The contrast between the new, spiritualised love and the older, sexual, instinct created that dualism so characteristic of the whole mediaeval period. Sexuality and love were felt as two inimical forces, the fusion of which was beyond the range of possibility. While on the one hand woman was worshipped as a divine being, before whom all desire must be silenced, she was on the other hand stigmatised as the devil's tool, a power which turned men away from his higher mission and jeopardised the salvation of his soul. Wagner portrayed this dualism perfectly in _Tannhauser_. "A man of the Middle Ages," says Lucka, "would have recognised in this magnificent work the tragedy of his soul." It was but a small step from the worship of a beloved mistress to the cult of the Virgin Mary. The Church, hostile at first, finally acquiesced, and "through her official acknowledgment of a female deity, open enmity between the religion of the Church and the religion of woman was avoided." A woman, that is to say, the Virgin Mary, had stepped between God and humanity as mediator, intercessor and saviour. Both Dante, the inspired woman-worshipper of the Middle Ages, and the more modern Goethe, saw in metaphysical love the triumph over all things earthly. And far above either of these intellectual heroes looms the awe-inspiring figure of Michelangelo, the scoffer, to whom love came late in life; in his ecstatic adoration of Vittoria Colonna, the enthusiasm of Plato and the passion of Dante are blended in a more transcendent flame. Sexual Mystics and the Brides of Christ present the darker aspect of metaphysical love. All the latter, including even Catherine of Siena (a clever politician who kept up a correspondence with the leading statesmen of her time), Marie of Oignies, and St. Teresa, are stigmatised as victims of hysteria and consigned to the domain of pathology. While the first stage was characterised by the reign of unbridled sexual instinct, the second by the conflict between spiritual and sensual love, the third stage represents our modern conception, the blending of spiritual and sensual love, which is "not the differentiated sexual instinct, but a force embracing the psycho-physical entity of the beloved being without any consciousness of sexual desire." It shares with the purely metaphysical love the lover's longing to raise his mistress above him and glorify her without any ulterior object and desire. "In this stage there is no tyranny of man over woman, as in the sexual stage; no subjection of man to woman, as in the woman-worship of the Middle Ages; but complete equality of the sexes, a mutual give and take. If sexuality is infinite as matter, spiritual love eternal as the metaphysical ideal, then the synthesis is human and personal." The apotheosis of this perfect love Lucka finds in the _Liebestod_ (the death of the lovers in the ecstasy of love), in Wagner's _Tristan und Isolde_.