Giovanni Maria Falconetto of Verona worked at Padua from 1513 to 1534, and in 1524 built the Palazzo Giustiniani, also many of the city as those of S. Giovanni and the Porta Savouarola.
Sangallo.—At the same time that Raphael worked at Rome, Antonio di Sangallo the elder was active at Montepulciano. In 1518 he built the Church of the Madonna di S. Biagio, in 1519 the Palazzo del Monte and that of Tarugi, and the construction of the strong Civita Castellana is ascribed to him.
Giulio Romano, Raphael's friend and pupil, built the Villa Madama at Rome for Cardinal Giulio de' Medici, afterward (between 1523 and 1534) Pope Clement VII. ; in 1526 he erected in Mantua the Palazzo del Te, as well as many other buildings, through which he impressed upon the entire city such an aspect that the grand duke Federigo Gonzaga declared that it was not his city, but Giulio Romano's. The same master afterward built S. Benedetto, south of Mantua. In this church he employed the me dival ground-plan of a three-aisled nave, one-aisled transept, and choir with aisle and chapels; yet not only does the construction deviate from the mediaeval pattern in its comparative lowness. but the nave is entirely separated from the side-aisles by the singular arrangement of the piers, and the apse is divided from the aisle around it by a wall; so that in planning the spaces the architect seems to have had no other aim than to produce some picturesque perspectives. At this period Michelangelo Buonarotti worked at Florence, and in 152o erected the tombs of the Medici in the sacristy of S. Lorenzo.
Jacopo Sansovino was the architect of a series of palaces in Venice in the fourth decade of the sixteenth century—in 1532 the Palazzo Corner della ca Grande, in 1536 the Zecca (mint) and the Library of St. Mark's (pi. 42, fig. 4), and in 1538 the Church of S. Giorgio dei Greci.
Baccio d'Agnolo was active at Florence until his death, in 1543. Though the results are not very magnificent, he had the opportunity to distinguish himself as architect of a series of palaces, including, besides those already mentioned, the Palazzi Serristori, Levi, Roselli del Turco, etc.
Antonio di Sangallo the younger meanwhile went to Rome and directed the construction of St. Peter's until his death, in 1546. At the same period he built the churches of S. Spirito, Our Lady of Loreto (Sta. Maria di Loreto), and the Palazzo Farnese at Rome (pi. 43, fig. 5), to which Michelangelo afterward added the grand crowning cornice. The Pa lazzo Buoncompagni at Bologna arose in the year 1545.
the death of Sangallo, Michelangelo under took the continuation of St. Peter's at Rome (figs. 1, 2), on which he worked without remuneration for the good of his soul from 1546 until his death, in 1564. He transformed the entire structure. Bramante had com menced it as a Greek cross; Raphael would have made it a Latin one. Michelangelo went back to the idea of a Greek cross, which Peruzzi had already continued with four small domes set around the principal dome; Antonio di Sangallo's design returned to the Latin cross. According to Michelangelo's plan, the grand dome would dominate the façade as well as the transepts. It was he who gave to the dome its mag nificent dimensions and beautiful profile, and he arranged the spacing of the pilasters of the interior as they appear to-day. Doubtless he laid out the immense attic—that new storey above the principal cornice—and thus attained for the whole a harmony of proportion which was admirable, but which was destroyed afterward by the addition of the nave. His design, which he was not permitted to carry out entirely, was continued after his death, but iu 1605 Carlo Maderna altered the plan to a Latin cross. Other works of Michelangelo at Rome are the design of the Capitol, the con struction of Sta. Maria degli Angeli, and, in the last days of his life, the Porta Pia.
After the death of its former architect the Palazzo Farnese at Rome was undertaken by Michelangelo, who erected the upper part of the façade and employed in the columned arcades of the court the antique pillar system with attached half-columns, which he executed in two storeys. In later times the harmony of this massively-impressive design has been in jured by the addition of a third storey.