In architecture, Columbus' Century is, if anything, more famous than for its accomplishment in other arts. Almost every city in Italy has a distinguished architect who has left behind him a monument of genius. Brunelleschi died just before the century; Bramante, Alberti, Leonardo da Vinci, and above all, Michelangelo, are the great names of the time. Such other names as Palladio, Sangallo, della Porta, Sansovino and San Michele come after these, and the work of this group of men has more influenced succeeding generations than any other. The monuments of this time include the Cathedral of Santa Croce at Florence, St. Peter's at Rome and many of the great palaces and hospitals that now are the subject of so much admiration and attention from scholarly visitors to Italy. In our own time the reproduction of Renaissance architectural types and the careful study of what the Italian Renaissance did in modifying for modern use classic types of architecture has done more to give us handsome monumental buildings than any other inspiration that men have had. {xxxii} Unfortunately, the Renaissance in its adoration of classic types and ideals developed a contempt for the older Gothic architecture that had many sad effects on taste in art, but the people of the period succeeded in building a glorious monument to themselves for all time. 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.