ITALIAN (ROMAN) RENAISSANCE. 457 popes at Rome and Avignon was terminated in 141 5 by the Council of Constance, after which Rome rapidly gained in wealth and prestige. Julius II., a warlike and ambitious pope, extended the temporal power, and founded the new cathedral of S. Peter and the Vatican. , Rome was, for the last and seventh time, taken and plundered on the 6th May, 1527, by the Emperor Charles V. Spanish influence became powerful, and was not always exerted for good, but it was replaced by that of France, which was strong under Louis XIV. The growth of the power of Austria was next felt throughout the Peninsula, until the rise of national feeling which, though checked in 1848, led in 1870 to Rome becoming the capital of New Italy. This remarkable revolution was effected without Rome ceasing to be the headquarters of the papacy. 2. ARCHITECTURAL CHARACTER. The Classic orders were largely used in the facades and court- yards (Nos. 195, 196 and 200), and a general attempt at correctness and conformity to the ideas of ancient Roman architecture pre- vailed. The size and simplicity of the palaces of Rome produce an effect of dignity (No. 197). The principle which animated architects in the later school was that of unity, which they endeavoured to attain by making a whole building appear to be of a single story ; thus two or more stories were included by an order of pilasters, which was some- times crowned by an attic, but never by another superimposed order. Arcuation was only sparingly introduced, except in the form of tiers of arcades, in imitation of the Colosseum. 3. EXAMPLES. BRAMANTE (1444-1514), the first Roman architect of note, was born in the year that Brunelleschi died, educated as a painter under Andrea Mantegna, and was probably a pupil of Alberti. He was a Florentine by birth, but studied at Rome, practising first in the city of Milan, and in the ducal dominions. S. Maria della Grazie, Milan (a.d. 1492), an abbey church of the fifteenth century, to which Bramante added the choir, transepts and dome, is essentially transitional in style with Gothic feeling, but is most successful and suitable in detail for the terra-cotta with which it was constructed. The Cancellaria Palace (a.d. 1495-1505) (No. 196) and the Giraud Palace (1503) (No. 195) are examples of Bramante's later works, in which a more pronounced classical tendency is seen.
