Fergusson summed up the place of this century in architecture very well in his advice to Italy as to what must be done in order to restore to that country the precedence that she won in architecture in the fourteenth and fifteenth centuries. He said (p. 169): "Italy has only to go back to the inspirations which characterize the end of the fifteenth and the dawn of the sixteenth century, to base upon them a style which will be as beautiful as it would be appropriate to her wants and her climate. If she will only attempt to revive the traditions of the great age which is hallowed by the memories of Leonardo da Vinci and Raphael, of Bramante, Sangallo, and even of Michelangelo, she cannot go wrong. These men erred occasionally from inexperience, and because the system under which the art was conducted in their days was such as to render success impossible; but their aspirations were right, and there was an impress of nobleness on their works which has not since been surpassed.
"Since their time the history of Italian art may be summed up in a few words. During the fifteenth century it was original, appropriate and grand; during the sixteenth it became correct and elegant, though too often also tinctured with pedantry; and in the seventeenth it broke out into caprice and affectation, till it became as bizarre as it was tasteless. During the eighteenth it sank down to a uniform level of timid mediocrity, as devoid of life as it is of art."
It is as true for all the countries of Europe as for Italy that what is needed for the redemption of architecture from the unfortunate sordid influences which have crept over it is a return to the ideas of Columbus' Century. Fortunately, since Fergusson wrote his paragraph of advice for Italy, a great change has come over the attitude of men generally toward architecture, and beautiful buildings are being erected nearly everywhere, most of them with Renaissance ideas prominent in them, but above all with the lessons drawn from this fruitful period of beautiful construction guiding the minds and hands of architects and builders. All around us handsome Renaissance buildings are rising. Inasmuch as they are mere [{133}] imitations, they are unfortunate evidence of our lack of originality. If, somehow, using the same high standards of taste and the inspiration of the classic authors as did the men of Columbus' Century, we can succeed in evolving an architecture suited to our conditions and our environment and appropriate for the uses of our day, then we shall accomplish the solution of the problem which they solved so well. What they did above all was to accomplish in building Horace's dictum that "he who mingles the useful and the beautiful takes every point." The merely useful is hideous. The merely beautiful is monstrous. Success lies in that combination of use and beauty, of which Columbus' contemporaries so ingeniously found the key.
CHAPTER IX
MUSIC
Everyone concedes the supreme accomplishment of Italy in the arts of painting, sculpture, architecture, and even in the lesser arts and crafts during the Renaissance period, which we have called Columbus' Century. It is not always realized, however, that her place in music is almost equally important and that her accomplishment in this art came also during this same period. While musical development into modern forms came as a rule after the close of our century, the great foundations of modern music were laid at this time. These are not so deep beneath the surface of developed music, however, as to be hidden from us entirely at the present time. On the contrary, there are many composers and musical measures of this period which still have an interest quite apart from their antiquity and which music-lovers know very well in spite of the time that has elapsed since their composition.
We know nothing of ancient music, and indeed are scarcely able to conceive just how Grecian music was composed or written and expressed. It might be thought, then, that the Renaissance, representing the influence upon the modern world of the rebirth of Greek ideas, would be lacking in any important development of music. In every other department, even in that of science, indeed it might well be said, especially in that of science, the influence of contact with ancient Greek ideas can be readily seen. They formed the stimulus for study and often supplied the fundamental information on which modern, that is Renaissance, developments were built up. Without this aid from the ancients, then, it might reasonably be expected that music would be neglected or would certainly be in abeyance, but this is not the case. There is a great period of musical history, not perhaps so significant as the progress in other departments of aesthetics, but containing within itself [{135}] a magnificent achievement and the germ of all our modern music.
Perhaps there is nothing that demonstrates so well the fact that the Renaissance was not, as it is so often considered, a rebirth out of nothingness after some 1500 years of darkness and lack of accomplishment than the history of music. Only that there had been a great period of advance in Europe before the Renaissance, the stimulus of Greek would have had very little effect. The old philosophers said that things are received according to the capacity of the receiver, and in the modern time a favorite maxim of teachers is that students take away from a lecture what is of value to them just in proportion to what they brought to it. It was the height of the culture of the preceding period that enabled the generations of the Renaissance to take such good advantage of the New Learning. In music, there being no New Learning, they had to depend on their own efforts, and the magnificent fruits of their musical progress show how the genius of the time was capable of accomplishment for itself.
As a result of the lack of any stimulus from Greek sources for music, the first development of it at this time is noted not in Italy, as is true for other modes of aesthetic evolution because of contiguity to Greece, but, on the contrary, in the distant West of Europe and especially in the Netherlands. Henderson, in his "The Story of Music," declares that "all the countries at this time took Netherlandish masters," and one finds the names of distinguished teachers of music, who were from the Low Countries, in centres so far apart as Naples, Venice, Munich and Madrid.
The first of these, who was an extremely important factor in the music of the time, was Ockeghem, or Ockenheim, of Hainault, who, in the latter half of the fifteenth century, came to be looked upon as probably the greatest teacher of the time. He is surpassed in fame by his pupil, Josse Despres, usually known by the name, familiarly used among his friends, Josquin, who is also a native of Hainault. Henderson declares that "in technical skill no master has ever surpassed Ockeghem; and all that he knew he taught Josquin, who made it the outlet for his real musical genius." Luther said of him, "They sing [{136}] only Josquin in Italy; Josquin alone in France; only Josquin in Germany; in Flanders, in Hungary, in Bohemia, in Spain, it is always only Josquin." From this testimony, and the otherwise well-known popularity of this composer's music, it is probable that there has never been a great European musician who, in his own time, has gained more universal acclaim among music-lovers than Josquin.