In the first period we are bewildered by the luxuriance of creative powers and by the rioting of the fancy in all forms of beauty indiscriminately mingled. In general we detect a striving after effects not fully realised, and a tendency to indulge in superfluous ornament without regard for strictness of design. The imperfect comprehension of classical models and the exuberant vivacity of the imagination in the fifteenth century account for the florid work of this time. Something too is left of mediaeval fancy; the details borrowed from the antique undergo fantastic transmutation at the hands of men accustomed to the vehement emotion of the romantic ages. Whatever the Renaissance took from antique art, it was at first unable to assimilate either the moderation of the Greeks or the practical sobriety of the Romans. Christianity had deepened and intensified the sources of imaginative life; and just as reminiscences of classic style impaired Italian Gothic, so now a trace of Gothic is perceptible in the would-be classic work of the Revival. The result of these combined influences was a wonderful and many-featured hybrid, best represented in one monument by the façade of the Certosa at Pavia. While characterising the work of the earlier Renaissance as fused of divers manners, we must not forget that it was truly living, full of purpose, and according to its own standard sincere. It was a new birth; no mere repetition of something dead and gone, but the product of vivid forces stirred to original creativeness by admiration for the past. It corresponded, moreover, with exquisite exactitude to the halting of the conscience between Christianity and Paganism, and to the blent beauty that the poets loved. On reeds dropped from the hands of dead Pan the artists of this period, each in his, own sphere, piped ditties of romance.