This same century saw the rise and marvellous development of music in nearly every department of that art and in a way that strikingly illustrates how the genius of this time gave to men a power of lofty expression in every aesthetic mode. In this form of art Italy was not as in other departments of aesthetics the leader, though she proved the apt pupil, excelling before the close of the period even her masters. It is to the Flemings that we owe the great beginnings of music at this time, as we also owe to them and to their brethren of Holland so much in all the arts. Ockenheim of Hainault and his pupils, above all Josquin, developed the technique of polyphonic music, and Flanders furnished music masters for every important capital in Europe. Claude Goudimel, born at Avignon, but educated in Flanders, opened his famous school of music in Rome in the first half of the sixteenth century, and while not perhaps, as has often been said, the teacher of Palestrina, he helped to create the Roman school in which developed the brothers Animuccia and the brothers Nanini. Orlando de Lasso did his work at this time, and Stefano Vanneo of Recanati published his treatise on counterpoint in 1531. The use of the chord of the dominant seventh was invented and St. Philip Neri encouraged those religious musical exercises which culminated first in the Oratorio and subsequently in what we know as opera.
As always happens in a really great artistic period, there was a magnificent development of the crafts as well as of the arts. When such men as Verrocchio, probably even Leonardo da Vinci himself, Pollaiuolo and Benvenuto Cellini were looked upon as goldsmiths as well as sculptors, it is easy to understand how thoroughly artistic was the goldsmithery of the time. As a matter of fact, most of the artists of the Renaissance were trained in workshops. These were not only technical schools, but art schools of the finest kind. As a consequence not only in gold and metal work, but in every { xxxiii} other craft, art impulses of lofty achievement are noted. The stained glass of the time is among the most beautiful ever made. All glass-making and porcelain reached a high plane of perfection. It is interesting to note the decadence of fine glass-making that begins toward the end of our period. Gem-cutting reached a climax of perfection at this time that has ranked Renaissance gems among the most precious in the world. The art of the medal and the medallion was another artistic specialty of this time in which it has probably never been excelled and very seldom equalled. In book-making artistic craftsmanship surpassed itself. Before the development of printing as the exclusive mode of making books there was a marvellous evolution of illuminated hand-made books. Many specimens still extant are among the most beautiful in the world. With these as models the printed books came to be just as wonderful artistic products and so we have during Columbus' period the finest book-making that the world has ever known. Every portion of the book, the print, the spacing, the paper, the binding was artistically done. What seemed a mere handicraft was lifted to the plane of art and whenever in the aftertime--and never more so than in our own period--men have wanted models for beautiful book-making they have gone back to those produced during this period.