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en created the civil organization of the curia. The novella was its literary triumph. In art it expressed itself simply, directly and with vigour. Opposed to this was the other great undercurrent in Italian life, mystical, religious and speculative, which had run through the nation from the earliest times, and received

the greater men was to form the art temperament of the Renaissance. The practical side gave it the firm foundation of ra

achievement rested. Remarkable as a thinker alone, he preferred to enlist thought in the service of art, and make art the handmaid of beauty. Leonardo saw the world not as it is, but as he himself was. He viewed it through the atmosphere of beauty which filled his mind, and tinged its shadows with the mystery of his nature. To all this, his birthright as a painter, a different element was added. A keen desire

f Milan under Il Moro, then the most brilliant court in Europe, attracted him. He went there, proclaiming his ability, in a remarkable letter, to accomplish much, but desiring chiefly to erect a great monument to the glory of the Sforza. He spent years at that court, taken up by his different ventures,-painting, sculpture, engineering, even arranging festivities-but his greater project was doomed to failure, enmeshed in the downfall of Ludovico. Even to this he remained impassive. "Visconti dragged to prison, his son dead, ... the duke has lost his state, his possessions, his liberty, and has finished nothing he undertook," was his only comment on his patron's end, written on the margin of a manusc

of her sons. Isabella d'Este, the first lady of her time, seeking vainly to obtain some product of his brush, was told that his life was changeful and uncertain, that he lived for the day, intent only on his art. His own thoughts reveal him in another lig

their birth, for a constant habit of observation and analysis had early developed with him into a second nature. His ideas were penned in the same fragmentary way as they presented themselves to his mind, perhaps with no intention of publishing them to the world. But his ideal of art depended int

holar, least of all a humanist. His own innovation in aesthetic was in requiring a rational and critical experience as a necessary foundation, the acquisition of which was to result from the permanent condition of the mind. He had trained his own faculties to critica

of the artist lay in reflecting inner character and personality. It was Leonardo's firm conviction that each thought had some outward expression by which the trained observer was able to recognize it. Every man, he wrote, has as many movements of the body as of varieties of ideas. Thought, moreover, expressed itself outwardly in proportion to its power over the individual and his time of life. By thus employing bodily gesture to represent feeling and idea, the painter could affect the spectator w

was before it. Although without a "manual act" painting could not be realized, its true problems-problems of light, of colour, pose and composition, of primitive and derivative shadow-had all to be grasped by the mind without bodily labour. Beyond this, the scient

ing the shadow of a man, cast by the sun on the wall." He traced the history of painting in Italy during its stagnation after the decay of ancient art, when each painter copied only his predecessor, which lasted until Giotto, born a

the universal principles of beauty was made clear by this defence. His first principle stated broadly that the most useful art was the one which could most easily be communicated. Painting was communicable to all since its appeal was made to the eye. While the painter proceeded at once to the imitation of nature, the poet's instruments were words which varied in every land. He took the Platonic view of poetry as a lying imitation, removed from truth. He called the poet a collector of other men's wares, who decked himself in their plumage. Where poetry presented only a shadow to the imagination, painting offered a real im

the highest art,-yet in any final scale, permanence could not altogether be disregarded. Music perished in the very act of its creation, while painting preserved the beautiful from the hand of

ng of space. Painting, on the other hand, caused by an illusion, was in itself the result of deeper thought. An even broader test served to convince him of its final superiority. That art was of highest excellence, he wrote, which possessed most elements of variety and universality. Painting contained and reproduced a

iracles!" Elsewhere he wrote again: "Nature is full of infinite reasons which have not yet passed into experience." He conceived it to be the painter's duty not only to comment on natural phenomena as restrained by law, but to merge his very mind into that of nature by interpreting its relation with art. Resting securely on the reality of experienced truth, he felt the deeper presence of the unreal on every side. In the same way that he visualized the inner workings of the mind, his keen imagination aided him to make outward

ad yet to rest on a real foundation; to treat it otherwise would be to plunge into mere vapouring. Although attempting to bridge the gulf which separated the real from the unreal, he refused to treat the latter supernaturally. That mystery which lesser minds found in the occult, he saw in nature all about him. He denied

he Renaissance, of a lofty idealism coupled in action with irresponsibility of duty. He stood on a higher plane, his attitude toward life recognizing no claims on the part of his fellowmen. In his desire to surpass himself, fostered by this isolation of spirit and spurred on by the eager wish to attain universal knowledge, he has been compared to Faust; but

g an outlet in statecraft or in discovery, in art or in letters. But it laboured for no common end; there was internal unity of force and method, but external divergence of purpose. The tyranny of petty despots could provide no adequate ideal toward which to aim. No ruler, and no city save Venice, could long symbolize the nation's patriotism. Venetian painters alone glorified the state in their work, and thus felt the living force of a national ambition which raised them above themselves. But elsewhere there was little to insp

ch line proves that his real seriousness and conscience lay in his artistic purpose. Without Ariosto's wit, Paolo Veronese depicted a similar side in painting, though his Venetian birthright made him celebrate the glory of the Republic. Poet and painter alike expressed far more than either could know. If such a test be applied to the artists of the Renaissance, each in turn will respond to it,-just as the weakness of the later Bolognese as a school is that, beyond a certain technical merit, they meant and represented so little. But the noblest painters,-Michelangelo and Raphael, Titian and Leonardo,-in addition to possessing the solid grasp of technical mastery, reflected some aspect of their nation's life and civilization. In Michelangelo was realized the grandeur of Italy struggling vainly against crushing oppression. He expressed that which was highest in it, reflecting the loftiest side of its idealism mingled with deep pessimism

ted in him as rarely a period has been expressed in the life-work of a single man. He represented its union of practice and theory, of thought placed in the service of action. He summed up its different aspects in his own individuality. Intellectually, he represented its many-sidedness attained through penetration of thought, and a keenness of observation, profiting from experience, extended into every sphere. As an artist he

he apparent contradiction of attaining the world of mystery through force of reality. Like Hamlet, it was the union of the real with the unreal which a

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. And I think that before I shall have finished this work, it will be necessary for me to repeat the same thing many times over; so, O reader, blame me not, because the subjects are many, and memory cannot retain them and say: This I will not write because I have already writ

st after