music with incomparable sweetness and lucidity.

It must not be supposed that the change which I have adumbrated, passed
rapidly over the Italian spirit. When Paul III. succeeded Clement on the
Papal throne in 1534, some of the giants of the Renaissance still
survived, and much of their great work was yet to be accomplished.
Michelangelo had neither painted the Last Judgment nor planned the
cupola which crowns S. Peter's. Cellini had not cast his Perseus for the
Loggia de'Lanzi, nor had Palladio raised San Giorgio from the sea at
Venice. Pietro Aretino still swaggered in lordly insolence; and though
Machiavelli was dead, the 'silver histories' of Guicciardini remained to
be written. Bandello, Giraldi and Il Lasca had not published their
Novelle, nor had Cecchi given the last touch to Florentine comedy. It
was chiefly at Venice, which preserved the ancient forms of her
oligarchical independence, that the grand style of the Renaissance
continued to flourish. Titian was in his prime; the stars of Tintoretto
and Veronese had scarcely risen above the horizon. Sansovino was still
producing masterpieces of picturesque beauty in architecture.

In order to understand the transition of Italy from the Renaissance to
the Counter-Reformation manner, it will be well to concentrate attention
on the history of the Papacy during the eight reigns of Paul III.,
Julius III., Paul IV., Pius IV., Pius V., Gregory XIII., Sixtus V., and
Clement VIII.[9] In the first of these reigns we hardly notice that the
Renaissance has passed away. In the last we are aware of a completely
altered Italy. And we perceive that this alteration has been chiefly due
to the ecclesiastical policy which brought the Council of Trent to a
successful issue in the reign of Pius IV.

[Footnote 9: These eight reigns cover a space of time from 1534 to
1605.]

Before engaging in this review of Papal history, I must give some brief
account of the more serious religious spirit which had been developed
within the Italian Church; since the determination of this spirit toward
rigid Catholicism in the second half of the sixteenth century decided
the character of Italian manners and culture. Protestantism in the
strict sense of the term took but little hold upon Italian society. It
is true that the minds of some philosophical students were deeply
stirred by the audacious discussion of theological principles in
Germany. Such men had been rendered receptive of new impressions b