The Renaissance had a life and seasons, like those of a human being. It went through its childhood and youth like a boy of genius under the care of parents from whose opinions and mode of life he is sure to sever himself in the end; but who, having made a deep impression on his nature, retain power over, and give direction to, his first efforts at creation. The first art of the Renaissance, awakened by the discovery of the classic remnants, retained a great deal of the faith and superstition, the philosophy, theology, and childlike _naïveté_ of the middle ages. Its painting and sculpture, but chiefly the first of these, gave themselves chiefly to the representation of the soul upon the face, and of the untutored and unconscious movements of the body under the influence of religious passion; that is, such movements as expressed devotion, fervent love of Christ, horror of sin, were chosen, and harmonised with the expression of the face. Painting dedicated its work to the representation of the heavenly life, either on earth in the story of the gospels and in the lives of the saints, or in its glory in the circles of heaven. Then, too, it represented the thought, philosophy, and knowledge of its own time and of the past in symbolic series of quiet figures, in symbolic pictures of the struggle of good with evil, of the Church with the world, of the virtues with their opposites. Naturally, then, the expression on the face of secular passions, the movement of figures in war and trade and social life and the whole vast field of human life in the ordinary world, were neglected as unworthy of representation; and the free, full life of the body, its beauty, power and charm, the objects which pleased its senses, the frank representation of its movement under the influence of the natural as contrasted with the spiritual passions, were looked upon with religious dismay. Such, but less in sculpture than in painting, was the art of the Renaissance in its childhood and youth, and Browning has scarcely touched that time. He had no sympathy with a neglect of the body, a contempt of the senses or of the beauty they perceived. He claimed the physical as well as the intellectual and spiritual life of man as by origin and of right divine. When, then, in harmony with a great change in social and literary life, the art of the Renaissance began to turn, in its early manhood, from the representation of the soul to the representation of the body in natural movement and beauty; from the representation of saints, angels and virtues to the representation of actual men and women in the streets and rooms of Florence; from symbolism to reality--Browning thought, "This suits me; this is what I love; I will put this mighty change into a poem." And he wrote _Fra Lippo Lippi_.