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The vital power of the Greek spirit was indeed not fully disclosed until, after suffering a partial eclipse in the Macedonian age, it emerged in a new quality, as a source of illumination to the Italian masters of the world. Under the plastic touch of conquered Greece, the Latin language was gradually moulded into an apter instrument of literature, while the Roman intellect itself acquired, in some measure, a flexibility not native to it. Through Rome, the Greek influence was transmitted to mediæval Europe in a form which obscured much of its charm, yet also served to extend its empire. In the earlier period of the Renaissance, the scholars of Italy, where the revival had its chief seat, were engrossed with Latin literature; they regarded it as their Italian heritage, restored to them after long deprivation. Greek studies, though ardently pursued by a few, remained, on the whole, in the background. And it may be said that the general spirit of the classical revival continued to be Latin rather than Greek down to the latter part of the last century. Even where the Greek language was most cultivated there was comparatively little sense of what is characteristic and distinctive in the best Greek literature. This sense was developed, in the second half of the 18th century, chiefly through two agencies. One was the study of Greek art, as advanced by such men as Winckelmann and Lessing,—bringing with it the perception that those qualities