ITALIAN (ROMAN) RENAISSANCE. 467 fortress situated on the spur of a mountain looking down into the valley, recalling Hadrian's tomb in mass and outline, while the internal circular court is suggestive of the Colosseum at Rome (see the Chateau de Chambord, page 500). S. Andrea, Rome (a.d. 1550) (No. 199) one of his earlier and smaller works, is a simple oblong on plan having an elliptical dome with pendentives. The two small cupolas at S. Peter (No. 203 e), and the unfinished municipal palace at Bologna, are other works. The Gesia Church (a.d. 156S-1632 (No. 199) is one of many designed on the lines of S. Peter, Rome. MICHAEL ANGELO (a.d. 1474-1564), a famous Florentine sculptor, and painter of the roof of the Sistine Chapel in the Vatican (a.d. 1508), representing the Fall and Redemption of Mankind, also turned his attention, late in life, to architecture, but reckless detail mars his work. He finished the Farnese Palace, and carried out the Dome of Sr Peter (page 471), but perhaps his best Avork was the recon- struction of the Palaces of the Capitol (a d. 1540-1644) (Nos. 200 and 201), i^rnnd examples of one-order buildings. His principal works at Florence were the Mausoleum (or New Sacristy) (a.d. 1520) (No. 193 d), having statutes of his patrons, Lorenzo and Giuliano de Medici, and the Laurentian Library (a.d. 1524), both at S. Lorenzo. S. Peter, Rome (1506-1626), was the most important build- ing erected in the period, and many architects were engaged upon it. In plan (Nos. 203 and 213) it was a Greek cross, the later extension of the nave and aisles toward the east practically bringing the whole scheme to a Latin cross. This was probably effected so as to inclose the whole of the area of the previously existing church (No. 75 c). The nave, 80 feet wide, consists of four bays of mimense size, the central crossing is covered by the dome, 137 feet 6 inches in diameter, and the short transepts are terminated by semicircular apses, the western arm being precisely similar. The high altar stands under the dome, within a " baldachino," 100 feet high, over the alleged tomb of S. Peter. A vestibule at the East end extends the whole width of the church,' the chancel being at the west end. The interior (No. 204) has one gigantic order of Corinthian pilasters, crowned with semicircular barrel vaults, 150 feet hi^rh. The walls are faced with plaster, and colored to imitate marble, producing a rich effect, and the dome is beautifully decorated in mosaic. "No single parts unequally surprise, All comes united to th' admiring eyes."— Pope. H H 2
