The Gesù in Rome, another large church by Vignola, and built at about the same time as Santa Maria degli Angeli, is a variation of the same scheme, and shows in a more marked degree the influence of St. Peter’s. A plan of this building, the intended façade which Vignola did not live to construct, and the existing façade by Jacomo della Porta are given in the addendum to the edition of the architect’s book on the Five Orders published in 1617 already referred to (p. 84), and are reproduced in Figures 48, 49, and 50. The aisles are omitted here so that the side chapels, which communicate with each other by narrow openings in the dividing walls, open directly out of the nave. The transept is short, and extends on either side beyond the nave only by the thickness of its walls. An elevated dome on pendentives, circular on plan within and octagonal on the outside, rises over the crossing, and barrel vaults cover the nave and transept arms. The side chapels are vaulted, with small domes on pendentives, except those in the angles of the crossing, which do not require pendentives because their supports are shaped to the circular form as shown in the plan, Figure 48. These supports are made heavier than the others in order to strengthen the crossing piers, which, in consequence of this reënforcement, do not need to advance so far into the space under the great dome as they otherwise would. In Santa Maria degli Angeli the aisles prevent this treatment, and the crossing piers extend far into the nave and narrow the spans of the crossing arches. The scheme of the interior of the Gesù is a close reproduction of that of St. Peter’s, though the great pilasters are of the composite, instead of the Corinthian, order, and other minor differences are noticeable. It is worthy of remark that the entablature has no ressauts except at the crossing, and the vaulting is raised upon an attic, so that no part of it is hidden from view by the cornice of the entablature, as it is in St. Peter’s. It is also noticeable that, while capricious in the use of elements derived from the antique, Vignola in his church architecture eliminates mediæval forms more completely than most architects of his time. Where in St. Peter’s, for instance, the apses have celled vaults on converging ribs, he employs the plain half-dome of Roman antiquity. [Illustration: _Questa facciata no fu messa in opera per la morte del architecto_ FIG. 49.--Façade of the Gesù, Vignola.] [Illustration: _Facciata del Giesu come al presente si troua fatta da Iacomo della Portta._ FIG. 50.--Façade of the Gesù, Della Porta.]