As for the rest of the church of St. Peter, we need give attention to that part only which was designed by Michael Angelo on the basis of the original scheme of Bramante, namely, all to the eastward of,[65] and including, the first bay west of the crossing. The western bays of the nave as it now stands were, as is well known, added at a later time by the architect Maderna. The plan (Fig. 31) of the earlier part is thoroughly fine, and if the elevation had been made consistent with this plan, St. Peter’s might have been one of the noblest monuments in Christendom. But the architects of the Renaissance rarely sought consistency in design; they were prone, from first to last, to mix incongruous elements. The essentially Byzantine plan here adopted could not be carried out in elevation with classic Roman details with a noble result; and the attempt which Michael Angelo made to produce an architectural effect foreign to the real structural system led of necessity, not only to such inconsistencies as are common in Renaissance motives, but to some awkward makeshifts which have not, I believe, been hitherto noticed by writers on this edifice. Following what appears to have been Bramante’s intention, Michael Angelo constructed barrel vaults over the arms of the cross,[66] supporting them on piers and arches which had been begun by Bramante. To this simple and reasonable scheme he applied a colossal order of Corinthian pilasters, a pair against each pier, as Alberti had done on a smaller scale at Mantua, and as Bramante appears to have intended in the great piers of the crossing, if not in all of the others. Apart from the superficial and purely ornamental character of the order, and its inappropriateness as ornament in such a system, its exaggerated scale dwarfs the effect of magnitude in the whole interior. The eye naturally estimates this magnitude by the customary proportions of a large classic order, and while these are by no means fixed, there is an approximate mean scale upon which we base our judgment. No beholder on entering St. Peter’s can, indeed, fail to be impressed with the unusual size of the order; but he is not apt to realize how far it exceeds the largest orders of antiquity. The order of the Parthenon is about forty-five feet high, and that of the portico of the Pantheon is about sixty feet. These are exceptionally large among the orders of Greek and Roman antiquity[67] but the order of St. Peter’s is one hundred feet high. [Illustration: FIG. 31.--Plan of St. Peter’s, from Fontana.]