+BRAMANTE’S WORKS.+ While precise time limits cannot be set to architectural styles, it is not irrational to date this period from the maturing of Bramante’s genius. While his earlier works in Milan belong to the Quattrocento (S. M. delle Grazie, the sacristy of San Satiro, the extension of the Great Hospital), his later designs show the classic tendency very clearly. The charming +Tempietto+ in the court of S. Pietro in Montorio at Rome, a circular temple-like chapel (1502), is composed of purely classic elements. In the +P. Giraud+ (Fig. 166) and the great +Cancelleria+ Palace, pilasters appear in the external composition, and all the details of doors and windows betray the results of classic study, as well as the refined taste of their designer.[24] The beautiful courtyard of the Cancelleria combines the Florentine system of arches on columns with the Roman system of superposed arcades independent of the court wall. In 1506 Bramante began the rebuilding of St. Peter’s for Julius II. (see p. 294) and the construction of a new and imposing papal palace adjoining it on the Vatican hill. Of this colossal group of edifices, commonly known as the +Vatican+, he executed the greater Belvedere court (afterward divided in two by the Library and the Braccio Nuovo), the lesser octagonal court of the Belvedere, and the court of San Damaso, with its arcades afterward frescoed by Raphael and his school. Besides these, the cloister of S. M. della Pace, and many other works in and out of Rome, reveal the impress of Bramante’s genius, alike in their admirable plans and in the harmony and beauty of their details. [Footnote 24: See Appendix C.] [Illustration: FIG. 166.--FAÇADE OF THE GIRAUD PALACE, ROME.] +FLORENTINE PALACES.+ The P. Riccardi long remained the accepted type of palace in Florence. As we have seen, it was imitated in the Strozzi palace, as late as 1489, with greater perfection of detail, but with no radical change of conception. In the +P. Gondi+, however, begun in the following year by _Giuliano da San Gallo_ (1445-1516), a more pronounced classic spirit appears, especially in the court and the interior design. Early in the 16th century classic columns and pediments began to be used as decorations for doors and windows; the rustication was confined to basements and corner-quoins, and niches, loggias, and porches gave variety of light and shade to the façades (+P. Bartolini+, by _Baccio d’Agnolo_; +P. Larderel+, 1515, by _Dosio_; +P. Guadagni+, by _Cronaca_; +P. Pandolfini+, 1518, attributed to Raphael). In the +P. Serristori+, by Baccio d’Agnolo (1510), pilasters were applied to the composition of the façade, but this example was not often followed in Florence.