The century of Columbus

by James J. Walsh

The literature of the century contains besides the names of Rabelais as well as Calvin in France, Baldassare Castiglione, Michelangelo, Vasari, Politian, Bembo, Lorenzo de' Medici, Pico della Mirandola and the learned ladies Vittoria Colonna, Margaret of Navarre, Lucretia Tornabuoni, the mother of Lorenzo de Medici, as well as the great scholars of the period in Italy. In Spain St. Teresa and the great mystical writers were compensating for the triviality and worse of the picaresque romances and the tales of chivalry. In Portugal the young genius of Camöens was nurtured, while in England Sir Thomas More was laying the foundations of modern English prose, the great Morality Plays, "Everyman" and the "Castle of Perseverance," were written, and the first fruits of English dramatic literature in its more modern form came in "Ralph Royster Doyster" and "Gammer Gurton's Needle." In Germany the literary product of the vernacular was less significant, but Luther's great popular hymns and his vernacular translation of the Scriptures gave a vigorous birth to modern German verse and prose, while Hans Sachs and the Minnesingers did as much for popular poetry. Few periods can present a literature so rich in every country, so varied, with so many enduring elements and with so much that remains as the constant possession of scholars ever since. The literature of the time may not equal its art or even its science, but no apologies are needed for it.

In a word, then, the books of the arts, the deeds and the words of Columbus' Century when read even a little carefully [{xliii}] show us a marvellous period in which man's power of achievement was at its very highest. Its art in every department has never been excelled and has only been equalled by that of the Greeks, from whom, however, we possess no painting worthy of the name. Its intellectual achievements in scholarship and in science give it the leadership in education in the modern world at least. What it accomplished for men in great works of humanity represent a triumph of humanitarianism in the best sense of that word, and present achievements worthy to be emulated by the modern time. The book of its words is of less import, and yet there are not more than two or three periods in the world's history that have surpassed it and there are some modes of literature in which it is unexcelled. In the midst of this century the discovery of America instead of being a surprise cannot but seem the most natural thing in the world. Everywhere men were doing things that for many centuries men had been unable to do and they were achieving triumphs in every form of human effort. Given the fact that there was a large undiscovered portion of the world, it was more likely to be discovered at this time than at any other time in the world's history. That is the background of Columbus' Discovery of America, which anyone who wants to understand its place must know.

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BOOK I

THE BOOK OF THE ARTS

CHAPTER I

GREAT PAINTERS: RAPHAEL

Any attempt at proper consideration of the book of the arts of Columbus' Century must begin with the three great names of Raphael, Leonardo da Vinci and Michelangelo. They are the greatest trio in the history of art--all their names associated with a single city at the beginning of their lives but deeply influencing the world of art before the end of them. Of the three as a painter Raphael is undoubtedly the greatest, though surely here, if anywhere in the history of art, comparisons are odious. Each of these geniuses in his own department of painting was supreme,--as a religious painter Raphael, as a portrait painter Leonardo, as a great decorative artist Michelangelo. Raphael rivals Leonardo, however, in the painting of portraits and some of Leonardo's religious paintings are almost the only ones worthy to be placed besides Raphael's great religious visions. Michelangelo, however, could on occasion, as he showed in the Sistine, prove a rival of either of them in this mode.

As is so true of the men of this time as a rule, all three of these men were much more than painters. Raphael died at the early age of thirty-seven, yet he reached distinction as an architect and as an archaeologist, besides accomplishing his great painting. Leonardo insisted on not being thought of as a painter, but as an engineer and architect, though he has painted the greatest portrait ever made and beat Michelangelo once in a competition in sculpture. Michelangelo reached supremacy in all four of the greatest modes of art. He is a painter second to none in all that he attempted, he is the [{2}] greatest sculptor since the time of the Greeks, he is one of the greatest architects of all time, yet with all this, by what might seem almost an impossible achievement, he was one of the greatest of poets and has written sonnets that only Dante and Shakespeare have equalled. These men of Columbus' Century not only were never narrow specialists but quite the contrary; they were extremely varied in their interests and felt in contradiction to what seems the prevalent impression in our time that such breadth of interest only increased their powers of expression in anything that they attempted.

Of the three probably Raphael has had the widest popular influence. His paintings have all unconsciously to most people colored and visualized for them the Biblical scenes, especially of the New Testament, and since his time painters have been greatly influenced by his compositions. He has deeply affected all the world of art and as for several centuries now some of his greatest works have been held outside of Italy, they have been producing their effect and giving artists the thought of how well deepest vision could be expressed.