§ VI. 1. PRIDE OF SCIENCE. It would have been more charitable, but more confusing, to have added another element to our list, namely the _Love_ of Science; but the love is included in the pride, and is usually so very subordinate an element that it does not deserve equality of nomenclature. But, whether pursued in pride or in affection (how far by either we shall see presently), the first notable characteristic of the Renaissance central school is its introduction of accurate knowledge into all its work, so far as it possesses such knowledge; and its evident conviction, that such science is necessary to the excellence of the work, and is the first thing to be expressed therein. So that all the forms introduced, even in its minor ornament, are studied with the utmost care; the anatomy of all animal structure is thoroughly understood and elaborately expressed, and the whole of the execution skilful and practised in the highest degree. Perspective, linear and aerial, perfect drawing and accurate light and shade in painting, and true anatomy in all representations of the human form, drawn or sculptured, are the first requirements in all the work of this school. § VII. Now, first considering all this in the most charitable light, as pursued from a real love of truth, and not from vanity, it would, of course, have been all excellent and admirable, had it been regarded as the aid of art, and not as its essence. But the grand mistake of the Renaissance schools lay in supposing that science and art are the same things, and that to advance in the one was necessarily to perfect the other. Whereas they are, in reality, things not only different, but so opposed, that to advance in the one is, in ninety-nine cases out of the hundred, to retrograde in the other. This is the point to which I would at present especially bespeak the reader's attention.