MICHAEL ANGELO'S great painting of the newly created Adam on the ceiling of the Sistine Chapel might be taken as a symbol of the Renaissance, of the time when man was, as it were, re-created more glorious than before, with a body naked and unashamed, and a strong arm, unimpaired by fasting, outstretched towards life and light. Definitions are generally misleading, and it is easier to represent the Renaissance by a symbol than to define it. It was a movement, a revival of man's powers, a reawakening of the consciousness of himself and of the universe — a movement which spread over Western Europe, and may be said to have lasted over two centuries. It was between 1400 and 1600 that it held full sway. Like other movements it had forerunners, but, unlike other movements, it was circumscribed by no particular aim, and the fertilizing wave which passed over Italy, Germany, France, England and, in a much fainter degree, over Spain, to leave a fresh world behind it, seems more like a phenomenon of nature than a current of history — rather an atmosphere surrounding men than a distinct course before them. The new birth was the result of a universal impulse, and that impulse was preceded by something like a revelation, a revelation of intellect and of the possibilities in man. And like the Christian revelation in the spiritual world, so the Renaissance in the natural, meant a temper of mind, a fresh vision, a source of thoughts and works, rather than shaped results. When it crystallized into an æsthetic ritual, it fell into decadence and corruption…
