Far different was the method followed by the scholars of the fifteenth century. They lacked the very rudiments of the historic sense, which, by an imaginative act, throws itself back into a world unlike one's own, and estimates every intellectual creation in its connexion with the age from which it proceeded. They had no idea of development, of the differences of ages, of the process by which our race has been "educated." In their attempts to reconcile the religions of the world, they were thus thrown back upon the quicksand of allegorical interpretation. The religions of the world were to be reconciled, not as successive stages in a regular development of the religious sense, but as subsisting side by side, and substantially in agreement with one another. And here the first necessity was to misrepresent the language, the conceptions, the sentiments, it was [35] proposed to compare and reconcile. Plato and Homer must be made to speak agreeably to Moses. Set side by side, the mere surfaces could never unite in any harmony of design. Therefore one must go below the surface, and bring up the supposed secondary, or still more remote meaning,--that diviner signification held in reserve, in recessu divinius aliquid, latent in some stray touch of Homer, or figure of speech in the books of Moses. And yet as a curiosity of the human mind, a "madhouse-cell," if you will, into which we may peep for a moment, and see it at work weaving strange fancies, the allegorical interpretation of the fifteenth century has its interest. With its strange web of imagery, its quaint conceits, its unexpected combinations and subtle moralising, it is an element in the local colour of a great age. It illustrates also the faith of that age in all oracles, its desire to hear all voices, its generous belief that nothing which had ever interested the human mind could wholly lose its vitality. It is the counterpart, though certainly the feebler counterpart, of that practical truce and reconciliation of the gods of Greece with the Christian religion, which is seen in the art of the time. And it is for his share in this work, and because his own story is a sort of analogue or visible equivalent to the expression of this purpose in his writings, that something of a general interest still belongs to the name of Pico della Mirandola, [36] whose life, written by his nephew Francis, seemed worthy, for some touch of sweetness in it, to be translated out of the original Latin by Sir Thomas More, that great lover of Italian culture, among whose works the life of Pico, Earl of Mirandola, and a great lord of Italy, as he calls him, may still be read, in its quaint, antiquated English.