of heaven; and in the super-celestial world there is the fire of the
seraphic intelligence. "But behold how they differ! The elementary fire
burns, the heavenly fire vivifies, the super-celestial fire loves." In
this way, every natural object, every combination of natural forces,
every accident in the lives of men, is filled with higher meanings.
Omens, prophecies, supernatural coincidences, accompany Pico himself all
through life. There are oracles in every tree and mountain-top, and a
significance in every accidental combination of the events of life.

This constant tendency to symbolism and imagery gives Pico's work a
figured style, by which it has some real resemblance to Plato's, and he
differs from other mystical writers of his time by a real desire to know
his authorities at first hand. He reads Plato in Greek, Moses in Hebrew,
and by this his work really belongs to the higher culture. Above all, we
have a constant sense in reading him, that his thoughts, however little
their positive value may be, are connected with springs beneath them of
deep and passionate emotion; and when he explains the grades or steps by
which the soul passes from the love of a physical object to the love of
unseen beauty, and unfolds the analogies between this process and other
movements upward of human thought, there is a glow and vehemence in his
words which remind one of the manner in which his own brief existence
flamed itself away.

I said that the Renaissance of the fifteenth century was in many things
great, rather by what it designed or aspired to do, than by what it
actually achieved. It remained for a later age to conceive the true
method of effecting a scientific reconciliation of Christian sentiment
with the imagery, the legends, the theories about the world, of pagan
poetry and philosophy. For that age the only possible reconciliation was
an imaginative one, and resulted from the efforts of artists, trained in