ITALIAN (ROMAN) RENAISSANCE. 47I The exterior (Nos. 202, 203 and 205), roughly executed in travertine, has an immense order of Corinthian pilasters, 108 feet high including entablature, with an attic 39 feet high surrounding the entire building. The view of the dome from the east except at a distance, is nearly cut off behind the screen wall of the nov/ extended nave. .The design owes much to the circular four-fold colonnades added by Bernini in the seventeenth century, which inclose one of the noblest entrance courtyards in Europe. A good idea of the building, in its general distribution, is to be obtained from the model at the Crystal Palace, in which, however, as in most drawings of the church, the detail is rendered less offensive by its smaller scale. S. Peter was recognised as a model of which numberless churches were erected throughout Italy. The following is a synopsis of the history of this building : — A.D. 1506. — Bvamante, the original architect, formulated a design in the form of a Greek cross with entrances at East end. His design for the dome is shown in No. 203 b, d. Foundation Stone laid. A.D. 15 13. — GiuUano da Sangallo (d. 151 6), Raphael, and Fra Giocondo (d. 151 5), were entrusted with superintendence of the work. Division of opinion existed as to altering original plan to a Latin cross. Raphael's suggested ground plan is shown in No. 203 j. A.D. 1514. — Death of Bramante. A.D. 1520.— Death of Raphael. A.D. 1520. — Baldassare Peruzzi appointed architect, but died 1536. His suggested plan is shown in No. 203 l. The capture and sack of Rome disorganized all artistic work. A.D. 1536. — Antonio da Sangallo the younger succeeded him as architect (d. a.d. 1546). Proposed a picturesque design of many orders, with a central dome (No. 203 c) and lofty campanili. His plan is shown in No. 203 m. a.d. 1546. — Michael Angela appointed architect. He rejected the innovations of Sangallo, restored the design to a Greek cross, strengthened the piers of the dome, which had shown signs of weakness, and simplified the form of the aisles, in which process the masterly planning of the accessories, by Raphael, which were to give scale to the interior, disappeared. He planned and commenced the construction of the great dome, 137 feet 6 inches internal diameter, the drum of which he completed, and at his death (1564) left drawings and models for the completion of the work up to the lantern, the top of which is 405 feet from the ground. A.D. 1564. — Vignola continued the building of the church,
