had developed almost simultaneously with the other arts, and it may be due to this very cause that the Florentine painters never quite realised what a different task from the architect's and sculptor's was theirs. At the time, therefore, when the Renaissance was beginning to find its best expression in painting, the Florentines were already too much attached to classical ideals of form and composition, in other words, too academic, to give embodiment to the throbbing feeling for life and pleasure. Thus it came to pass that in the Venetian pictures of the end of the fifteenth century we find neither the contrition nor the devotion of those earlier years when the Church alone employed painting as the interpreter of emotion, nor the learning which characterised the Florentines. The Venetian masters of this time, although nominally continuing to paint the Madonna and saints, were in reality painting handsome, healthy, sane people like themselves, people who wore their splendid robes with dignity, who found life worth the mere living and sought no metaphysical basis for it. In short, the Venetian pictures of the last decade of the century seemed intended not for devotion, as they had been, nor for admiration, as they then were in Florence, but for enjoyment. The Church itself, as has been said, had educated its children to understand painting as a language. Now that the passions men dared to avow were no longer connected with happiness in some future state only, but mainly with life in the present, painting was expected to give voice to these more human aspirations and to desert the outgrown ideals of the Church. In Florence, the painters seemed unable or unwilling to make their art really popular. Nor was it so necessary there, for Poliziano, Pulci, and Lorenzo dei Medici supplied the need of self-expression by addressing the Florentines in the language which their early enthusiasm for antiquity and their natural gifts had made them understand better than any other--the language of poetry. In Venice alone painting remained what it had been all over Italy in earlier times, the common tongue of the whole mass of the people. Venetian artists thus had the strongest inducements to perfect the processes which painters must employ to make pictures look real to their own generation; and their generation had an altogether firmer hold on reality than any that had been known since the triumph of Christianity. Here again the comparison of the Renaissance to youth must be borne in mind. The grasp that youth has on reality is not to be compared to that brought by age, and we must not expect to find in the Renaissance a passion for an acquaintance with things as they are such as we ourselves have; but still its grasp of facts was far firmer than that of the Middle Ages.