+VERONA.+ Outside of Rome, palace-building took on various local and provincial phases of style, of which the most important were the closely related styles of Verona, Venice, and Vicenza. _Michele Sammichele_ (1484-1549), who built in Verona the +Bevilacqua+, +Canossa+, +Pompei+, and +Verzi+ palaces and the four chief city gates, and in Venice the +P. Grimani+, his masterpiece (1550), was a designer of great originality and power. He introduced into his military architecture, as in the gates of Verona, the use of rusticated orders, which he treated with skill and taste. The idea was copied by later architects and applied, with doubtful propriety, to palace-façades; though Ammanati’s garden-façade for the Pitti palace, in Florence (cir. 1560), is an impressive and successful design. +VENICE.+ Into the development of the maturing classic style _Giacopo Tatti Sansovino_ (1477-1570) introduced in his Venetian buildings new elements of splendor. Coupled columns between arches themselves supported on columns, and a profusion of figure sculpture, gave to his palace-façades a hitherto unknown magnificence of effect, as in the +Library of St. Mark+ (now the Royal Palace, Fig. 172), and the +Cornaro+ palace (P. Corner de Cà Grande), both dating from about 1530-40. So strongly did he impress upon Venice these ornate and sumptuous variations on classic themes, that later architects adhered, in a very debased period, to the main features and spirit of his work. [Illustration: FIG. 172.--LIBRARY OF ST. MARK, VENICE.] +VICENZA.+ Of _Palladio’s_ churches in Venice we have already spoken; his palaces are mainly to be found in his native city, Vicenza. In these structures he displayed great fertility of invention and a profound familiarity with the classic orders, but the degenerate taste of the Baroque period already begins to show itself in his work. There is far less of architectural propriety and grace in these pretentious palaces, with their colossal orders and their affectation of grandeur, than in the designs of Vignola or Sammichele. Wood and plaster, used to mimic stone, indicate the approaching reign of sham in all design (+P. Barbarano+, 1570; +Chieregati+, 1560; +Tiene+, +Valmarano+, 1556; +Villa Capra+). His masterpiece is the two-storied arcade about the mediæval +Basilica+, in which the arches are supported on a minor order between engaged columns serving as buttresses. This treatment has in consequence ever since been known as the _Palladian Motive_.