Remembering this, we ought not to complain that the purpose of painting at this epoch was divided, or that its achievements were imperfect.

The whole intellectual conditions of the country were those of growth, experiment, preparation, and acquisition, rather than of full accomplishment.

What happened in the field of painting, was happening also in the field of scholarship; and we have good reason to be thankful that by the very nature of the arts, these tentative endeavours have a more enduring charm than the dull tomes of contemporary students.

Nor, again, is it rational to regret that painting, having started with the sincere desire of expressing the hopes and fears that agitate the soul of man, and raise him to a spiritual region, should now be occupied with lessons in perspective and anatomy.

In the twofold process of discovering the world and man, this dry ground had inevitably to be explored, and its exploration could not fail to cost the sacrifice of much that was impassioned and imaginative in the earlier and less scientific age of art.[161] The spirit of Cosimo de' Medici, almost cynical in its positivism, the spirit of Sixtus IV., almost godless in its egotism, were abroad in Italy at this period;[162] indeed, the fifteenth century presents at large a spectacle of prosaic worldliness and unideal aims.