+CHURCHES.+ The type established by St. Peter’s was widely imitated throughout Italy. The churches in which a Greek or Latin cross is dominated by a high dome rising from a drum and terminating in a lantern, and is treated both internally and externally with Roman Corinthian pilasters and arches, are almost numberless. Among the best churches of this type is the +Gesù+ at Rome, by Vignola (1568), with a highly ornate interior of excellent proportions and a less interesting exterior, the façade adorned with two stories of orders and great flanking volutes over the sides (see p. 277). Two churches at Venice, by _Palladio_--+S. Giorgio Maggiore+ (1560; façade by _Scamozzi_, 1575) and the +Redentore+--offer a strong contrast to the Gesù, in their cold and almost bare but pure and correct design. An imitation of Bramante’s plan for St. Peter’s appears in +S. M. di Carignano+, at Genoa, by _Galeazzo Alessi_ (1500-72), begun 1552, a fine structure, though inferior in scale and detail to its original. Besides these and other important churches there were many large domical chapels of great splendor added to earlier churches; of these the +Chapel of Sixtus V.+ in S. M. Maggiore, at Rome, by _D. Fontana_ (1543-1607), is an excellent example. +PALACES: ROME.+ The palaces on the Capitoline Hill, built at different dates (1540-1644) from designs by Michael Angelo, illustrate the palace architecture of this period, and the imposing effect of a single colossal order running through two stories. This treatment, though well adapted to produce monumental effects in large squares, was dangerous in its bareness and heaviness of scale, and was better suited for buildings of vast dimensions than for ordinary street-façades. In other Roman palaces of this time the traditions of the preceding period still prevailed, as in the +Sapienza+ (University), by della Porta (1575), which has a dignified court and a façade of great refinement without columns or pilasters. The +Papal palaces+ built by Domenico Fontana on the Lateran, Quirinal, and Vatican hills, between 1574 and 1590, externally copying the style of the Farnese, show a similar return to earlier models, but are less pure and refined in detail than the Sapienza. The great pentagonal +Palace of Caprarola+, near Rome, by Vignola, is perhaps the most successful and imposing production of the Roman classic school.