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. [Illustration: CARPACCIO, MEETING OF STS. JOACHIM AND ANNA] {xxix} 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.