Renaissance in Italy, Volume 1 | Page 8

of the world divides itself into two branches--the exploration of the globe, and that systematic exploration of the universe which is in fact what we call Science. Columbus made known America in 1492; the Portuguese rounded the Cape in 1497; Copernicus explained the solar system in 1507. It is not necessary to add anything to this plain statement; for, in contact with facts of such momentous import, to avoid what seems like commonplace reflection would be difficult. Yet it is only when we contrast the ten centuries which preceded these dates with the four centuries which have ensued, that we can estimate the magnitude of that Renaissance movement by means of which a new hemisphere has been added to civilization. In like manner, it is worth while to pause a moment and consider what is implied in the substitution of the Copernican for the Ptolemaic system. The world, regarded in old times as the center of all things, the apple of God's eye, for the sake of which were created sun and moon and stars, suddenly was found to be one of the many balls that roll round a giant sphere of light and heat, which is itself but one among innumerable suns attended each by a _cortège_ of planets, and scattered, how we know not, through infinity. What has become of that brazen seat of the old gods, that Paradise to which an ascending Deity might be caught up through clouds, and hidden for a moment from the eyes of his disciples. The demonstration of the simplest truths of astronomy destroyed at a blow the legends that were most significant to the early Christians by annihilating their symbolism. Well might the Church persecute Galileo for his proof of the world's mobility. Instinctively she perceived that in this one proposition was involved the principle of hostility to her most cherished conceptions, to the very core of her mythology. Science was born, and the warfare between scientific positivism and religious metaphysic was declared. Henceforth God could not be worshiped under the forms and idols of a sacerdotal fancy; a new meaning had been given to the words: 'God is a Spirit, and they that worship Him must worship Him in spirit and in truth.' The reason of man was at last able to study the scheme of the universe, of which he is a part, and to ascertain the actual laws by which it is governed. Three centuries and a half have elapsed since Copernicus revolutionized astronomy. It is only by reflecting on the mass of knowledge we have since acquired, knowledge not only infinitely curious but also incalculably useful in its application to the arts of life, and then considering how much ground of this kind was acquired in the ten centuries which preceded the Renaissance, that we are at all able to estimate the expansive force which was then generated. Science, rescued from the hand of astrology, geomancy, alchemy, began her real life with the Renaissance. Since then, as far as to the present moment she has never ceased to grow. Progressive and durable, Science may be called the first-born of the spirit of the modern world.
[1] It is to Michelet that we owe these formul?, which have passed into the language of history.
Thus by the discovery of the world is meant on the one hand the appropriation by civilized humanity of all corners of the habitable globe, and on the other the conquest by Science of all that we now know about the nature of the universe. In the discovery of man, again, it is possible to trace a twofold process. Man in his temporal relations, illustrated by Pagan antiquity, and man in his spiritual relations, illustrated by Biblical antiquity; these are the two regions, at first apparently distinct, afterwards found to be interpenetrative, which the critical and inquisitive genius of the Renaissance opened for investigation. In the former of these regions we find two agencies at work, art and scholarship. During the Middle Ages the plastic arts, like philosophy, had degenerated into barren and meaningless scholasticism--a frigid reproduction of lifeless forms copied technically and without inspiration from debased patterns. Pictures became symbolically connected with the religious feelings of the people, formul? from which to deviate would be impious in the artist and confusing to the worshiper. Superstitious reverence bound the painter to copy the almond eyes and stiff joints of the saints whom he had adored from infancy; and, even had it been otherwise, he lacked the skill to imitate the natural forms he saw around him. But with the dawning of the Renaissance, a new spirit in the arts arose. Men began to conceive that the human body is noble in itself and worthy of patient study. The object of the artist then became to unite