This palace is only one of many instances to be found in Italy of the skill in more walks of art than one, of some of the greatest artists. Raphael, though best known as a painter, executed works of sculpture of great merit, and designed some other buildings besides the one now under notice. The Pandolfini Palace (Fig. 63) is small, the main building having only four windows in the front and two storeys in height, with a low one-storey side building. Its general design has been very successfully copied in the Travellers' Club House, Pall Mall. On comparing this with any of the previously named designs, it will be seen that the semicircular headed windows have disappeared, the rusticated masonry is only now retained at the angles, and to emphasise the side entrance; and a small order with a little pediment (_i.e._ gable) is employed to mark each opening, door or window. In short this building belongs not only to another century, but to that advanced school of art to which we have given the name of developed Italian Renaissance. [Illustration: FIG. 62.--PART OF THE LOGGIA DEL CONSIGLIO AT VERONA. (16TH CENTURY.) Showing the incised decoration known as _Sgraffito_.] In Florence some of the work of Michelangelo is to be met with. His own house is here; so is the famous Medici chapel, a work in which we find him displaying power at once as a sculptor and an architect. This interior is very fine and very studied both in its proportions and its details. The church of the Annunziata, remarkable for a fine dome, carried on a drum resting directly on the ground, is the foremost Renaissance church in Florence. The contrast between early and matured Renaissance can indeed be better recognised in Florence than in almost any other city. The early work, that of Bramante, Brunelleschi, and the architects who drew their inspirations from these masters, was delicate and refined. The detail was always elegant, the ornament always unobtrusive, and often most graceful. Features comparatively small in scale were employed, and were set off by the use of plain wall-surface, which was unhesitatingly displayed. The classic orders were used in a restricted, unobtrusive way, and with pilasters in preference to columns; and though probably the architects themselves would have repudiated the idea that the Gothic art, which they had cast behind them, influenced their practice of revived classic in the remotest degree, it is nevertheless true that many of these peculiarities, and still more the general quality of the designs, were to a large extent those to which the practice of Gothic architecture had led them.