ld had not vibrated.

In the breast of the men of that time we think sometimes we feel the
beating of a woman's heart; they have exquisite sentiments, delightful
inspirations, with absurd terrors, fantastic angers, infernal cruelties.
Weakness and fear often make them insincere; they have the idea of the
grand, the beautiful, the ugly, but that of order is wanting; they fast
or feast; the notion of the laws of nature, so deeply graven in our own
minds, is to them entirely a stranger; the words possible and impossible
have for them no meaning. Some give themselves to God, others sell
themselves to the devil, but not one feels himself strong enough to walk
alone, strong enough to have no need to hold on by some one's skirt.

Peopled with spirits and demons nature appeared to them singularly
animated; in her presence they have all the emotions which a child
experiences at night before the trees on the roadside and the vague
forms of the rocks.

Unfortunately, our language is a very imperfect instrument for rendering
all this; it is neither musical nor flexible; since the seventeenth
century it has been deemed seemly to keep one's emotions to oneself, and
the old words which served to note states of the soul have fallen into
neglect; the Imitation and the Fioretti have become untranslatable.

More than this, in a history like the present one, we must give a large
place to the Italian spirit; it is evident that in a country where they
call a chapel _basilica_ and a tiny house _palazzo_, or in speaking to a
seminarist say "Your Reverence," words have not the same value as on
this side of the Alps.

The Italians have an imagination which enlarges and simplifies. They see
the forms and outlines of men and things more than they grasp their
spirit. What they most admire in Michael Angelo is gigantic forms, noble
and proud attitudes, while we better understand his secret thoughts,
hidden sorrows, groans, and sighs.

Place before their eyes a picture by Rembrandt, and more often than not
it will appear to them ugly; its charm cannot be caught at a glance as
in those of their artists; to see it you must examine it, make an
effort, and with them effort is the beginning of pain.

Do not ask them, then, to understand the pathos of things, to be touched
by the mysterious and almost fanciful emotion which northern hearts
discover and enjoy in the works of the Amsterdam master. No, instead of
a forest they want a few trees, standin