if we conscientiously seek for the spiritual improvements brought by them into antique types, we shall see that they consist in spoiling their perfect proportions, in making necks longer and muscles more prominent, in rendering more or less flaccid, or meagre, or coarse, the grand and delicate forms of antique art. And when we have examined into this purified art of the Renaissance, when we have compared coolly and equitably, we may perhaps confess that, while the Renaissance added immense wealth of beauty in colour, perspective, and grouping, it took away something of the perfection of simple lines and modest light and shade of the antique; we may admit to ourselves that the grandest saint by Raphael is meagre and stunted, and the noblest Virgin by Titian is overblown and sensual by the side of the demi-gods and amazons of antique sculpture. The antique perfected the art of the Renaissance, it did not corrupt it. The art of the Renaissance fell indeed into shameful degradation soon after the period of its triumphant union with the antique; and Raphael's grand gods and goddesses, his exquisite Eros and radiant Psyche of the Farnesina, are indeed succeeded but too soon by the Olympus of Giulio Romano, an Olympus of harlots and acrobats, who smirk and mouth and wriggle and sprawl ignobly on the walls and ceilings of the dismantled palace which crumbles away among the stunted willows, the stagnant pools, and rank grass of the marshes of Mantua. But this is no more the fault of antiquity than it is the fault of the Middle Ages; it is the fault of that great principle of life and of change which makes all things organic, be they physical or intellectual, germinate, grow, attain maturity, and then fade, wither, and rot. The dead art of antiquity could never have brought the art of the Renaissance to an untimely end; the art of the Renaissance decayed because it was mature, and died because it had lived. VERNON LEE. THE SOCIAL PHILOSOPHY AND RELIGION OF COMTE. IV.