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fers the best medium to convey the abstractions of the mind, since each has its own method of expression, independent of pure reason. But painter and poet, in the degree they attain greatness, express more than themselves. Ariosto, intent only to amuse, reflects with playful wit and skepticism the splendid luxury and joy of living in Renaissance court life. The care with which he chiselled each 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 in his survey over life; for, wrapped in austerity, he saw mankind in heroic terms of sadness. Raphael, on the

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