176 ARCHITECTURE. 
nal section, was commenced by Palladio in the year 1576. It consists of 
a nave 92 feet long and 36 feet broad, flanked by very richly decorated 
chapels. Its transept or the cross-arms terminate in semicircular niches or 
apsides. The three-quarter columns upon the facade and the Roman 
capitals are of burnt clay. Next the dome stand two small pyramidal 
towers. The walls supporting this dome are only 4 feet 6 inches thick. The 
half columns in the interior of the church have beautiful Corinthian capitals 
after those of the Pantheon at Rome. Altogether the general impression of 
the church recalls that of the Pantheon. The arrangement of the three 
gables above and behind each other can hardly be counted a beauty, 
especially as the great attic weakens the effect of the principal gable. The 
placing of the gables behind each other, as in the Pantheon at Rome, was 
there a necessity because the portico was added to a portal already com-. 
pleted. But in the design of a new fagade that should have been avoided, 
especially when the gables must all lie nearly in the same plane, and can- 
not be placed at greater distances one behind another. 
The Library upon the Piazzetta is another notable building illustrative of 
this period of Venice. The library was formerly kept there, but it is 
now devoted to the residence of the viceroy and is called Palazzo Regio. 
Pl. 42, fig. 15, is the view of one side of it, jig. 16 represents the upper 
order of columns and the entablature, and jigs. 17 and 18 are two of the 
statues which adorn the attic of the building. The facade represented is 
the one towards St. Mark’s Place. The palace itself was built in 1536 from 
a drawing of Sansovino’s, and completed by Scamozzi. The lower story is 
elevated three steps above the Piazzetta. The front is formed by 21 arches 
resting upon Doric half columns standing against pillars. On the sides there 
are three arches. The main story has Ionic half columns, and the windows 
on the sides fluted Ionic columns. At the side of every arch victories are 
carved in relief, and upon the ground story masculine allegorical figures. 
The key-stones of the arches are well executed masks. The frieze is dispro- 
portionately high and heavy, and has oval windows. The vaulted ceiling 
of the former library hall is painted finely in fresco by several masters. 
In the church of St. John and St. Paul in Venice is the monument of 
the Doge Andreas Vendramini, who, after a short and not famous reign, 
died in 1478, and we mention it here because in few contemporary monu- 
ments is the effort to reach the antique so clear and striking as in this. 
Pl. 43, fig. 18, gives the general view, and jig. 19 the ground plan in half 
the size of the view. The monument has a double substructure. The cube 
of the first is richly adorned with arabesques, while the second appears to 
be the pedestal proper of the columns resting upon it, and contains the 
epitaph. The Corinthian columns, with attic bases, are 10 diameters in 
height, and stand one diameter from the wall. The four Corinthian pilas- 
ters are adorned upon the shafts with ornamented panels, and inclose two 
niches upon the sides, in which stand two very profane images, apparently 
of Bacchus and Venus, represented as Adam and Eve. Near this stands a 
pair of statues upon pedestals representing Roman generals. The middle 
niche contains the sarcophagus of the Doge ornamented with eagles, near 
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