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, a little composition in early French; not because it is the best possible expression of them, but because it helps 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 the subtle and delicate sweetness which belong 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 æsthetic charm, but for its general spirit and character, for the ethical qualities of which it is a consummate type.
