In a word, then, the books of the arts, the deeds and the words of Columbus' Century when read even a little carefully {xliii} show us a marvellous period in which man's power of achievement was at its very highest. Its art in every department has never been excelled and has only been equalled by that of the Greeks, from whom, however, we possess no painting worthy of the name. Its intellectual achievements in scholarship and in science give it the leadership in education in the modern world at least. What it accomplished for men in great works of humanity represent a triumph of humanitarianism in the best sense of that word, and present achievements worthy to be emulated by the modern time. The book of its words is of less import, and yet there are not more than two or three periods in the world's history that have surpassed it and there are some modes of literature in which it is unexcelled. In the midst of this century the discovery of America instead of being a surprise cannot but seem the most natural thing in the world. Everywhere men were doing things that for many centuries men had been unable to do and they were achieving triumphs in every form of human effort. Given the fact that there was a large undiscovered portion of the world, it was more likely to be discovered at this time than at any other time in the world's history. That is the background of Columbus' Discovery of America, which anyone who wants to understand its place must know. {1} BOOK I THE BOOK OF THE ARTS CHAPTER I GREAT PAINTERS: RAPHAEL Any attempt at proper consideration of the book of the arts of Columbus' Century must begin with the three great names of Raphael, Leonardo da Vinci and Michelangelo. They are the greatest trio in the history of art--all their names associated with a single city at the beginning of their lives but deeply influencing the world of art before the end of them. Of the three as a painter Raphael is undoubtedly the greatest, though surely here, if anywhere in the history of art, comparisons are odious. Each of these geniuses in his own department of painting was supreme,--as a religious painter Raphael, as a portrait painter Leonardo, as a great decorative artist Michelangelo. Raphael rivals Leonardo, however, in the painting of portraits and some of Leonardo's religious paintings are almost the only ones worthy to be placed besides Raphael's great religious visions. Michelangelo, however, could on occasion, as he showed in the Sistine, prove a rival of either of them in this mode.