"Exactly!" he cried joyously. "That's why Giotto's scant speech, his stammering created the whole language of art. Everything before him had simply been learned by heart from dead, Byzantine models. For the first time a man read life with simple eyes and a simple heart, and extracted from it what he had to say. That is why he became the universal master. To this very day if anyone succeeds in portraying supreme suffering and supreme delight with his brush, he owes his skill to that little church." "I can conceive," cried Lilly, "that if the ocean had a source and a man were suddenly to come upon it, he would feel as you do." In the exuberance of his emotion Dr. Rennschmidt seized Lilly's arm with both hands. "That's the missing figure. It's strong enough to express what took place in me. But I came upon another source. While I walked along those frescoed walls, something suddenly stood before me clearly--and my work was there, sprung from nothing: the history of emotions. Emotions, you know, as art has seen and portrayed them in all generations. Not only the pictorial and plastic arts. They are only a fraction. Literature also. Poetry as well as painting, sculpture as well as music. I thought in that way I might succeed in creating a true, genuine history of the development of the human heart, which no moralist, no historian, no psychologist has yet attempted. Why not? The documents are at hand; just as fossils lie embedded in rocks for the guidance of zoölogists. They need merely be cut out. What do you think? Isn't it a work worth spending a lifetime on?" "It is," said Lilly, with the same solemnity.