As regards The Book of the Arts of Columbus' Century, scarcely more need be said in this introductory chapter than what has already been suggested, that this is the Renaissance period. All the world now knows of the art of the Renaissance and of all that was accomplished by men who lived during the century after the Fall of Constantinople in 1453. Every form of art, painting, sculpture, architecture, music, as well as the arts and crafts, achieved a supreme expression at this time. Everywhere, particularly in Italy, men started up as if a new life had come into the world and proceeded to the accomplishment of artistic results which had apparently been impossible to preceding generations, and, alas for the notion of human progress! have often been the despair of succeeding generations. If imitation is the sincerest flattery, then these artists of the Renaissance period have indeed been flattered, for it has almost been the rule in the after time to imitate them and even the greatest of the artists of succeeding generations have been deeply influenced by the work of these men and usually have been quite willing to confess how much they owe to them.
In Italy the list of names of painters who were at this time doing work which the world will never willingly let die, is long and glorious. There has never been a period of equal influence and achievement in this mode of art in the history of the race. Almost every city in Italy produced a group of painters during this century who would make a whole nation famous in any other period. The Florentine School surpasses all the others in importance, and such names as Fra Angelico, Benozzo Gozzoli, Fra Bartolommeo, Lippo Lippi and Filippino Lippi, Botticelli, Ghirlandaio, Leonardo da Vinci, Andrea del Sarto, Masaccio and Michelangelo, occur in its history. Venice produced in the first half of our period such men as the Vivarinis, the Bellinis, Titian, Carpaccio, Palma Vecchio, Giorgione and Lorenzo Lotti, worthy predecessors of the great names that were to come in the second half--Tintoretto and Paolo Veronese.
CARPACCIO, MEETING OF STS. JOACHIM AND ANNA
The Umbrian School of painters includes a group of men born in the hill towns of Umbria, to be credited, therefore, to more than a single city, but their greatness is sufficient for the glory of any number of cities,--Gentile da Fabriano, Bonfigli, Perugino and his pupils, Pinturicchio, Lo Spagna, and many others, above all Raphael. Bologna possessed the three Caracci, Guido, Domenichino and Guercino. Parma had Correggio, Ferrara, Dosso Dossi and Garofalo; Padua, Andrea Mantegna and his master, Squarcione, and Rome, the pupils of Raphael, Giulio Romano, Sassoferato and Carlo Maratta and Da Imola. These schools of Italian painting embrace all the modes of expression with the brush in their scope.
The other countries of Europe, however, were not without distinguished representatives of the wondrous art spirit of the time. In Germany, there were Albrecht Dürer and the Holbeins, in the Lowlands the Van Eycks' greatest work came just before the opening of the century and inspired Memling, Van der Weyden, Quentin Matsys and others. In Spain, such men as Zurbaran and Ribalta were worthy forerunners of the great geniuses Velasquez and Murillo, who represent the aftermath of the glorious harvest of the workers in the field of art during this Renaissance period. They were all willing to confess their obligations to the great painters of the preceding age and their work is really a continuation of that Renaissance spirit. The accomplishment of the painters of Columbus' period proved as copious in stimulus for subsequent painters as the great navigators' discovery of America proved the stimulus to explorers, discoverers and empire makers during the subsequent century. A great wind of the spirit was blowing abroad and men were deeply affected by it, and accomplished results almost undreamt of before, and even when the wind of the spirit was dying down it still moved men to achievements that had only been surpassed during the immediately preceding period and that were to be looked up to with admiration and [{xxx}] envy and given that sincerest of praise, imitation, during all the succeeding centuries.
The artists of Columbus Century, this great Renaissance period, were never merely artists. Some of them, like Michelangelo and Leonardo da Vinci, though among the greatest painters in the world, preferred to think of themselves as something else than painters. Leonardo has painted the greatest of portraits, but was a great engineer, an architect, an inventor, a scientist, and anything else that he cared to turn his hand to. Michelangelo was undoubtedly a great painter, yet this was the least of his accomplishments, for he was greater as an architect, a sculptor, and perhaps even as a poet, than he was as a painter. Raphael, besides being a painter, was an architect and above all an archaeologist. It was a sad loss to classic archaeology that he did not live to accomplish his plan of making a model of old Rome. He was a great student of the technics of his art and if he had not died at the early age of thirty-seven would surely have accomplished much besides painting. Many of the painters and sculptors of the time had been goldsmiths or workers in metal, and nearly all of them were handicraftsmen, handy with their hands and capable of doing things. Practically all of them were architects and many of them proved their powers in this regard. A man of the Renaissance always thought that he could do anything well, and specialism was the last thing in the world thought of. Their confidence in their own powers gave them a wonderful breadth of ability to accomplish.
In sculpture the roll of great names is scarcely less wonderful than that of the great painters. It includes such men as Verrocchio and Leopardi, Donatello, Leonardo da Vinci, Michelangelo, the Della Robbias, Benvenuto Cellini and many others of less fame in this great period, but who would have been looked up to as wonder workers in the art at any other time. The sculpture work, for instance, that was accomplished in connection with Certosa at Pavia, though out of harmony with some of the true aims of sculpture, shows how beautifully Renaissance men worked out artistic ideas of any kind. Glorious as is the list of sculptors in Italy, other countries are by no means eclipsed by Italian pre-eminence. The work of [{xxxi}] the great sculptors of Nuremberg, Adam Kraft and Peter Vischer, as well as of the coterie of sculptors who did the wonderful group of heroes at Innsbruck, show how the wind of the spirit of genius in art was blowing abroad everywhere. In the Low Countries, while we do not always know the names of the sculptors, their beautiful monuments are with us. Such beautiful work as the Tomb of Mary of Burgundy, made by Peter Beckere of Brussels, is an enduring memorial of artistic excellence. There are wood carvings everywhere through the Low Countries that display the artistic genius of the time, In France, Colombe, trained in Flanders, did beautiful work, and Jean Juste and his son have left a monument of their sculptural genius in the Cathedral at Tours. Jean Fouchet made the lovely tomb of Agnes Sorel at Loches, and after the spirit of the Renaissance had come to France, Jean Goujon and Germain Pilon achieved their masterpieces. The reliefs of Jean Goujon for the "Fountain of the Innocents" are very well known and often to be seen in copies. The "Three Graces" of Germain Pilon, though already there is perhaps some sign of decadence, is a charming work of art that has never been excelled in the more modern time.
In architecture, Columbus' Century is, if anything, more famous than for its accomplishment in other arts. Almost every city in Italy has a distinguished architect who has left behind him a monument of genius. Brunelleschi died just before the century; Bramante, Alberti, Leonardo da Vinci, and above all, Michelangelo, are the great names of the time. Such other names as Palladio, Sangallo, della Porta, Sansovino and San Michele come after these, and the work of this group of men has more influenced succeeding generations than any other. The monuments of this time include the Cathedral of Santa Croce at Florence, St. Peter's at Rome and many of the great palaces and hospitals that now are the subject of so much admiration and attention from scholarly visitors to Italy. In our own time the reproduction of Renaissance architectural types and the careful study of what the Italian Renaissance did in modifying for modern use classic types of architecture has done more to give us handsome monumental buildings than any other inspiration that men have had. [{xxxii}] Unfortunately, the Renaissance in its adoration of classic types and ideals developed a contempt for the older Gothic architecture that had many sad effects on taste in art, but the people of the period succeeded in building a glorious monument to themselves for all time.