The imagination is as active among these Florentine hills as is the eye, or as the feet and lungs have been, pleasantly tired, delighting in the moment's rest, after climbing those steep places among the pines or the myrtles, under the scorch of the wholesome summer sun, or in the face of the pure, snowy wind. The wind, so rarely at rest, has helped to make the Tuscan spirit, calling for a certain resoluteness to resist it, but, in return, taking all sense of weight away, making the body merge, so to speak, into eye and mind, and turning one, for a little while, into part of the merely visible and audible. The frequent possibility of such views as I have tried to define, of such moments of fulness of life, has given, methinks, the quality of definiteness and harmony, of active, participated in, greatness, to the art of Tuscany. VIII. It is a pity that, as regards painting, this Tuscan feeling (for Giottesque painting had the cosmopolitan, as distinguished from local, quality of the Middle Ages and of the Franciscan movement) should have been at its strongest just in the century when mere scientific interest was uppermost. Nay, one is tempted to think that matters were made worse by that very love of the strenuous, the definite, the lucid, which is part of the Tuscan spirit. So that we have to pick out, in men like Donatello, Uccello, Pollaiolo and Verrocchio, nay, even in Lippi and Botticelli, the fragments which correspond to what we get quite unmixed and perfect in the Romanesque churches of Pisa, Florence, and Pistoia, in the sacristies and chapels of Brunelleschi, Alberti, and Sangallo, and in a hundred exquisite cloisters and loggias of unnoticed town houses and remote farms. But perhaps there is added a zest (by no means out of keeping with the Tuscan feeling) to our enjoyment by the slight effort which is thus imposed upon us: Tuscan art does not give its exquisiteness for nothing.