Since large buildings cannot be finished in a year, many of those men tioned were afterward added to, and we cannot fix upon any precise year when we state that in general the feeling for delicacy of form was more and more relaxed as the sixteenth century advanced, that a more literal and cold of the antique elements soon became general, and that detail, in the sense of the detail of the time of the Roman Empire, assumed more and more importance and determined the entire character of the work. Thus, Bramante, when he worked at Rome, about 13oo, approached more nearly to the antique, yet without permitting the detail entirely to overpower the ensemble.
While in the earlier works a certain romantic spirit—evident in the characteristic freedom of the entire composition—reigns over the whole, a deeper study of the remains of the Roman Empire afterward brought about a greater simplicity and massiveness of the entire design. Charac teristic is the Palazzo della Cancellaria (A/. 43, fig. 3), which is set behind a part of the symmetrically-designed façade of SS. Lorenzo e Damaso without allowing any outward mark of the union to be seen. The entire structure in its massive simplicity recalls the grandeur of the structures of ancient Rome. The Palazzo Giraud shows an almost similar system. A German architect constructed the German national church at Rome (Sta. Maria deli' Anima) under Bramante's influence; and perhaps also the design of the Casa Santa at Loretto comes from Bramante (perhaps from Sansovino). The designs for St. Peter's were made under Bramante's influence; he himself prepared one showing a Greek cross, and according to it began the colossal structure.
artistic successor after his death, in 1514, may be considered to be Baldassare Peruzzi, who built the Villa Farnesina at Rome in 1509 for the rich merchant and art-patron Agostino Chigi. Pertizzi's Massimo Palace adapts itself to an irregular space and follows the curve of the street, yet has some extraordinarily picturesque parts. The small palace shown in Figure 4 proves that Peruzzi was a follower of Bramante.
Sonmiebeli. —At the period when Bramante commenced work at Rome, Michele Samnicheli, then twenty years old, came there also, but afterward went to Montefiascone, where he erected the Church of Madonna dclle Grazic. From Mon tefiascone he went to Orvieto, where he became archi tect of the cathedral. Pope Clement allied him with Antonio di Saugallo
for the reparation and streng-thening, of the fortifications throughout the Papal States, and still later he worked at Venice and Verona; of which more anon.
Rajthael Palazzo Pizzardi at Bologna, in whose magnifi cent columned court ancient brick-construction achieved a new triumph, belongs to the commencement of the sixteenth century. Under Bra mante's influence the fatuous Raphael Sanzio, who had devoted a full year of his life to the study of antique structures, was appointed architect. As a fruit of his study a still greater massiveness of the details is conspicuous. The windows, as in many late classical edifices, compose a temple-facade with alternating inclined and curved pediments, as in the Sun-temple at Baalbec, and in the Pantheon and many late buildings at Rome. The cornice, archxologically correct, imitated the antique, yet the rustications remained in their rich formal entirety.
The next application of this system may without doubt be attributed to Baccio d'Agnolo, who applied it to the Palazzo Bartolini-Salimbeni at Florence. Whether, in fact, this building antedates Raphael's is of little importance, since it does not detract from the fame of the men who took these motives from the ancients. At any rate, Raphael employed it on a grand scale, as he designed the plans for the Palazzo Pandolfini at Flor ence, which after his death was finished in accordance with his directions. Raphael's works in Rome are the Palazzi Uguccioni and Vidoni and the superintendence of St. Peter's.
After the death of Raphael, Peruzzi undertook the superintendence of the construction of St. Peter's, but after. the taking of the city by the Germans, in 1527, he fled to his native city of Siena, where he worked upon the cathedral and built the Church of the Servi, and where many structures preserve his memory. .
The construction of S. Antonio at Padua, with its cupolas, as well as its model, St. Mark's at Venice, was still powerful in its influence at this period, and Andrea Riccio, or Briosco, began in 1520 the magnificent Church of S. Giustiva at Padua after the same prototype, with cupola after cupola. Soon afterward Andrea della Valle and Agostino Righetto built the cathedral of the same city according to the same system.