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The suggestion that the extreme rudeness of the early Hellenic religious sculptures was deliberate, becomes still more probable when we turn to the history of Renaissance art, two thousand years after the age of which we speak. At a time when the artists of Italy were lavishing all their imagination and technical skill upon figures of the Madonna, the old symbolic representations of the Byzantine type were still preserved as precious relics in church and cathedral. Of the Italians of his day, for instance, no man realised the beauty of physical form and the possibility of expressing it by means of pigment and brush, more than Guido, the father of Italian painting. Yet he did not worship at the foot of one of his own pictures of the Madonna. Week by week he knelt before the little Madonna della Guardia from the East, black with age as it was. He felt instinctively that, for all the sheer beauty that he was striving to impart to his pictures of the Mother of Christ, they lacked the spiritual appeal of this old work. And so it was long after the time of Guido. Seeing that the Italian worshipper, who saw the most lovely representations of the Divine Motherhood in every church, still regarded the old conventional types with awe, we need not be surprised that the Greek peasant was content to worship the rough wood or stone image which he was told was heaven sent.