[Sidenote: Da Vinci, Michael Angelo, Raphael.] During the sixteenth century the art of the Renaissance reached its highest development. Among all the great artists of this period three stand out in heroic proportions--Leonardo da Vinci, Michael Angelo, and Raphael. The first two not only practiced, but achieved almost equal distinction in, the three arts of architecture, sculpture, and painting.[240] It is impossible to give in a few lines any idea of the beauty and significance of the work of these great geniuses. Both Raphael and Michael Angelo left behind them so many and such magnificent frescoes and paintings, and in the case of Michael Angelo statues as well, that it is easy to appreciate their importance. Leonardo, on the other hand, left but little completed work. His influence on the art of his time, which was probably greater than that of either of the others, came from his many-sidedness, his originality, and his unflagging interest in the discovery and application of new methods. He was almost more experimenter than artist. [Illustration: St. Peter's and the Vatican, Rome] [Sidenote: The Venetian school.] [Sidenote: Titian, 1477-1576.] While Florence could no longer boast of being the art center of Italy, it still produced great artists, among whom Andrea del Sarto may be especially mentioned.[241] But the most important center of artistic activity outside of Rome in the sixteenth century was Venice. The distinguishing characteristic of the Venetian pictures is their glowing color. This is strikingly exemplified in the paintings of Titian, the most famous of all the Venetian painters. [Sidenote: Painting in northern Europe.] [Sidenote: Dürer, 1471-1528.] It was natural that artists from the northern countries should be attracted by the renown of the Italian masters and, after learning all that Italy could teach them, should return home to practice their art in their own particular fashion. About a century after Giotto's time two Flemish brothers, Van Eyck by name, showed that they were not only able to paint quite as excellent pictures as the Italians of their day, but they also discovered a new way of mixing their colors superior to that employed in Italy. Later, when painting had reached its height in Italy, Albrecht Dürer and Hans Holbein the Younger[242] in Germany vied with even Raphael and Michael Angelo in the mastery of their art. Dürer is especially celebrated for his wonderful woodcuts and copperplate engravings, in which field he has perhaps never been excelled.[243] [Sidenote: Rubens, 1577-1640, and Rembrandt, 1607-1669.] [Sidenote: Van Dyck, 1599-1641, and his portraits.] [Sidenote: Velasquez.]