It would be most interesting if we could perceive with any distinctness the direct effect of this experience upon Erasmus' literary production, but such effect cannot be traced in any instructive way. There are of course references to Italy to be found henceforth in many of his writings, but it would be too much to say that the Italian visit was in any way epoch-making for his literary character. Literature was not a thing of nationalities; it was cosmopolitan, and the scholar was as much, or as little, at home in one place as in another. The genius of Erasmus ripened slowly and naturally, following the lines of its early choice and moving on without noteworthy interruption to its highest achievement. Still, few biographers have failed to fancy a connection of cause and effect between the Italian impressions of Erasmus and the famous satire, in which almost at once on his arrival in England he gave free rein to his criticism of church and society. Certainly his illustrations in the Praise of Folly point often to abuses which he might have seen and felt in Italy. His direct attacks upon popes and cardinals can hardly fail to have gained an added point from his observation at first hand. What is not clear is that such stimulus to his reforming zeal was anything more than incidental. [Illustration: ERASMUS. "FOLLY" AS PROFESSOR. HOLBEIN'S ILLUSTRATIONS TO THE "PRAISE OF FOLLY."] In all the earlier writing of Erasmus we have noted especially the quality of the moral preacher. Whatever he touched took on inevitably the tone of exhortation. And this same quality continues to appear in all his work, whenever the subject rises, even ever so little, above the level of mere grammatical detail. One ought to have this prevailing seriousness of purpose especially in mind in coming to such a piece of work as the Praise of Folly.[82] Of all Erasmus' writing, none was and is more widely known than this. It is called a satire and was intended to make men laugh. Erasmus had to apologise for it, as he did for most things he wrote, and in the introductory epistle to his dear More he apologises in advance for allowing himself so lively a diversion. There can be no doubt that the men of his day were vastly amused by it. It had for them the charm that always belongs to literary references to familiar types and figures, especially if these references are couched in colloquial phrase. Erasmus was tolerably sure of his audience, and could count upon applause from every class for the amusement it got out of his criticism of all other classes of men. Yet it is a little difficult for one of us to raise more than an honest smile at this elaborate fooling. After all, one feels the sermon underneath, and pays his tribute to the author, not primarily as a humourist, but as a man of sense who lightens his style a little, to be sure, yet remains all through plainly conscious of his mission. If one seeks an analogy,