When once we realize the cause, it is easy to see that it could not be otherwise. In Italy, the relation of the individual to society differed entirely from that in any Greek state. Whereas the individuality of the Greek was constantly sacrificed to the interests of his state, in Italy everything tended to the free emergence of individual personalities. The Italian was in touch with no overpowering political unity. Nothing hampered the attainment of personal ambition or the satisfaction of personal passions. What he desired was not civic or national success, but the foundation of a new age of art and culture in which every type of individuality would have its place. The Italian longed for individual fame, for individual power. This could not but entail the loss of that grand unity of aim which was the great glory of Athenian art. Instead, it led to the growth of a wonderful diversity of character and an extraordinary variety of interests. Whereas the Greek had been content to portray a few supreme types, the artist of the Italian Renaissance wished to show humanity in every aspect. He was not even content with the limits set by the bounds of grace and beauty. The expression of spiritual tension and mental energy could not be indicated without a departure from that harmony of the planes which the Hellenic sculptor regarded as essential. The Italian boldly adopted other means. He depicted with cruel emphasis the play of muscles and tendons which accompanies physical and mental tension. His mission was to present strongly individualized character. To him every human energy was fit for sculptural treatment. [Illustration: JACOPO DELLA QUERCIA TOMB OF ILARIA DEL CARETTO Lucca Cathedral]