that of any other artist, to do more than to extract from both revelations the elements of plastic beauty they contained, and to show how freely he could use them for a common purpose.  Nothing but the scientific method can in the long run enable us to reach that further point, outside both Christianity and Paganism, at which the classical ideal of a temperate and joyous natural life shall be restored to the conscience educated by the Gospel.  This, perchance, is the religion, still unborn or undeveloped, whereof Joachim of Flora dimly prophesied when he said that the kingdom of the Father was past, the kingdom of the Son was passing, and the kingdom of the Spirit was to be.  The essence of it is contained in the whole growth to usward of the human mind; and though a creed so highly intellectualised as that will be, can never receive adequate expression from the figurative arts, still the painting of the sixteenth century forms for it, as it were, a not unworthy vestibule.  It does so, because it first succeeded in humanising the religion of the Middle Ages, in proclaiming the true value of antique paganism for the modern mind, and in making both subserve the purposes of free and unimpeded art.

Meanwhile, at the moment when painting was about to be exhausted, a new art had arisen, for which it remained, within the aesthetic sphere, to achieve much that painting could not do.  When the cycle of Christian ideas had been accomplished by the painters, and when the first passion for antiquity had been satisfied, it was given at last to Music to express the soul in all its manifold feeling and complexity of movement.  In music we see the point of departure where art leaves the domain of myths, Christian as well as Pagan, and occupies itself with the emotional activity of man alone, and for its own sake.  Melody and harmony, disconnected from words, are capable of receiving most varied interpretations, so that the same combinations of sound express the ecstasies of earthly and of heavenly love, conveying to the mind of the hearer only that element of pure passion which is the primitive and natural ground-material of either.  They give distinct form to moods of feeling as yet undetermined; or, as the Italians put it, la musica e il lamento dell’ amore o la preghiera a gli dei.  This, combined with its independence of all corporeal conditions, fenders music the true exponent of the spirit in its freedom, and therefore the essentially modern art.

For Painting, after the great work accomplished during the Renaissance, when the painters ran through the whole domain of thought within the scope of that age, there only remained portraiture, history, dramatic incident, landscape, genre, still life, and animals.  In these spheres the art is still exercised, and much good work, undoubtedly, is annually produced by European painters.  But painting has lost its hold upon the centre of our intellectual activity.  It can no longer give form to the ideas that at the