besides the four great arches over the tribune, can be said to be his. Owing to pontifical troubles, the work was allowed to remain in abeyance, until 1546, when it was committed to the celebrated Michael Angelo, who changed Bramante's design, of a Latin Cross, into a Greek Cross; and also designed the cupola, or dome, a model of which he formed, so that it should remain in the event of his not surviving, to complete the work. He was only spared, however, to labor at this grand task for 17 years, which he did entirely without any remuneration, having refused to accept aught for his labors. After his death, in 1564, in his 90th year, strict orders were issued by the Pope that Michael Angelo's plans and model should be minutely adhered to. Giacomo Barozio da Vignola in 1564, and Porta, in 1573, assisted by Domenico Fontana, successively carried on the work; and, at length, by the last named, in the pontificate of Sixtus V., the cupola was raised, after Michael Angelo's model.
In 1606 the plan of this building was again changed to a Latin Cross by Pope Paul Y., who also erected the Portico, with the grand font, after a design of Carlo Maderno, an eminent architect. Thus, after being 67 years in hand, was finished this grand work, which surpasses all the most celebrated buildings, ancient or modern, not only in size, but in the excellence and beauty of its construction, and the elegant embellishments and admirable works of art, with which it is enriched.
About this time we must mention Andrea Palladio, a celebrated Italian architect, who was born in 1518; and, at a quite early age, obtained for himself a very high reputation, by the skill and taste displayed in numerous works of importance intrusted to him. Among them, we may name the Palace Foscari, in Venice, built in a style of pure antiquity. To Palladio is chiefly attributable the classic taste, which reigns in so many of the old buildings of Italy. His chef d'œuvre, however, is the Olympic Theatre at Vincenza. The Palladian style, which originated with and has been named after him—has Avon for him an honorable and imperishable reputation.
Coming down more closely to our own times, we have Inigo Jones, a distinguished architect, born about 1572. He was Surveyor-General of Works under James I. and Charles I., and effected a great change in the style of the ecclesiastical architecture of England in that period.
Sir Christopher Wren, who was born in 1632, continued the good work begun by Inigo Jones; and the result of his labors in the art can be seen, to this day, in the numerous edifices, forming the attractions of the British metropolis, which owe their existence to his mastermind. He himself designed and erected no less than fifty parish churches, crowned by that noblest of all modern structures, St. Paul's Cathedral; the Monument, and other numerous public edifices in London; the Royal Palaces of Hampton Court and Winchester; and the Royal Hospital of Chelsea and Greenwich; besides others which we have not here space to enumerate, and any one of which would, of itself, be fame for any artist. It is worthy of remembrance and note, that on St. Peter's of Rome there were, from first to last, more than twenty architects, amongst whom were such men as Bramante, Raphael, Michael Angelo, Fontana, Bernini and Maderno, while Wren, single-handed, and unaided, planned and brought to a successful accomplishment, St. Paul's Cathedral. He died on the 25th of February, 1723, in his ninety-first year; and the inscription on his grave, in the family vault under St. Paul's, is a fitting tribute to the high services he has rendered the art: "Si monumentum quasris circumspice"—"If thou seekest my monument, look around thee."
Of still later times, we have Sir John
