In Florence, Baccio d'Agnolo's son Domenico was active in construct ing the Palazzo Nicolina (now Buturlino); in the same city Giovanni Antonio Dosio built the Palazzo Larderel, and Bernardo Tasso (1547) erected the arcades of the Mercato Nuovo.
In 1549, Palladio obtained the commission to rebuild the medimval town-hall of Vicenza, and executed it by erecting a basilica of pure mar ble which shows two storeys of arched windows.
The palace of Admiral Andrea Doria was built about the middle of the sixteenth century at Genoa, and in I55o the Palazzo Ducale (now the Palazzo della Prefettura), the former by the Florentine master "Fra Giovanni Agnolo Moutorsoli, the latter by Rocco Pennone.
Giacomo Barozzi Vignola has had considerable influence upon the development of Architecture by the work he wrote upon the orders of columns. In this work he gave even the minutest proportions of the columns, pillars, arches, and entablatures of the antique monuments of the later epochs, as well as of the works of his contemporaries, and above all his own compositions, and so established rules which exercised a pow erful influence not only on buildings, but also on all other arts and industries, and was also instrumental in spreading the Italian style in other lauds. Although afterward taste altered, although many of his followers employed other orders, yet his system retained its power in all periods. Among his edifices erected about the middle of the century must be particularly named the Castle of Caprarola, between Rome and Viterbo (A/. 43, fig. 6), as well as the Villa of Pope Julius III., which he and Vasari built at Rome in 1550-1555.
Andrea Marchesi built the Palace of Malvezzi-Campeggi, with its exquisite court, and also the Palazzo Fantuzzi at Bologna. The Palazzo Bolognetti, of which the lower part is older, was completed in 1551. Annibale Lippi erected the Villa Medici at Rome about 1551, and in 1552 Sansovino built the Fabbriche Nuove at Venice. Between 1555 and 1559, Pirro Ligorio built the Villa Pia in the Vatican garden. The Uffizi at Florence was built by Vasari iii 156o.
Galeazzo Alessi was a leading master of the second half of the six teenth century. He worked chiefly in Genoa, and constructed a number of considerable palaces and villas, among which are the Palazzi Lercari, Spinola, and Sauli (1553), the beautiful court of the last-named of which is shown on Plate 41 (fig. 4). He also constructed the famous Sta. Maria
da Carignano, in which he approached St. Peter's, which at that time was under the direction of Michelangelo, and in the interior he attained a par ticularly harmonious effect.
Bartolommeo Ammanati, a pupil of Sansovino, was at work during the second half of the sixteenth century principally in Florence, where he built many private houses, the courts of which are adorned with porti coes. His chief works are the Great Santa Trinity bridge over the Arno and the court of the Palazzo Pitti.
The small Palazzo Riccardi at Florence, built in 1565, is a work of Bernardo Buontalenti, who also erected the entrance-hall of the hospital (Ospedale Sta. Maria Nuova) in that city.
Church of II GesIi.—Among the most conspicuous churches at Rome built in the second half of the sixteenth century is that of Il erected by Vignola in 156S. This has a tunnel-vaulted nave with a row of chapels on each side, a cupola, and tunnel-vaulted transepts and choir ending in an apse—all arrangement which henceforth, particularly with a façade having two towers, was for a long time predominant, and which to a certain extent put a stop to the individual endeavors of the masters of the Renaissance to work out a suitable form of church. It was, in fact, a new ideal for the Church, corresponding with the taste of the times. It does not differ very widely from that of the Middle Ages.
Though these churches were not carried so high as the French cathe drals of the mediaeval times, the massive pilasters gave them an aspiring effect. The ample space of the nave formed a fit place for the reception of a great assemblage in front of the pulpit, where each could see the Host as it was brought to the altar. In the side-chapels individuals could carry on their devotions undisturbed or several priests could read mass at the same time. The light falling from the cupola and the lighting of the separate chapels, as well as of the principal aisle, transepts, and choir, are extraordinarily effective—almost theatrical. The arrangement, which would be sober for simple forms, could by pompous stucco-ornamenta tion, such as was executed at a later date, be caused to make a bewil dering impression.