NO. 0.
ItKNAISBANOE IN AttT.
123
W
1
4
The alleged conflict between religion
unci science is simply the highest expo
nent of this tendency. Religion has been
forced to assume a supervision over nil
depnrtments of knowledge. This super
vision cannot be otherwise than human,
and hence the apparent conilict is little
else than a mere difference of opinion
between scientists of opposite schools.
A conilict does not necessarily exist, bo.
cause the two elements are distinct. The
cardinal principles of religion arc ever
the same and cannot be overthrown.
Then if the church will maintain the in
lluence which it ought, it will seek to
curb, rather than attempt to crush, the
aggressive spirit of modern thought.
A strife is also seen in our systems of
education. On the one hand, old methods
are clung to with inveterate pertinacity,
while, on the other, a radical change is
advocated. A compromise is steadily
forcing its way into public favor. This
is to be promoted, for a true system of
education must conform to the needs of
the hour. In view of the multiplicity of
books and the limits of life, the claim of
utility as the only safe guide to choice
becomes most pressing.
Time will clear the disturbed horizon,
but in the meantime we must take tilings
as they are. If the age is practical, let us
accept the fact. The course of modern
ideas can never be thrown back by hu
man agency. We must tall in with the cur
rent or be left stranded along the shore to
serve as monuments of oddity orpervcrsc-ncss.
RENAISSANCE IN AJIT.
(I HE Renaissance found Art so re-
uuecu tiiat it nore scarce a semblance
to the lofty Greek forms. When Constan
tino transferred his capital from Homo to
Constantinople, he helped to preserve in
a dormant state, some germs of art that
were afterwards developed by Michrcl
Angelo.
The ails rose highest at one time in the
free states of Greece; then they fell,
through ignorance and barbarism, and
were afterwards restored, in the free states
of Italy, by the same means that gave
them birth in their native land. In the
fifteenth century when the Turks reduced
the Eastern Empire, the learned Greeks
lied to Home bearing their classics, and
assisted in the formation of a new era in
painting and sculpture. Under the Goths
and Lombards the arts tended towards the
ridiculous, rather than to refine and exalt,
and the eye seldom fell on other than
clumsy and absurd forms during the
period that elapsed between the seventh
and eleventh centuries.
The Renaissance gave birth to a new
style of painting and sculpture, that
showed originality, a depth of feeling be
fore unknown, and an independence of
the ancient schools. The sculptors were
not cold, lifeless men but were endowed
with strong emotions and passions thai,
the marble faithfully reflected. They roc
rguized that sentiment is the lifu of fine
art, but strangely enough, painted the
world as bright and beautiful, when at
that time in reality it was weak and base.
The schools of sculpture in Prance, Ger.
many and Spain emanated from those in
Italy, and did not come into existence un
til art had made considerable progress in
the latter country. That the Renaissance
may justly be claimed by Italy, is beyond
question. Some of the mostdistinguished
restorers were Donatcllo the Florentine,
Nicoli and Pisano who soon after 1200
contributed their share to the general
good.
Titian was at the head of the Venetian
school and is aptly called the first of color
ibts. His style, upon casual examination,
seems easy to copy from its apparent sim
plicity, but upon trial proves the most
difficult. "The perfection of art is to con
ceal art," and in his work, the delicate
coloring does this. He painted Italians
only, yet we all know with what wondor
lul success.
Michicl Angelo possessed a grandeur
