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In all the works of our Elizabethans, we see not only the assimilated intellectual wealth of Italy, but we see the deep impression, the indelible picture in the memory, of Italy itself; the positive, unallegorical, essentially secular mode of thought; the unascetic, æsthetic, eminently human mode of feeling; the artistic desire of clear and harmonious form; the innumerable tendencies and habits which sever the Elizabethans so completely from the Middle Ages, and bring them so near at once to ourselves and to the ancients, making them at once antique and modern, in opposition to mediæval; these essential characters and the vast bulk of absolute scientific fact and formula, of philosophic opinion, of artistic shape, of humanistic learning, are only one-half of the debt of our sixteenth century to the Italy of the Renaissance.
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