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“Observe, Shakespeare, in the midst of architecture and tombs of wood, or freestone, or brass, naturally thinks of GOLD as the best enriching and ennobling substance for them; in the midst also of the fever of the Renaissance he writes, as every one else did, in praise of precisely the most vicious master of that school-- Giulio Romano*; but the modern poet, living much in Italy, and quit of the Renaissance influence, is able fully to enter into the Italian feeling, and to see the evil of the Renaissance tendency, not because he is greater than Shakespeare, but because he is in another element, and has seen other things. . . .