive, clothed sometimes by passion with a character of loveliness and energy, but saddened perpetually by the shadow upon them of the great things from which they shrink. His morality is all sympathy; and it is this sympathy, conveying into his work somewhat more than is usual of the true complexion of humanity, which makes him, visionary as he is, so forcible a realist.
It is this which gives to his Madonnas their unique expression and charm. He has worked out in them a distinct and peculiar type, definite enough in his own mind, for he has painted it over and over again, sometimes one might think almost mechanically, as a pastime during that dark period when his thoughts were so heavy upon him. Hardly any collection of note is without one of these circular pictures, into which the attendant angels depress their heads so naively. Perhaps you have sometimes wondered why those peevish-looking Madonnas, conformed to no acknowledged or obvious type of beauty, attract you more and more, and often come back to you when the Sistine Madonna and the Virgins of Fra Angelico are forgotten. At first, contrasting them with those, you may have thought that there was something in them mean or abject even, for the abstract lines of the face have little nobleness, and the colour is wan. For with Botticelli she too, though she holds in her hands the "Desire of all nations," is one of those who  are neither for Jehovah nor for His enemies; and her choice is on her face. The white light on it is cast up hard and cheerless from below, as when snow lies upon the ground, and the children look up with surprise at the strange whiteness of the ceiling. Her trouble is in the very caress of the mysterious child, whose gaze is always far from her, and who has already that sweet look of devotion which men have never been able altogether to love, and which still makes the born saint an object almost of suspicion to his earthly brethren. Once, indeed, he guides her hand to transcribe in a book the words of her exaltation, the Ave, and the Magnificat, and the Gaude Maria, and the young angels, glad to rouse her for a moment from her dejection, are eager to hold the inkhorn and to support the book. But the pen almost drops from her hand, and the high cold words have no meaning for her, and her true children are those others, among whom, in her rude home, the intolerable honour came to her, with that look of wistful inquiry on their irregular faces which you see in startled animals—gipsy children, such as those who, in Apennine villages, still hold out their long brown arms to beg of you, but on Sundays become enfants du choeur, with their thick black hair nicely combed, and fair white linen on their sunburnt throats.
What is strangest is that he carries this sentiment into classical subjects, its most complete  expression being a picture in the Uffizii, of Venus rising from the sea, in which the grotesque emblems of the middle age, and a landscape full of its peculiar feeling, and even its strange draperies, powdered all over in the Gothic manner with a quaint conceit of daisies, frame a figure that reminds you of the faultless nude studies of Ingres. At first, perhaps, you are attracted only by a quaintness of design, which seems to recall all at once whatever you have read of Florence in the fifteenth century; afterwards you may think that this quaintness must be incongruous with the subject, and that the colour is cadaverous or at least cold. And yet, the more you come to understand what imaginative colouring really is, that all colour is no mere delightful quality of natural things, but a spirit upon them by which they become expressive to the spirit, the better you will like this peculiar quality of colour; and you will find that quaint design of Botticelli's a more direct inlet into the Greek temper than the works of the Greeks themselves even of the finest period. Of the Greeks as they really were, of their difference from ourselves, of the aspects of their outward life, we know far more than Botticelli, or his most learned contemporaries; but for us long familiarity has taken off the edge of the lesson, and we are hardly conscious of what we owe to the Hellenic spirit. But in pictures like this of Botticelli's you have a record of the first impression made  by it on minds turned back towards it, in almost painful aspiration, from a world in which it had been ignored so long; and in the passion, the energy, the industry of realisation, with which Botticelli carries out his intention, is the exact measure of the legitimate influence over the human mind of the imaginative system of which this is perhaps the central myth. The light is indeed cold—mere sunless dawn; but a later painter would have cloyed you with sunshine; and you can see the better for that quietness in the morning air each long promontory, as it slopes down to the water's edge. Men go forth to their labours until the evening; but she is awake before them, and you might think that the sorrow in her face was at the thought of the whole long day of love yet to come. An emblematical figure of the wind blows hard across the grey water, moving forward the dainty-lipped shell on which she sails, the sea "showing his teeth," as it moves, in thin lines of foam, and sucking in, one by one, the falling roses, each severe in outline, plucked off short at the stalk, but embrowned a little, as Botticelli's flowers always are. Botticelli meant all this imagery to be altogether pleasurable; and it was partly an incompleteness of resources, inseparable from the art of that time, that subdued and chilled it. But this predilection for minor tones counts also; and what is unmistakable is the sadness with which he has conceived the goddess  of pleasure, as the depositary of a great power over the lives of men.
I have said that the peculiar character of Botticelli is the result of a blending in him of a sympathy for humanity in its uncertain condition, its attractiveness, its investiture at rarer moments in a character of loveliness and energy, with his consciousness of the shadow upon it of the great things from which it shrinks, and that this conveys into his work somewhat more than painting usually attains of the true complexion of humanity. He paints the story of the goddess of pleasure in other episodes besides that of her birth from the sea, but never without some shadow of death in the grey flesh and wan flowers. He paints Madonnas, but they shrink from the pressure of the divine child, and plead in unmistakable undertones for a warmer, lower humanity. The same figure— tradition connects it with Simonetta, the Mistress of Giuliano de' Medici—appears again as Judith, returning home across the hill country, when the great deed is over, and the moment of revulsion come, when the olive branch in her hand is becoming a burthen; as Justice, sitting on a throne, but with a fixed look of self-hatred which makes the sword in her hand seem that of a suicide; and again as Veritas, in the allegorical picture of Calumnia, where one may note in passing the suggestiveness of an accident which identifies the image of Truth with the person of Venus.  We might trace the same sentiment through his engravings; but his share in them is doubtful, and the object of this brief study has been attained, if I have defined aright the temper in which he worked.
But, after all, it may be asked, is a painter like Botticelli—a secondary painter, a proper subject for general criticism? There are a few great painters, like Michelangelo or Leonardo, whose work has become a force in general culture, partly for this very reason that they have absorbed into themselves all such workmen as Sandro Botticelli; and, over and above mere technical or antiquarian criticism, general criticism may be very well employed in that sort of interpretation which adjusts the position of these men to general culture, whereas smaller men can be the proper subjects only of technical or antiquarian treatment. But, besides those great men, there is a certain number of artists who have a distinct faculty of their own by which they convey to us a peculiar quality of pleasure which we cannot get elsewhere; and these too have their place in general culture, and must be interpreted to it by those who have felt their charm strongly, and are often the object of a special diligence and a consideration wholly affectionate, just because there is not about them the stress of a great name and authority. Of this select number Botticelli is one. He has the freshness, the uncertain and diffident promise,  which belong to the earlier Renaissance itself, and make it perhaps the most interesting period in the history of the mind. In studying his work one begins to understand to how great a place in human culture the art of Italy had been called.
LUCA DELLA ROBBIA
 THE Italian sculptors of the earlier half of the fifteenth century are more than mere forerunners of the great masters of its close, and often reach perfection, within the narrow limits which they chose to impose on their work. Their sculpture shares with the paintings of Botticelli and the churches of Brunelleschi that profound expressiveness, that intimate impress of an indwelling soul, which is the peculiar fascination of the art of Italy in that century. Their works have been much neglected, and often almost hidden away amid the frippery of modern decoration, and we come with some surprise on the places where their fire still smoulders. One longs to penetrate into the lives of the men who have given expression to so much power and sweetness. But it is part of the reserve, the austere dignity and simplicity of their existence, that their histories are for the most part lost, or told but briefly. From their lives, as from their work, all tumult of sound and colour has passed away. Mino, the Raphael of sculpture, Maso del Rodario, whose works add a further grace to  the church of Como, Donatello even,—one asks in vain for more than a shadowy outline of their actual days.