de building. Its general design has
been very successfully copied in the Travellers' Club House, Pall
Mall. On comparing this with any of the previously named designs, it
will be seen that the semicircular headed windows have disappeared,
the rusticated masonry is only now retained at the angles, and to
emphasise the side entrance; and a small order with a little pediment
(_i.e._ gable) is employed to mark each opening, door or window. In
short this building belongs not only to another century, but to that
advanced school of art to which we have given the name of developed
Italian Renaissance.

[Illustration: FIG. 62.--PART OF THE LOGGIA DEL CONSIGLIO AT VERONA.
(16TH CENTURY.)
Showing the incised decoration known as _Sgraffito_.]

In Florence some of the work of Michelangelo is to be met with. His
own house is here; so is the famous Medici chapel, a work in which we
find him displaying power at once as a sculptor and an architect.
This interior is very fine and very studied both in its proportions
and its details. The church of the Annunziata, remarkable for a fine
dome, carried on a drum resting directly on the ground, is the
foremost Renaissance church in Florence.

The contrast between early and matured Renaissance can indeed be
better recognised in Florence than in almost any other city. The early
work, that of Bramante, Brunelleschi, and the architects who drew
their inspirations from these masters, was delicate and refined. The
detail was always elegant, the ornament always unobtrusive, and often
most graceful. Features comparatively small in scale were employed,
and were set off by the use of plain wall-surface, which was
unhesitatingly displayed. The classic orders were used in a
restricted, unobtrusive way, and with pilasters in preference to
columns; and though probably the architects themselves would have
repudiated the idea that the Gothic art, which they had cast behind
them, influenced their practice of revived classic in the remotest
degree, it is nevertheless true that many of these peculiarities, and
still more the general quality of the designs, were to a large extent
those to which the practice of Gothic architecture had led them.

A change which was partly due to a natural desire for progress, was
helped on by the great attention paid by students of architecture to
the remains of ancient Roman buildings; but it was the influence
excited by the powerful genius of Michelangelo, and