But if the Schlegels could give no definite, reliable theory for the masterpieces which they bespoke of the poets of their school, they atoned for these shortcomings by commending as models the best works of art of the past, and by making them accessible to their disciples. These were chiefly the Christian-Catholic productions of the middle ages. The translation of Shakespeare, who stands at the frontier of this art and with Protestant clearness smiles over into our modern era, was solely intended for polemical purposes, the present discussion of which space forbids. It was undertaken by A. W. Schlegel at a time when the enthusiasm for the middle ages had not yet reached its most extravagant height. Later, when this did occur, Calderon was translated and ranked far above Shakespeare. For the works of Calderon bear most distinctly the impress of the poetry of the middle ages--particularly of the two principal epochs of knight-errantry and monasticism. The pious comedies of the Castilian priest-poet, whose poetical flowers had been besprinkled with holy water and canonical perfumes, with all their pious _grandezza_, with all their sacerdotal splendour, with all their sanctimonious balderdash, were now set up as models, and Germany swarmed with fantastically-pious, insanely-profound poems, over which it was the fashion to work one's self into a mystic ecstasy of admiration, as in _The Devotion to the Cross_, or to fight in honour of the Madonna, as in _The Constant Prince_. Zacharias Werner carried the nonsense as far as it might be safely done without being imprisoned by the authorities in a lunatic asylum.