Michael Angelo, who designed the dome, wished to adopt the plan of the Greek cross, that is, with equal arms, as shown in the accompanying plan. The result would have been much more monumental and would have given the dome its due effect within a moderate distance, while now it can only be properly judged from afar, and the high façade terminating the nave is both poor in composition and detrimental to the general conception. The building is essentially Classic in all its details, but differs from the general design of any particular Classical building. The nave is formed by a Corinthian arcade similar to those of ancient Rome, though on a vastly larger scale, supporting a tunnel-vault, which is decorated with sunken panels like those of the ancient Baths. The dome is supported on a circular drum carried on four immense piers and improves on the Pantheon only in size, while it is surpassed by St. Sophia in scientific construction. The cathedral is most richly, even gaudily, decorated within, with coloured marbles and mosaics and contains numerous tombs of great magnificence and an altar with twisted columns designed by Bernini. It is the largest church in the world, and yet its proportions are so harmoniously, or inharmoniously designed, that it does not produce a corresponding sense of its vastness upon the beholder. The single order occupying the height of two stories is a feature, the invention, or rather arrangement of which, is attributed to Michael Angelo. In subsequent buildings it was nearly always adopted in preference to the smaller orders marking each floor. The life of this great artist forms of itself a chapter in the history of architecture. Michael Buonarotti, surnamed Angelo, the most brilliant architect of the sixteenth century, was born of noble parentage in Arezzo in the year 1575. He developed extraordinary talents at an early age, and after outstripping his first instructor, took up his residence in Florence, where he studied anatomy and the human figure until he became the most expert draughtsman of his time. In Rome, where he was summoned by Julius II., he produced several fine works in statuary, but owing to the jealousy of Bramante was forced to quit the city and return to Florence. There he aided the citizens to sustain a siege during a year, by his superior knowledge of fortification, and subsequently went to Venice, where he designed the famous Rialto bridge. At the earnest solicitation of the pope he returned to Rome and commenced the great paintings in the Sistine Chapel, to which work he had been assigned by the counsels of Bramante, who wished to prove his inferiority to his own nephew Raphael. The result of the work, completed in a marvellously short period, however, was so successful that all Rome ran to see it.