neighbouring tower of Prato and Giotto’s famous campanile are later and richer modifications of the same type. In the tower of Santo Spirito (Fig. 41) Baccio d’Agnolo has taken the Lombard scheme and clothed it with a pseudo-classic dress. While his classic details have much of that elegance which belongs to the best Italian work, they are out of place in such a structure. The tall pilaster-strips of the mediæval tower gave an expression as of an organic skeleton running through the building. They had been developed out of the classic pilaster to meet the needs of the mediæval type of structure, and in substituting the superimposed classic orders for the appropriate continuous members, the artist did violence to the true principles of design. [Illustration: FIG. 41.--Tower of Santo Spirito.] The lantern with which this tower is crowned is an adaptation of Brunelleschi’s lantern on the dome of the cathedral, but made more aspiring in form, so that the general outline is like that of a Gothic spire. But the form of a Gothic spire is far removed from anything that is proper to classic composition. Returning to San Biagio, it may be said that the orders here have a closer conformity with those of classic antiquity than occurs in the earlier monuments already mentioned, except the Tempietto of San Pietro in Montorio by Bramante. [Illustration: FIG. 42.--Santissima Annunziatta, Arezzo.] In the nave of the church of Santissima Annunziatta in Arezzo, the same architect produced a different design. The nave (Fig. 42), of only three bays, is covered with a barrel vault, and the aisles have small domes on pendentives. The supporting piers are square with a shallow Corinthian pilaster on the face of each and an entablature passing over the crowns of the arches. The archivolts are deep, and each one is moulded on the face and plain on the soffit. These are carried on plain pilasters with simple impost mouldings. The wall above the entablature is plain and unbroken, except by a round-arched window over each bay of the ground story, and is crowned with a heavy cornice from which the vaulting springs. We have here a structural system of imperial Roman massiveness, necessitated by the use of the great barrel vault. After the early part of the sixteenth century Italy produced few architects of a high order of genius. Most of the more advanced neo-classic art is the work of mediocre men who, while professing to be ardent advocates of grammatical correctness according to the ancient rules, were hardly less capricious in their misuse of classic elements than their predecessors had been. To enter upon the examination of any large number of buildings in this later Renaissance style would be tedious and unnecessary; but in addition to what we have already seen of it in the work of Michael Angelo in St. Peter’s, we may give some attention to a few characteristic works of the two leading architects of the later time: Vignola and Palladio.