Thus things go on throughout the fifteenth century, and, indeed, deep into the sixteenth, where traditional arrangement and individual conception overlap, according as a new artistic power does or does not call forth a new dramatic idea. I have already alluded to the fact that the Presentation of the Virgin remains the same, so far as arrangement is concerned, in the pictures of Titian and Tintoret as in the frescoes of Giotto and Gaddi. Michelangelo's Creation of Adam seems still inherited from an obscure painter in the "Green Cloister," who inherited it from the Pisan sculptors. On the other hand, the Resurrection and Last Judgment of Signorelli at Orvieto, painted some years earlier, constitutes in many of its dramatic details a perfectly original work. Be this as it may, and however frequent the recurrence of old themes, with the sixteenth century commences the era of new individual dramatic invention. Michelangelo's Dividing of the Light from the Darkness, where the Creator broods still in chaos, and commands the world to exist; and Raphael's Liberation of St. Peter, with its triple illumination from the moon, the soldier's torches and the glory of the liberating angel, are witnesses that henceforward each man may invent for himself, because each man is in possession of those artistic means which the Giottesques had indicated and the artists of the fifteenth century had laboriously acquired. And now, the Giottesque programme being fulfilled, art may go abroad and seek for new methods and effects, for new dramatic conceptions. III The other day, walking along the river near Careggi (with its memories of Lorenzo dei Medici and his Platonists), close to the little cupola and loggia built by Ghirlandaio, I came upon a strip of new grass, thickly whitened with daisies, beneath the poplars beginning to yellow with pale sprouting leaves. And immediately there arose in my mind, by the side of this real grass and real budding of trees, the remembrance of certain early Renaissance pictures: the rusty, green, stencilled grass and flowers of Botticelli, the faded tapestry work of Angelico; making, as it were, the greenness greener, the freshness fresher, of that real grass and those real trees. And not by the force of contrast, but rather by the sense that as all this appears to me green and fresh in the present, so likewise did it appear to those men of four centuries ago: the fact of their having seen and felt, making me, all the more, see and feel.