RENAISSANCE ARCHITECTURE IN ITALY—Continued:BRAMANTE’S WORKS

<< EARLY RENAISSANCE ARCHITECTURE IN ITALY:THE CLASSIC REVIVAL, PERIODS

RENAISSANCE ARCHITECTURE IN FRANCE:THE TRANSITION, CHURCHES >>

CHAPTER XXI.

RENAISSANCE ARCHITECTURE IN ITALY--Continued.

THE ADVANCED RENAISSANCE AND DECLINE.

BOOKS RECOMMENDED: As before, Burckhardt, Cicognara, Fergusson, Palustre. Also,

Gauthier, Les plus beaux edifices de Gênes. Geymüller, Les projets primitifs pour la

basilique de St. Pierre de Rome. Gurlitt, Geschichte des Barockstiles in Italien.

Letarouilly, Édifices de Rome Moderne; Le Vatican. Palladio, The Works of A. Palladio.

CHARACTER OF THE ADVANCED RENAISSANCE. It was inevitable that the study

and imitation of Roman architecture should lead to an increasingly literal rendering

of classic details and a closer copying of antique compositions. Toward the close of

the fifteenth century the symptoms began to multiply of the approaching reign of

formal classicism. Correctness in the reproduction of old Roman forms came in time

to be esteemed as one of the chief of architectural virtues, and in the following

period the orders became the principal resource of the architect. During the so-called

Cinquecento, that is, from the close of the fifteenth century to nearly or quite 1550,

architecture still retained much of the freedom and refinement of the Quattrocento.

There was meanwhile a notable advance in dignity and amplitude of design,

especially in the internal distribution of buildings. Externally the orders were freely

used as subordinate features in the decoration of doors and windows, and in court

arcades of the Roman type. The lantern-crowned dome upon a high drum was

developed into one of the noblest of architectural forms. Great attention was

bestowed upon all subordinate features; doors and windows were treated with

frames and pediments of extreme elegance and refinement; all the cornices and

mouldings were proportioned and profiled with the utmost care, and the balustrade

was elaborated into a feature at once useful and highly ornate. Interior decoration

was even more splendid than before, if somewhat less delicate and subtle; relief

enrichments in stucco were used with admirable effect, and the greatest artists

exercised their talents in the painting of vaults and ceilings, as in P. del Té at

Mantua, by Giulio Romano (14921546), and the Sistine Chapel at Rome, by

Michael Angelo. This period is distinguished by an exceptional number of great

architects and buildings. It was ushered in by Bramante Lazzari, of Urbino (1444

1514), and closed during the career of Michael Angelo Buonarotti (14751564); two

names worthy to rank with that of Brunelleschi. Inferior only to these in architectural

genius were Raphael (14831520), Baldassare Peruzzi (14811536), Antonio da San

Gallo the Younger (14851546), and G. Barozzi da Vignola (15071572), in Rome;

Giacopo Tatti Sansovino (14791570), in Venice, and others almost equally

illustrious. This period witnessed the erection of an extraordinary series of palaces,

villas, and churches, the beginning and much of the construction of St. Peter's at

Rome, and a complete transformation in the aspect of that city.

FIG. 166.--FAÇADE OF THE GIRAUD PALACE, ROME.

BRAMANTE'S WORKS. While precise time limits cannot be set to architectural

styles, it is not irrational to date this period from the maturing of Bramante's genius.

While his earlier works in Milan belong to the Quattrocento (S. M. delle Grazie, the

sacristy of San Satiro, the extension of the Great Hospital), his later designs show the

classic tendency very clearly. The charming Tempietto in the court of S. Pietro in

Montorio at Rome, a circular temple-like chapel (1502), is composed of purely

classic elements. In the P. Giraud (Fig. 166) and the great Cancelleria Palace,

pilasters appear in the external composition, and all the details of doors and

windows betray the results of classic study, as well as the refined taste of their

designer.24 The beautiful courtyard of the Cancelleria combines the Florentine

system of arches on columns with the Roman system of superposed arcades

independent of the court wall. In 1506 Bramante began the rebuilding of St. Peter's

for Julius II. and the construction of a new and imposing papal palace adjoining it on

the Vatican hill. Of this colossal group of edifices, commonly known as the Vatican,

he executed the greater Belvedere court (afterward divided in two by the Library and

the Braccio Nuovo), the lesser octagonal court of the Belvedere, and the court of San

Damaso, with its arcades afterward frescoed by Raphael and his school. Besides

these, the cloister of S. M. della Pace, and many other works in and out of Rome,

reveal the impress of Bramante's genius, alike in their admirable plans and in the

harmony and beauty of their details.

FLORENTINE PALACES. The P. Riccardi long remained the accepted type of palace

in Florence. As we have seen, it was imitated in the Strozzi palace, as late as 1489,

with greater perfection of detail, but with no radical change of conception. In the

P. Gondi, however, begun in the following year by Giuliano da San Gallo (1445

1516), a more pronounced classic spirit appears, especially in the court and the

interior design. Early in the 16th century classic columns and pediments began to be

used as decorations for doors and windows; the rustication was confined to

basements and corner-quoins, and niches, loggias, and porches gave variety of light

and shade to the façades (P. Bartolini, by Baccio d'Agnolo; P. Larderel, 1515, by

Dosio; P. Guadagni, by Cronaca; P. Pandolfini, 1518, attributed to Raphael). In the

P. Serristori, by Baccio d'Agnolo (1510), pilasters were applied to the composition

of the façade, but this example was not often followed in Florence.

ROMAN PALACES. These followed a different type. They were usually of great size,

and built around ample courts with arcades of classic model in two or three stories.

The broad street façade in three stories with an attic or mezzanine was crowned with

a rich cornice. The orders were sparingly used externally, and effect was sought

principally in the careful proportioning of the stories, in the form and distribution of

the square-headed and arched openings, and in the design of mouldings, string-

courses, cornices, and other details. The piano nobile, or first story above the

basement, was given up to suites of sumptuous reception-rooms and halls, with

magnificent ceilings and frescoes by the great painters of the day, while antique

statues and reliefs adorned the courts, vestibules, and niches of these princely

dwellings. The Massimi palace, by Peruzzi, is an interesting example of this type.

The Vatican, Cancelleria, and Giraud palaces have already been mentioned; other

notable palaces are the Palma (1506) and Sacchetti (1540), by A. da San Gallo the

Younger; the Farnesina, by Peruzzi, with celebrated fresco decorations designed by

Raphael; and the Lante (1520) and Altemps (1530), by Peruzzi. But the noblest

creation of this period was the

FIG. 167.--PLAN OF FARNESE PALACE.

FARNESE PALACE, by many esteemed the finest in Italy. It was begun in 1530 for

Alex. Farnese (Paul III.) by A. da San Gallo the Younger, with Vignola's

collaboration. The simple but admirable plan is shown in Fig. 167, and the

courtyard, the most imposing in Italy, in Fig. 168. The exterior is monotonous, but

the noble cornice by Michael Angelo measurably redeems this defect. The fine

vaulted columnar entrance vestibule, the court and the salons, make up an ensemble

worthy of the great architects who designed it. The loggia toward the river was added

by G. della Porta in 1580.

VILLAS. The Italian villa of this pleasure-loving period afforded full scope for the

most playful fancies of the architect, decorator, and landscape gardener. It comprised

usually a dwelling, a casino or amusement-house, and many minor edifices, summer-

houses, arcades, etc., disposed in extensive grounds laid out with terraces, cascades,

and shaded alleys. The style was graceful, sometimes trivial, but almost always

pleasing, making free use of stucco enrichments, both internally and externally, with

abundance of gilding and frescoing. The Villa Madama (1516), by Raphael, with

stucco-decorations by Giulio Romano, though incomplete and now dilapidated, is a

noted example of the style. More complete, the Villa of Pope Julius, by Vignola

(1550), belongs by its purity of style to this period; its façade well exemplifies the

simplicity, dignity, and fine proportions of this master's work. In addition to these

Roman villas may be mentioned the V. Medici (1540, by Annibale Lippi; now the

French Academy of Rome); the Casino del Papa in the Vatican Gardens, by Pirro

Ligorio (1560); the V. Lante, near Viterbo, and the V. d'Este, at Tivoli, as displaying

among almost countless others the Italian skill in combining architecture and

gardening.

FIG. 168.--ANGLE OF COURT OF FARNESE PALACE, ROME.

CHURCHES AND CHAPELS. This period witnessed the building of a few churches

of the first rank, but it was especially prolific in memorial, votive, and sepulchral

chapels added to churches already existing, like the Chigi Chapel of S. M. del

Popolo, by Raphael. The earlier churches of this period generally followed antecedent

types, with the dome as the central feature dominating a cruciform plan, and simple,

unostentatious and sometimes uninteresting exteriors. Among them may be

mentioned: at Pistoia, S. M. del Letto and S. M. dell' Umiltà, the latter a fine

domical rotunda by Ventura Vitoni (1509), with an imposing vestibule; at Venice,

S. Salvatore, by Tullio Lombardo (1530), an admirable edifice with alternating

domical and barrel-vaulted bays; S. Georgio dei Grechi (1536), by Sansovino, and

S. M. Formosa; at Todi, the Madonna della Consolazione (1510), by Cola da

Caprarola, a charming design with a high dome and four apses; at Montefiascone, the

Madonna delle Grazie, by Sammichele (1523), besides several churches at Bologna,

Ferrara, Prato, Sienna, and Rome of almost or quite equal interest. In these churches

one may trace the development of the dome as an external feature, while in

S. Biagio, at Montepulciano, the effort was made by Ant. da San Gallo the Elder to

combine with it the contrasting lines of two campaniles, of which, however, but one

was completed.

FIG. 169.--ORIGINAL PLAN OF ST. PETER'S, ROME.

ST. PETER'S. The culmination of Renaissance church architecture was reached in St.

Peter's, at Rome. The original project of Nicholas V. having lapsed with his death, it

was the intention of Julius II. to erect on the same site a stupendous mausoleum over

the monument he had ordered of Michael Angelo. The design of Bramante, who

began its erection in 1506, comprised a Greek cross with apsidal arms, the four

angles occupied by domical chapels and loggias within a square outline (Fig. 169).

The too hasty execution of this noble design led to the collapse of two of the arches

under the dome, and to long delays after Bramante's death in 1514. Raphael,

Giuliano da San Gallo, Peruzzi, and A. da San Gallo the Younger successively

supervised the works under the popes from Leo X. to Paul III., and devised a vast

number of plans for its completion. Most of these involved fundamental alterations

of the original scheme, and were motived by the abandonment of the proposed

monument of Julius II.; a church, and not a mausoleum, being in consequence

required. In 1546 Michael Angelo was assigned by Paul III. to the works, and gave

final form to the general design in a simplified version of Bramante's plan with more

massive supports, a square east front with a portico for the chief entrance, and the

unrivalled Dome, which is its most striking feature. This dome, slightly altered and

improved in curvature by della Porta after M. Angelo's death in 1564, was

completed by D. Fontana in 1604. It is the most majestic creation of the

Renaissance, and one of the greatest architectural conceptions of all history. It

measures 140 feet in internal diameter, and with its two shells rises from a lofty

drum, buttressed by coupled Corinthian columns, to a height of 405 feet to the top

of the lantern. The church, as left by Michael Angelo, was harmonious in its

proportions, though the single order used internally and externally dwarfed by its

colossal scale the vast dimensions of the edifice. Unfortunately in 1606 C. Maderna

was employed by Paul V. to lengthen the nave by two bays, destroying the

proportions of the whole, and hiding the dome from view on a near approach. The

present tasteless façade was Maderna's work. The splendid atrium or portico added

(162967), by Bernini, as an approach, mitigates but does not cure the ugliness and

pettiness of this front.

FIG. 170.--PLAN OF ST. PETER'S, ROME, AS NOW STANDING.

The portion below the line A, B, and the side chapels C, D, were added by Maderna.

The remainder represents Michael Angelo's plan.

St. Peter's as thus completed (Fig. 170) is the largest church in existence, and in

many respects is architecturally worthy of its pre-eminence. The central aisle, nearly

600 feet long, with its stupendous panelled and gilded vault, 83 feet in span, the

vast central area and the majestic dome, belong to a conception unsurpassed in

majestic simplicity and effectiveness. The construction is almost excessively massive,

but admirably disposed. On the other hand the nave is too long, and the details not

only lack originality and interest, but are also too large and coarse in scale, dwarfing

the whole edifice. The interior (Fig. 171) is wanting in the sobriety of color that

befits so stately a design; it suggests rather a pagan temple than a Christian basilica.

These faults reveal the decline of taste which had already set in before Michael

Angelo took charge of the work, and which appears even in the works of that master.

THE PERIOD OF FORMAL CLASSICISM. With the middle of the 16th century the

classic orders began to dominate all architectural design. While Vignola, who wrote a

treatise upon the orders, employed them with unfailing refinement and judgment, his

contemporaries showed less discernment and taste, making of them an end rather

than a means. Too often mere classical correctness was substituted for the

fundamental qualities of original invention ind intrinsic beauty of composition. The

innovation of colossal orders extending through several stories, while it gave to

exterior designs a certain grandeur of scale, tended to coarseness and even vulgarity

of detail. Sculpture and ornament began to lose their refinement; and while street-

architecture gained in monumental scale, and public squares received a more stately

adornment than ever before, the street-façades individually were too often bare and

uninteresting in their correct formality. In the interiors of churches and large halls

there appears a struggle between a cold and dignified simplicity and a growing

tendency toward pretentious sham. But these pernicious tendencies did not fully

mature till the latter part of the century, and the half-century after 1540 or 1550

was prolific of notable works in both ecclesiastical and secular architecture. The

names of Michael Angelo and Vignola, whose careers began in the preceding period;

of Palladio and della Porta (15411604) in Rome; of Sammichele and Sansovino in

Verona and Venice, and of Galeazzo Alessi in Genoa, stand high in the ranks of

architectural merit.

FIG. 171.--INTERIOR OF ST. PETER'S, ROME.

CHURCHES. The type established by St. Peter's was widely imitated throughout

Italy. The churches in which a Greek or Latin cross is dominated by a high dome

rising from a drum and terminating in a lantern, and is treated both internally and

externally with Roman Corinthian pilasters and arches, are almost numberless.

Among the best churches of this type is the Gesù at Rome, by Vignola (1568), with a

highly ornate interior of excellent proportions and a less interesting exterior, the

façade adorned with two stories of orders and great flanking volutes over the sides.

Two churches at Venice, by Palladio--S. Giorgio Maggiore (1560; façade by

Scamozzi, 1575) and the Redentore--offer a strong contrast to the Gesù, in their

cold and almost bare but pure and correct design. An imitation of Bramante's plan

for St. Peter's appears in S. M. di Carignano, at Genoa, by Galeazzo Alessi (1500

72), begun 1552, a fine structure, though inferior in scale and detail to its original.

Besides these and other important churches there were many large domical chapels of

great splendor added to earlier churches; of these the Chapel of Sixtus V. in S. M.

Maggiore, at Rome, by D. Fontana (15431607), is an excellent example.

PALACES: ROME. The palaces on the Capitoline Hill, built at different dates (1540

1644) from designs by Michael Angelo, illustrate the palace architecture of this

period, and the imposing effect of a single colossal order running through two stories.

This treatment, though well adapted to produce monumental effects in large squares,

was dangerous in its bareness and heaviness of scale, and was better suited for

buildings of vast dimensions than for ordinary street-façades. In other Roman palaces

of this time the traditions of the preceding period still prevailed, as in the Sapienza

(University), by della Porta (1575), which has a dignified court and a façade of great

refinement without columns or pilasters. The Papal palaces built by Domenico

Fontana on the Lateran, Quirinal, and Vatican hills, between 1574 and 1590,

externally copying the style of the Farnese, show a similar return to earlier models,

but are less pure and refined in detail than the Sapienza. The great pentagonal Palace

of Caprarola, near Rome, by Vignola, is perhaps the most successful and imposing

production of the Roman classic school.

VERONA. Outside of Rome, palace-building took on various local and provincial

phases of style, of which the most important were the closely related styles of

Verona, Venice, and Vicenza. Michele Sammichele (14841549), who built in Verona

the Bevilacqua, Canossa, Pompei, and Verzi palaces and the four chief city gates,

and in Venice the P. Grimani, his masterpiece (1550), was a designer of great

originality and power. He introduced into his military architecture, as in the gates of

Verona, the use of rusticated orders, which he treated with skill and taste. The idea

was copied by later architects and applied, with doubtful propriety, to palace-

façades; though Ammanati's garden-façade for the Pitti palace, in Florence (cir.

1560), is an impressive and successful design.

VENICE. Into the development of the maturing classic style Giacopo Tatti Sansovino

(14771570) introduced in his Venetian buildings new elements of splendor.

Coupled columns between arches themselves supported on columns, and a profusion

of figure sculpture, gave to his palace-façades a hitherto unknown magnificence of

effect, as in the Library of St. Mark (now the Royal Palace, Fig. 172), and the

Cornaro palace (P. Corner de Cà Grande), both dating from about 153040. So

strongly did he impress upon Venice these ornate and sumptuous variations on

classic themes, that later architects adhered, in a very debased period, to the main

features and spirit of his work.

FIG. 172.--LIBRARY OF ST. MARK, VENICE.

VICENZA. Of Palladio's churches in Venice we have already spoken; his palaces are

mainly to be found in his native city, Vicenza. In these structures he displayed great

fertility of invention and a profound familiarity with the classic orders, but the

degenerate taste of the Baroque period already begins to show itself in his work.

There is far less of architectural propriety and grace in these pretentious palaces,

with their colossal orders and their affectation of grandeur, than in the designs of

Vignola or Sammichele. Wood and plaster, used to mimic stone, indicate the

approaching reign of sham in all design (P. Barbarano, 1570; Chieregati, 1560;

Tiene, Valmarano, 1556; Villa Capra). His masterpiece is the two-storied arcade

about the mediæval Basilica, in which the arches are supported on a minor order

between engaged columns serving as buttresses. This treatment has in consequence

ever since been known as the Palladian Motive.

GENOA. During the second half of the sixteenth century a remarkable series of

palaces was erected in Genoa, especially notable for their great courts and imposing

staircases. These last were given unusual prominence owing to differences of level in

the courts, arising from the slope of their sites on the hillside. Many of these palaces

were by Galeazzo Alessi (150272); others by architects of lesser note; but nearly all

characterized by their effective planning, fine stairs and loggias, and strong and

dignified, if sometimes uninteresting, detail (P. Balbi, Brignole, Cambiasi, Doria-

Tursi [or Municipio], Durazzo [or Reale], Pallavicini, and University).

FIG. 173.--INTERIOR OF SAN SEVERO, NAPLES.

THE BAROQUE STYLE. A reaction from the cold classicismo of the late sixteenth

century showed itself in the following period, in the lawless and vulgar extravagances

of the so-called Baroque style. The wealthy Jesuit order was a notorious contributor

to the debasement of architectural taste. Most of the Jesuit churches and many

others not belonging to the order, but following its pernicious example, are

monuments of bad taste and pretentious sham. Broken and contorted pediments,

huge scrolls, heavy mouldings, ill-applied sculpture in exaggerated attitudes, and a

general disregard for architectural propriety characterized this period, especially in

its church architecture, to whose style the name Jesuit is often applied. Sham marble

and heavy and excessive gilding were universal (Fig. 173). C. Maderna (1556

1629), Lorenzo Bernini (15891680), and F. Borromini (15991667) were the

worst offenders of the period, though Bernini was an artist of undoubted ability, as

proved by his colonnades or atrium in front of St. Peter's. There were, however,

architects of purer taste whose works even in that debased age were worthy of

admiration.

FIG. 174.--CHURCH OF S. M. DELLA SALUTE, VENICE.

BAROQUE CHURCHES. The Baroque style prevailed in church architecture for

almost two centuries. The majority of the churches present varieties of the cruciform

plan crowned by a high dome which is usually the best part of the design.

Everywhere else the vices of the period appear in these churches, especially in their

façades and internal decoration. S. M. della Vittoria, by Maderna, and Sta. Agnese,

by Borromini, both at Rome, are examples of the style. Naples is particularly full of

Baroque churches (Fig. 173), a few of which, like the Gesù Nuovo (1584), are

dignified and creditable designs. The domical church of S. M. della Salute, at Venice

(1631), by Longhena, is also a majestic edifice in excellent style (Fig. 174), and here

and there other churches offer exceptions to the prevalent baseness of architecture.

Particularly objectionable was the wholesale disfigurement of existing monuments by

ruthless remodelling, as in S. John Lateran, at Rome, the cathedrals of Ferrara and

Ravenna, and many others.

PALACES. These were generally superior to the churches, and not infrequently

impressive and dignified structures. The two best examples in Rome are the

P. Borghese, by Martino Lunghi the Elder (1590), with a fine court arcade on

coupled Doric and Ionic columns, and the P. Barberini, by Maderna and Borromini,

with an elliptical staircase by Bernini, one of the few palaces in Italy with projecting

lateral wings. In Venice, Longhena, in the Rezzonico and Pesaro palaces (165080),

showed his freedom from the mannerisms of the age by reproducing successfully the

ornate but dignified style of Sansovino. At Naples D. Fontana, whose works overlap

the Baroque period, produced in the Royal Palace (1600) and the Royal Museum

(15861615) designs of considerable dignity, in some respects superior to his papal

residences in Rome. In suburban villas, like the Albani and Borghese villas near

Rome, the ostentatious style of the Decline found free and congenial expression.

LATER MONUMENTS. In the few eighteenth-century buildings which are worthy of

mention there is noticeable a reaction from the extravagances of the seventeenth

century, shown in the dignified correctness of the exteriors and the somewhat frigid

splendor of the interiors. The most notable work of this period is the Royal Palace at

Caserta, by Van Vitelli (1752), an architect of considerable taste and inventiveness,

considering his time. This great palace, 800 feet square, encloses four fine courts,

and is especially remarkable for the simple if monotonous dignity of the well

proportioned exterior and the effective planning of its three octagonal vestibules, its

ornate chapel and noble staircase. Staircases, indeed, were among the most

successful features of late Italian architecture, as in the Scala Regia of the Vatican,

and in the Corsini, Braschi, and Barberini palaces at Rome, the Royal Palace at

Naples, etc.

In church architecture the east front of S. John Lateran in Rome, by Galilei (1734),

and the whole exterior of S. M. Maggiore, by Ferd. Fuga (1743), are noteworthy

designs: the former an especially powerful conception, combining a colossal order

with two smaller orders in superposed loggie, but marred by the excessive scale of the

statues which crown it. The Fountain of Trevi, conceived in much the same spirit

(1735, by Niccola Salvi), is a striking piece of decorative architecture. The Sacristy of

St. Peter's, by Marchionne (1775), also deserves mention as a monumental and not

uninteresting work. In the early years of the present century the Braccio Nuovo of

the Vatican, by Stern, the imposing church of S. Francesco di Paola at Naples, by

Bianchi, designed in partial imitation of the Pantheon, and the great S. Carlo Theatre

at Naples, show the same coldly classical spirit, not wholly without merit, but

lacking in true originality and freedom of conception.

CAMPANILES. The campaniles of the Renaissance and Decline deserve at least

passing reference, though they are neither numerous nor often of conspicuous

interest. That of the Campidoglio (Capitol) at Rome, by Martino Lunghi, is a good

example of the classical type. Venetia possesses a number of graceful and lofty bell-

towers, generally of brick with marble bell-stages, of which the upper part of the

Campanile of St. Mark and the tower of S. Giorgio Maggiore are the finest examples.

The Decline attained what the early Renaissance aimed at--the revival of Roman

forms. But it was no longer a Renaissance; it was a decrepit and unimaginative art,

held in the fetters of a servile imitation, copying the letter rather than the spirit of

antique design. It was the mistaken and abject worship of precedent which started

architecture upon its downward path and led to the atrocious products of the

seventeenth century.

MONUMENTS (mainly in addition to those mentioned in the text). 15TH CENTURY--

FLORENCE: Foundling Hospital (Innocenti), 1421; Old Sacristy and Cloister S. Lorenzo;

P. Quaratesi, 1440; cloisters at Sta. Croce and Certosa, all by Brunelleschi; façade S. M.

Novella, by Alberti, 1456; Badia at Fiesole, from designs of Brunelleschi, 1462; Court of

P. Vecchio, by Michelozzi, 1464 (altered and enriched, 1565); P. Guadagni, by Cronaca,

1490; Hall of 500 in P. Vecchio, by same, 1495.--VENICE: S. Zaccaria, by Martino

Lombardo, 14571515; S. Michele, by Moro Lombardo, 1466; S. M. del Orto, 1473;

S. Giovanni Crisostomo, by Moro Lombardo, atrium of S. Giovanni Evangelista,

Procurazie Vecchie, all 1481; Scuola di S. Marco, by Martino Lombardo, 1490; P. Dario;

P. Corner-Spinelli.--FERRARA: P. Schifanoja, 1469; P. Scrofa or Costabili, 1485; S. M. in

Vado, P. dei Diamanti, P. Bevilacqua, S. Francesco, S. Benedetto, S. Cristoforo, all 1490

1500.--MILAN: Ospedale Grande (or Maggiore), begun 1457 by Filarete, extended by

Bramante, cir. 148090 (great court by Richini, 17th century); S. M. delle Grazie,

E. end, Sacristy of S. Satiro, S. M. presso S. Celso, all by Bramante, 14771499.--ROME:

S. Pietro in Montorio, 1472; S. M. del Popolo, 1475?; Sistine Chapel of Vatican, 1475;

S. Agostino, 1483.--SIENNA: Loggia del Papa and P. Nerucci, 1460; P. del Governo,

14691500; P. Spannocchi, 1470; Sta. Catarina, 1490, by di Bastiano and Federighi,

church later by Peruzzi; Library in cathedral by L. Marina, 1497; Oratory of

S. Bernardino, by Turrapili, 1496.--PIENZA: Cathedral, Bishop's Palace (Vescovado),

P. Pubblico, all cir. 1460, by B. di Lorenzo (or Rosselini?). ELSEWHERE (in chronological

order): Arch of Alphonso, Naples, 1443, by P. di Martino; Oratory S. Bernardino,

Perugia, by di Duccio, 1461; Church over Casa-Santa, Loreto, 14651526; P. del

Consiglio at Verona, by Fra Giocondo, 1476; Capella Colleoni, Bergamo, 1476; S. M. in

Organo, Verona, 1481; Porta Capuana, Naples, by Giul. da Majano, 1484; Madonna

della Croce, Crema, by B. Battagli, 14901556; Madonna di Campagna and S. Sisto,

Piacenza, both 14921511; P. Bevilacqua, Bologna, by Nardi, 1492 (?); P. Gravina,

Naples; P. Fava, Bologna; P. Pretorio, Lucca; S. M. dei Miracoli Brescia; all at close of

15th century.

16TH CENTURY--ROME: P. Sora, 1501; S. M. della Pace and cloister, 1504, both by

Bramante (façade of church by P. da Cortona, 17th century); S. M. di Loreto, 1507, by

A. da San Gallo the Elder; P. Vidoni, by Raphael; P. Lante, 1520; Vigna Papa Giulio,

1534, by Peruzzi; P. dei Conservatori, 1540, and P. del Senatore, 1563 (both on

Capitol), by M. Angelo, Vignola, and della Porta; Sistine Chapel in S. M. Maggiore, 1590;

S. Andrea della Valle, 1591, by Olivieri (façade, 1670, by Rainaldi).--FLORENCE: Medici

Chapel of S. Lorenzo, new sacristy of same, and Laurentian Library, all by M. Angelo,

152940; Mercato Nuovo, 1547, by B. Tasso; P. degli Uffizi, 156070, by Vasari;

P. Giugni, 15608.--VENICE: P. Camerlinghi, 1525, by Bergamasco; S. Francesco della

Vigna, by Sansovino, 1539, façade by Palladio, 1568; Zecca or Mint, 1536, and

Loggetta of Campanile, 1540, by Sansovino25, Procurazie Nuove, 1584, by Scamozzi.--

VERONA: Capella Pellegrini in S. Bernardino, 1514; City Gates, by Sammichele, 153040

(Porte Nuova, Stuppa, S. Zeno, S. Giorgio).--VICENZA: P. Porto, 1552; Teatro Olimpico,

1580; both by Palladio.--GENOA: P. Andrea Doria, by Montorsoli, 1529; P. Ducale, by

Pennone, 1550; P. Lercari, P. Spinola, P. Sauli, P. Marcello Durazzo, all by Gal. Alessi,

cir. 1550; Sta. Annunziata, 1587, by della Porta; Loggia dei Banchi, end of 16th

century.--ELSEWHERE (in chronological order). P. Roverella, Ferrara, 1508; P. del

Magnifico, Sienna, 1508, by Cozzarelli; P. Communale, Brescia, 1508, by Formentone;

P. Albergati, Bologna, 1510; P. Ducale, Mantua, 152040; P. Giustiniani, Padua, by

Falconetto, 1524; Ospedale del Ceppo, Pistoia, 1525; Madonna delle Grazie, Pistoia, by

Vitoni, 1535; P. Buoncampagni-Ludovisi, Bologna, 1545; Cathedral, Padua, 1550, by

Righetti and della Valle, after M. Angelo; P. Bernardini, 1560, and P. Ducale, 1578, at

Lucca, both by Ammanati.

17TH CENTURY: Chapel of the Princes in S. Lorenzo, Florence, 1604, by Nigetti; S. Pietro,

Bologna, 1605; S. Andrea delle Fratte, Rome, 1612; Villa Borghese, Rome, 1616, by

Vasanzio; P. Contarini delle Scrigni, Venice, by Scamozzi; Badia at Florence, rebuilt 1625

by Segaloni; S. Ignazio, Rome, 162685; Museum of the Capitol, Rome, 164450;

Church of Gli Scalzi, Venice, 1649; P. Pesaro, Venice, by Longhena, 1650; S. Moisé,

Venice, 1668; Brera Palace, Milan; S. M. Zobenigo, Venice, 1680; Dogana di Mare,

Venice, 1686, by Benone; Santi Apostoli, Rome.

18TH AND EARLY 19TH CENTURY: Gesuati, at Venice, 171530; S. Geremia, Venice, 1753,

by Corbellini; P. Braschi, Rome, by Morelli, 1790; Nuova Fabbrica, Venice, 1810.

24. See Appendix C.

25. See Appendix B.

Ebd

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