courtesans, admirable in a pageant or at a ball. So, all that the spectator accords to their halo of glory is a bow or a sign of the cross; after which his eyes find pleasure in them; they are there simply for the enjoyment of the eyes. What the spectator feels at the sight of a Florentine Madonna is the splendid creature, whose powerful body and fine growth bespeak her race and her vigor; the artist did not paint moral expression as nowadays, the depth of a soul tortured and refined by three centuries of culture. They confine themselves to the body, to the extent even of speaking enthusiastically of the spinal column itself, "which is magnificent"; of the shoulder-blades, which in the movements of the arm "produce an admirable effect. You will next draw the bone which it situated between the hips. It is very fine, and is called the sacrum."[292] The important point with them is to represent the nude well. Beauty with them is that of the complete skeleton, sinews which are linked together and tightened, the thighs which support the trunk, the strong chest breathing freely, the pliant neck. What a pleasure to be naked! How good it is in the full light to rejoice in a strong body, well-formed muscles, a spirited and bold soul! The splendid goddesses reappear in their primitive nudity, not dreaming that they are nude; you see from the tranquillity of their look, the simplicity of their expression, that they have always been thus, and that shame has not yet reached them. The soul's life is not here contrasted, as amongst us, with the body's life; the one is not so lowered and degraded that we dare not show its actions and functions; they do not hide them; man does not dream of being all spirit. They rise, as of old, from the luminous sea, with their rearing steeds tossing up their manes, champing the bit, inhaling the briny savor, whilst their companions wind the sounding-shell; and the spectators,[293] accustomed to handle the sword, to combat naked with the dagger or double-handled blade, to ride on perilous roads, sympathize with the proud shape of the bended back, the effort of the arm about to strike, the long quiver of the muscles which, from neck to heel, swell out, to brace a man, or to throw him. _PART II.--Poetry_ SECTION I.--Renaissance of Saxon Genius Transplanted into different races and climates, this paganism receives from each, distinct features and a distinct character. In England it becomes English; the English Renaissance is the Renaissance of the Saxon genius. Invention recommences; and to invent is to express one's genius. A Latin race can only invent by expressing Latin ideas; a Saxon race by expressing Saxon ideas; and we shall find in the new civilization and poetry, descendants of Caedmon and Adhelm, of Piers Plowman, and Robin Hood. SECTION II.--The Earl of Surrey Old Puttenham says: