In a corresponding spirit the architect now set himself to the task of producing a luxurious and specious style of palatial architecture, drawing his inspiration from the monuments of imperial Rome, and the sculptor and the painter sought to portray physical beauty as the primary and sufficient end of their art. Their conceptions of this beauty were in part drawn from the remains of the art of classic antiquity that were then accessible. But the ancient works of art known at that time were not those of the best periods of ancient artistic culture. They were, for the most part, works of the decadent Greek schools as represented in Roman copies. Many of these have, indeed, a great deal of sensuous charm, and display much technical refinement; but they are wanting in the nobler qualities that characterize the finest arts of Greece. From the Roman copies of fauns, Apollos, and Venuses that had been preserved in Italy, it was impossible that high inspiration and true guidance should be drawn. The Fine Arts of the Renaissance are in part a reflection of this decadent art of classic antiquity, and in part an expression of something quite different which was peculiar to the Italian genius at this time. To the man of the Renaissance the classic inspiration was necessarily different from what it had been to the man of antiquity. To the ancient Greek and Roman the pagan ideals had been real, and their inspiration was genuine; but to the Italian of the fifteenth century these ideals could not have the same meaning, or supply a true incentive. After the intervening centuries of Christian thought and experience it was impossible for men to approach the ancient themes in the spirit of the ancients. Thus the Neo-pagan Art of the Renaissance is not wholly spontaneous and sincere. It contains elements that are foreign to the pagan spirit, and not compatible with it. The art of the Renaissance is, in fact, an embodiment of heterogeneous ideas and conflicting aims.