ITALIAN (ROMAN) RENAISSANCE. 463 with travertine dressings from the Colosseum. Cokimns or pilasters are used only in a special way to form frames to the windows, each of the stories being well marked horizontally by projecting string courses. The grand crowning cornice, which was a special feature,in the original design (No. 198 b) was added later by Michael Angelo. The internal open court (" cortile ") is in the style of the Colosseum, and a reduced cast of a portion of it may be seen in the Italian Renaissance Court at the Crystal Palace, and the " motif"' was followed for the Reform Club, London. Raphael (a.d. 1483-1520) was the nephew and pupil of Bramante, but authorities differ as to his exact responsibility for the designs ascribed to him. At Rome, he was engaged on S. Peter, but did little. He designed the fa9ade of 5. Lorenzo in Miranda, and also the Villa Madania (a.d. 1516), the stucco decorations being by Giulio Romano. The Pandolfini Palace, Florence, erected in 1530 (ten years after his death), is one of his most famous designs, the " motif being afterwards followed for the Travellers' Club, London. The excavation of the Baths of Titus gave Raphael an oppor- tunity of studying the interior decoration of ancient Roman buildings, and the use of hard stucco with painted decorations was one of the things he learned from these remains. The surface of the vaulting was found to be painted with studies from the vegetable kingdom, with figures of men and animals, and with such objects as vessels and shields, all blended together in fanciful schemes, rendered pleasing by bright coloring. The designs for the decoration of the Vatican Loggie, which he carried out, were based on these Roman examples. Giulio Romano (a.d. 1492-1546) was a pupil of Raphael, and was the architect of buildings at Mantua, including his master- piece the Palazzo del Te, which is a one-story building, decorated with the Doric order. It is quadrangular in plan, and comprises large saloons round a central court. The recessed arcaded fa9ade to the garden and the painted ceilings are remarkable, and the design is perhaps the nearest approach made on the part of a Renaissance architect to reproduce the features of a Roman villa. G. BAROZZI DA VIGNOLA (a.d. 1507-1573) exercised great influence by his writings, and was the author of " The Five Orders of Architecture." Being taken back to France by Francis I. (page 497), he exercised a great influence on the development of French Renaissance architecture. The Villa of Pope Julius, now the Etruscan Museum, Rome (a.d. 1550) (No. 23S d, e), is one of his best known works. The Palace of Caprarola (No. 201) is a pentagonal semi-
