by the gigantic
scale and vigorous treatment of his masterpiece, St. Peter's, which was
the proximate occasion of a revolution in taste and practice, to which,
the labours, both literary and artistic, of Vignola, and the designs of
Palladio, gave form and consistency. In the fully-developed, or, as it
is sometimes called, pure Renaissance of Italy, great use is made of
the classic orders and pediment, and indeed of all the features which
the Romans had employed. Plain wall space almost disappears under the
various architectural features introduced, and all ornaments, details,
and mouldings become bolder and richer, but often less refined and
correct in design.

[Illustration: FIG. 63.--THE PANDOLFINI PALACE, FLORENCE.
DESIGNED BY RAPHAEL. (BEGUN 1520.)]

ROME.

Rome, the capital of the country, contains, as was fit, the central
building of the fully-developed Renaissance, St. Peter's. Bramante,
the Florentine, was the architect to whom the task of designing a
cathedral to surpass anything existing in Europe was committed by Pope
Julius II. at the opening of the sixteenth century. Some such project
had been entertained, and even begun, fifty years earlier, but the
enterprise was now started afresh, a new design was made, and the
first stone was laid by the Pope in 1506. Bramante died in some six or
seven years, and five or six architects in succession, one of whom was
Raphael, proceeded with the work, without advancing it rapidly, for
nearly half a century, during which time the design was modified again
and again. In 1546 the great Michelangelo was appointed architect, and
the last eighteen years of his life were spent in carrying on this
great work. He completed the magnificent dome in all its essential
parts, and left the church a Greek cross (_i.e._ one which has all its
four arms equal) on plan, with the dome at the crossing. The boast is
attributed to him that he would take the dome of the Pantheon and hang
it in the air; and this he has virtually accomplished in the dome of
St. Peter's--a work of the greatest beauty of design and boldness of
construction.

Unfortunately, at the beginning of the seventeenth century, Maderno
was employed to lengthen the nave. This transformed the plan of the
cathedral into a Latin cross. The existing portico was built at the
same time; and in 1661 Bernini added the vast forecourt, lined by
colonnades, which now forms the approach.

This cathedral, of which the histo