The painters of the second group display mastery more perfect, range of faculty more all-embracing. What they design they do; nature and art obey them equally; the resources placed at their command are employed with facile and unfettered exercise of power. The hand obedient to the brain is now so expert that nothing further is left to be desired in the expression of the artist's thought.[197] The student can only hope to penetrate the master's meaning. To imagine a step further in the same direction is impossible. The full flower of the Italian genius has been unfolded. Its message to the world in art has been delivered. Chronology alone would not justify us in drawing these distinctions. What really separates the two groups is the different degree in which they severally absorbed the spirit and uttered the message of their age. In the former the Renaissance was still immature, in the latter it was perfected. Yet all these painters deserve in a true sense to be called its children. Their common object is art regarded as an independent function, and relieved from the bondage of technical impediments. In their work the liberty of the modern mind finds its first and noblest expression. They deal with familiar and time-honoured Christian motives reverently; but they use them at the same time for the exhibition of pure human beauty. Pagan influences yield them spirit-stirring inspiration; yet the antique models of style, which proved no less embarrassing to their successors than Saul's armour was to David, weigh lightly, like a magician's breast-plate, upon their heroic strength.