+VILLAS.+ The Italian villa of this pleasure-loving period afforded full scope for the most playful fancies of the architect, decorator, and landscape gardener. It comprised usually a dwelling, a _casino_ or amusement-house, and many minor edifices, summer-houses, arcades, etc., disposed in extensive grounds laid out with terraces, cascades, and shaded alleys. The style was graceful, sometimes trivial, but almost always pleasing, making free use of stucco enrichments, both internally and externally, with abundance of gilding and frescoing. The +Villa Madama+ (1516), by Raphael, with stucco-decorations by Giulio Romano, though incomplete and now dilapidated, is a noted example of the style. More complete, the +Villa of Pope Julius+, by Vignola (1550), belongs by its purity of style to this period; its façade well exemplifies the simplicity, dignity, and fine proportions of this master’s work. In addition to these Roman villas may be mentioned the +V. Medici+ (1540, by _Annibale Lippi_; now the French Academy of Rome); the +Casino del Papa+ in the Vatican Gardens, by _Pirro Ligorio_ (1560); the +V. Lante+, near Viterbo, and the +V. d’Este+, at Tivoli, as displaying among almost countless others the Italian skill in combining architecture and gardening. [Illustration: FIG. 168.--ANGLE OF COURT OF FARNESE PALACE, ROME.] +CHURCHES AND CHAPELS.+ This period witnessed the building of a few churches of the first rank, but it was especially prolific in memorial, votive, and sepulchral chapels added to churches already existing, like the +Chigi Chapel+ of S. M. del Popolo, by Raphael. The earlier churches of this period generally followed antecedent types, with the dome as the central feature dominating a cruciform plan, and simple, unostentatious and sometimes uninteresting exteriors. Among them may be mentioned: at Pistoia, S. M. del Letto and +S. M. dell’ Umiltà+, the latter a fine domical rotunda by _Ventura Vitoni_ (1509), with an imposing vestibule; at Venice, +S. Salvatore+, by _Tullio Lombardo_ (1530), an admirable edifice with alternating domical and barrel-vaulted bays; +S. Georgio dei Grechi+ (1536), by _Sansovino_, and S. M. Formosa; at Todi, the +Madonna della Consolazione+ (1510), by _Cola da Caprarola_, a charming design with a high dome and four apses; at Montefiascone, the +Madonna delle Grazie+, by _Sammichele_ (1523), besides several churches at Bologna, Ferrara, Prato, Sienna, and Rome of almost or quite equal interest. In these churches one may trace the development of the dome as an external feature, while in +S. Biagio+, at Montepulciano, the effort was made by _Ant. da San Gallo the Elder_ to combine with it the contrasting lines of two campaniles, of which, however, but one was completed. [Illustration: FIG. 169.--ORIGINAL PLAN OF ST. PETER’S, ROME.]