In the earlier churches that were wholly built under the Roman Renaissance influence, the Byzantine scheme largely prevails in the plan and structural forms, probably because it lent itself to the most effective display of a high central dome. Among the first of these buildings is the church of Santa Maria della Consolazione outside the wall at Todi. The design is attributed to Bramante,[72] and it seems to bear enough resemblance to what we know of his work to justify the attribution. The arms of the cross here take the form of apses, the eastern one being semicircular on plan, and the others polygonal. The dome (Fig. 35) is raised on a high drum, and is almost an exact reproduction of that of San Pietro in Montorio. Its thrusts are thus entirely unbuttressed, but it is probably bound with chains, as was the custom at this time in domes constructed in this manner.[73] The half-domes of the apses are better adjusted. They spring from within the supporting walls, which are carried up high enough to give effective abutment, and are loaded at the haunch by stepped rings of masonry, as in the Pantheon. The details of the interior (Fig. 36) consist of two superimposed orders of small pilasters, with great pilasters on the angles of the crossing reaching from the pavement to the springing of the pendentive arches, and from ressauts of the upper entablature converging ribs rise against the surfaces of the vaults. Several further awkward results are here noticeable as a consequence of this application of the inappropriate classic details to the Byzantine structural scheme. The entablature which is carried around the whole interior at the springing of the vaults, has to do duty at once for the small order of the upper stage and for the great angle pilasters, and thus in so far as it is in good proportion for the one it cannot be so for the other. Then the true magnitudes of the piers and the pendentive arches are falsified by the pilasters and simulated archivolts which spring from them. These piers and arches really embrace in width both the pilasters and archivolts and the spaces of wall and vaulting between them and the pilasters of the smaller orders and ribs which spring from them. The proper and impressive massiveness of the essentially Byzantine system employed is thus contradicted by an apparent skeleton of classic orders simulating an organic structural scheme which has no real existence. [Illustration: FIG. 36.--Interior of Todi.] [Illustration: FIG. 37.--Plan of San Biagio.]