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inc, piety, niul obedience governing principles in his plan (if rofuiin. The old system of arts and teaching was aheady growing obsolete, previous to 14.50. Humanism had begun to take the i)lace of Scholasti- cism. Vittorino da Feltre (1378-1446), a devout lay- man, set up his classes at Mantua in 1435 on the basis of good Latin, including poetry, oratory, Roman his- tory, and Stoic discipline. He gave an all-round training, social, physical, religious. At Venice and Ferrara his friend Guarino (1370-1460) was another eminent schoolmaster, mighty in Greek. We have seen how Erasmus by example and by criticism ad- vanced the cause of literature, which was henceforth acknowledged as the proper subject of a Uberal educa- tion. A gentleman — the cortegiaiio whom Castighone described — ought to be proficient in the language of antiquity; such was the idea of the public school everj'where; and such it remains in England to this day. The Jesuit Order, springing up after 1530, not founded on the tradition of Benedict or Dominic, adopted this view, and their ''Ratio Studiorum" (1599) was, in consequence, a hterarj' classical scheme. The first of their colleges arose at Coimbra (1542); in Paris they had the Hotel de Clermont ; in Germany they began at Ingoldstadt. The German College at Rome, due to St. Francis Borgia, hke the Roman College of the Societj- itself, the EngUsh and other houses governed by them, attested their zeal for learning and their success in controversy. The Fathers were always cultivated men; they taught "a good silver Latin"; and they wrote with ease, though scarcely with such idiomatic %'ivacity as we admire in Erasmus and Joseph Scaliger. Soon they possessed a hundred hou.ses and colleges; '"For nearly three centuries", says a recent critic, "they were accounted the best schoolmasters in Europe." Bacon's judg- ment can never be passed over: "As for the peda- gogical part, the shortest rule would be, consult the schools of the Jesuits; for nothing better has been put in practice" (De Augment., VL 4). They established free day-schools, devised new schoolbooks, expurgated objectionable authors, preached sound doctrines in a clear Latin style, and bestowed even upon the tech- nicalities of medieval logic a certain grace. Some, like Mariana, wrote with native power in the classic forms. But their most telling man in the field of theol- ogy is Peta\-ius, who belongs to France and the seven- teenth century. His large volumes on the Fathers may be compared in point of language with Calvin's "Institutes" and the " Augustinus" of Jansen. They discard the method familiar to Scotus and St. Thomas; they furnish to some extent criticism as well as his- tory. And they suggest the development of dogma with an approach to its philosophy, which neither Bossuet nor Bull could quite comprehend.

All these things form part of "that matured and completed Renaissance" whereby the evil was purged out which had made it perilous in the same degree to faith and to morals. Nicholas V and other popes did well in not refusing to add culture, even the finest of the Greek, to religion. Their fault lay in the weak- ness which could not resist pagan luxury and a friv- olous dilettantism. Now serious work was undertaken for the good of the Church. Gregory XIII reformed the calendar; the text of the canon law was cor- rected; under Sixtus V and Clement VIII the Latin Vulgate after years of revision attained its actual shape; and the Vatican Septuagint came forth in 1.587. Baronius, urged by St. Philip Neri, brought out eleven folio volumes of "the greatest church history ever written". The Roman Breviary, en- larged and edited anew, was republished by authority of St. Pius V and Urban VIII.

But the Renaissance had indulged its "pride of

state, of knowledge, and of system" with disastrous

consequences to our Christian inheritance. It

trampled on the Middle Ages and failed to understand

XII.— 49

that in them which was truly original. The Latin of Cicero which Urban VIII cultivated, the metres of Horace, did grievous wrong to the prose and verse of our church offices, so far as they were altered. The showy architecture now designed, though sometimes magnificent, was not inspired by religion; before long it sank to the rococo and the grotesque; and it filled the churches with pagan monuments to disedifying celebrities. In painting we descend from the heaven of Era AngeUco to the " corregiosity " of Corregio, nay, lower still, for \'enus too often masquerades as the Madonna. Christian art became a thing of the past when the Gothic cathedral was looked upon as barbarous even by such champions of the Faith as Bossuet and Fenelon. Never did a poet inspired by Renaissance models — not even Vida nor Sannazzaro — rise to the sublimity of the "Dies Irae" ; never did that style produce a work equal to the "Imitation". Dante triumphs as the supreme Catholic singer; St. Thomas Aquinas cannot be dethroned from his sovereignty as the Angelic Doctor, still, as regards faith and phi- losophy, he is the true "master of those that know". But Dante and St. Thomas lived before the Renais- sance. It was not large or liberal enough to absorb the Middle Ages. Hence its failure at the beginning as a philosophic movement, its lack of the deepest human motives, its superficiality and its pedantries; hence, afterwards, its fall into the commonplace, and the extinction of art in \Tilgarity, of literature in empty rhetoric. Hence, finally, the need of a French Revolu- tion to teach it that life was something more serious than a "Carneval de Venise", and of Romanticism to discover, among the ruined choirs and in the neglected shrines which men had scornfully passed by, tokens of that mighty medieval genius. Catholic, Latin, Teuton, and French, misunderstanding of which was the folly, and the spoiling of its achievements the crime, that we must charge upon the Renaissance in the day of its power. "It remained for a later age", says one who glorified it, "to conceive the true method of effecting a scientific reconciliation of Christian senti- ment with the imagery, the legends, the theories about the world, of pagan poetrj' and philosophy" (Pater, "Renaissance", 49). Not less did it become the task of Goethe, Scott, Chateaubriand, Ruskin, of Fried- rich Schlegel and the best German critics, to show that European culture, divorced from the Middle Ages, would have been a pale reflection of dead antiquity.

Besides the monographs under special names, consult Cam~ bridge Mod. History, I (Cambridge, Eng., 1902) : Creiohton, History of the Papacy (2nd ed., London. 1897); Janssens, Ge.irh. des deuischen Volkes, tr. Christie (London, 1902 — ); Pastor, Ge^ch. der P&psle, tr. ANTHOBca (London, 1895 — ); BURCKHARDT, Die CulluT der Renaissance (Basle, 1860); Gei- GER, Humanismus in Ital, u. Deutschland (Berlin, 1882); MicH- ELET, Hist, de France, I (Paris, 1855); Stone, Reforma- tion and Renaissance (London, 1904) ; Stmonds, Renaissance in Italy (London, 1875-86) ; also, for details, BnRCARD, Diarium (Paris, 1883); Gasquet, £re of the Reformalion (.London, 1900); GoTHElx, Ignatius v. Loyola u. die Gegenreform (Halle, 1895); Hettinger, Kunst in Christ ejithum (Wurtzburg, 1867); Hofler, Rodrigo di Borgia (Vienna, 1888-89) ; Hughes, Loyola and the Educational System of the Jesuits (London, 1892); Infessura, Diario d. Citta di Roma (Florence, 1890) ; LiLLy, Renaissance Types (London, 1901); Kraus, Gesch, der christlich. Kunst (Freiburg, 1896-1908); KcNZ, Jacot IFtmpA<>ii7!fl (Lucerne, 1883); MOntz, Renaissance d I'epoque de Charles VIII (Paris. 1885); Idem, La Bibliolhique au Vatican (Paris, 1887); Monnier, Les arts a la cour des Rapes (Paris, 1878); Nichols, Select Epistles of Erasmus (tr. London, 1901); Rashdall. The Universities in the Middle Ages (Oxford, 1895) ; Recsch, Index der verba- tenen BOcher (Bonn, 1883); Sadoleto, Epistola (Rome, 17(i0); ViLLARi, Savonarola (Florence, 1887), tr. London, 1890; Idem, Machiavelti (Florence. 1878-83; tr. London, 1900); Voigt, Enea Silvio Piccolomini (Berlin, 1856); Wood- ward, Vittorino da Feltre etc. (Cambridge, 1897). For judgments on the Renaissance from contrasted points of view, see Pater, Essays (London, 1873); Idem, The Renaissance (1873); Barrt, Heralds of Revolt (London, 1906); Ruskin, Modern Painters^ II; Idem, Stones of Venice, III (LondoD, 1903).

WiLUAM Barry.

Renaudot, ErsEBius, an apologetical writer and Orientalist, b. at Paris, '22 July, 1648; d. there, 1 Sept., 1720. He was educated by the Jesuits, and joined