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Rh schools, still with the air of a charnel-house about them, to the clear loveliness of Perugino, we shall see that the problem was met. Even in the worship of sorrow the native blitheness of art asserted itself; the religious spirit, as Hegel says, 'smiled through its tears.' So perfectly did the young Raffaelle infuse that Heiterkeit, that pagan blitheness, into religious works, that his picture of Saint Agatha at Bologna became to Goethe a step in the evolution of 'Iphigenie .' But in proportion as this power of smiling was refound, there came also an aspiration towards that lost antique art, some relics of which Christian art had buried in itself, ready to work wonders when their day came.

The history of art has suffered as much as any history by trenchant and absolute divisions. Pagan and Christian art are sometimes harshly opposed, and the Renaissance is represented as a fashion which set in at a definite period. That is the superficial view; the deeper view is that which preserves the identity of European culture. The two are really continuous: and there is a sense in which it may be said that the Renaissance was an uninterrupted effort of the middle age, that it was ever taking place. When the actual relics of the antique were restored to the