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 thus
putting 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 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