hat is fine, in large masses, boldly
projecting cornices, three-quarter columns, and noble domes; but it is
otherwise debased by great misconceptions as to the reasonable
application of architecture."--M. D. W.

In the seventeenth century a decline set in. The late Renaissance has
neither the severity of the early, nor the dignified richness of the
mature time, but is extravagant; though at Rome examples of its
extreme phase are not common. Maderno, who erected the west front of
St. Peter's, and Bernini, who added the outer forecourt and also built
the curiously designed state staircase (the _scala regia_) in the
Vatican, are the foremost architects. To these must be added
Borromini. The great Barberini Palace belongs to this century; but
perhaps its most characteristic works are the fountains, some of them
with elaborate architectural backgrounds, which ornament many of the
open places in Rome. Few of the buildings of the eighteenth century in
Rome, or indeed in Italy generally, claim attention as architectural
works of a high order of merit.

Before leaving central Italy for the north, it is necessary to mention
the masterpiece of Vignola--the great Farnese Palace at Caprarola; and
to add that in every city of importance examples more or less
admirable of the art of the time were erected.

VENICE, VICENZA, AND VERONA.

The next great group of Renaissance buildings is to be found at
Venice, where the style was adopted with some reluctance, and not
till far on in the sixteenth century. At first we meet with some
admixture of Gothic elements; as, for example, in the rebuilding of
the internal quadrangle of the Ducal Palace. Pointed arches are
partly employed in this work, which was completed about the middle of
the sixteenth century. In the earlier palaces--which, it will be
remembered, are comparatively narrow buildings standing side by side
on the banks of the canals--the storeys are well marked; the windows
are round headed with smaller arches within the main ones; the orders
when introduced are kept subordinate; the windows are grouped
together in the central portion of the front, as was the case with
those of the Gothic palaces, and very little use is made of
rusticated masonry. The Vendramini, Cornaro, and Trevisano Palaces
conform to this type. To the same period belong one or two fine
churches, the most famous being San Zacaria, a building with a very
delicately panelled front, and a semicircular pediment