The death of Giovanni Bernini in 1680 marks the end of the last effort to keep Italian sculpture alive. The works of Donatello, of Angelo, of Cellini, of Bologna, live to-day. But vital sculptures embodying national or civic aspirations or the ideals of that truly Italian institution, the Roman Catholic Church, were produced no longer. For more than a century, Italian art effort practically ceased. Foreigners came to the great sources of inspiration in Italy, drank, and returned to carry a measure of the precious fluid to their homes in the North. But the Italian knew that “the outward and the inward man” were not at “one.” He felt that “Beloved Pan” would not bestow that “beauty in the inward soul” which had made Greek sculpture a joy for ever. A single sentence of Mazzini gives the historical explanation: “The Pope clutches the soul of the Italian nation; Austria the body, whenever it shows signs of life; and on every member of that body is enthroned an absolute prince, viceroy in turn under either of these powers.” PART IV MODERN SCULPTURE CHAPTER XII THE ART OF MONARCHICAL FRANCE (FROM FRANCIS I., 1515 A.D., TO THE FRENCH REVOLUTION, 1789) Among the commonplaces uppermost in latter-day thought is that which usually finds expression in the phrase, “For East is East, and West is West, and never the twain shall meet.” Whether this dogma be ultimately true or not it certainly enshrines a far-reaching truth. The difference between the typical Eastern and the typical Western mind goes down to the deepest philosophical beliefs of both. The circumstances under which the two types have been moulded differ so widely that they hardly appear to move on the same mental plane. But the Eastern and the Western are not the only types which offer the strongest contrast the one to the other. Between the North and the South, too, there is a great gulf fixed—a vital historical fact which Heine has expressed with unforgettable vividness in two short stanzas. In the first, he pictures the black fir-tree on the bald hill-brow of the North. He speaks of its icy garb, and shows it sleeping and dreaming amid the eternal snows: “It sleeps and dreams of a palm-tree, Far off in the morning land, Lonely and silent, pining On a cliff o’er the shimmering sand.”