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 well as from Greece, and this Roman strain explains its gain in an energy of thought kept closely in contact with the world of facts.

But the influence of this contact between the monasteries and the facts of nature showed itself first in art. The rise of Naturalism in the later Middle Ages was the entry into the European mind of the final ingredient necessary for the rise of science. It was the rise of interest in natural objects, and in natural occurrences, for their own sakes. The natural foliage of a district was sculptured in out-of-the-way spots of the later buildings, merely as exhibiting delight in those familiar objects. The whole atmosphere of every art exhibited a direct joy in the apprehension of the things which lie around us. The craftsmen who executed the late medieval decorative sculpture, Giotto, Chaucer, Wordsworth, Walt Whitman, and, at the present day, the New England poet Robert Frost, are all akin to each other in this respect. The simple immediate facts are the topics of interest, and these reappear in the thought of science as the ‘irreducible stubborn facts.’

The mind of Europe was now prepared for its new venture of thought. It is unnecessary to tell in detail the various incidents which marked the rise of science: the growth of wealth and leisure; the expansion of universities; the invention of printing; the taking of Constantinople; Copernicus; Vasco da Gama; Columbus; the telescope. The soil, the climate, the seeds, were there, and the forest grew. Science has never shaken off the impress of its origin in the historical revolt of the later Renaissance. It has remained predominantly an anti-rationalistic movement, based upon