the later Renaissance architecture. This is not only conducive to quietness of effect, but it has the advantage of giving to the interior the maximum of light--since the farther out the glass is placed the less will be the shadow thrown upon it, while the internal reveal, especially when it is splayed, reflects light into the interior. The interior court of the Renaissance palace has a vaulted arcade on each of its four sides beneath the overhanging upper stories. These arcades are, in the Riccardi (Fig. 58), supported on columns of classic form with capitals of a composite type, but of no great beauty. The arches spring directly from these capitals, and have classic profiles, while two string courses, with an interval forming a semblance of a frieze, give the effect of an entablature passing over the crowns of the arches. The spacious apartments of these early Florentine palaces are generally fine in their proportions and simple in their architectural treatment. They are, however, rarely well lighted. The ceilings are at a great height above the comparatively low windows, and the windows are disposed for external effect, rather than for convenience within. Thus while these apartments are stately, they are rarely adapted to cheerful indoor life, and in a northern climate they would be intolerably gloomy. When used, as they now often are, as galleries for the display of works of art, they do not serve well, very small portions of their vast wall spaces being well lighted, and the disposition of the openings often such as to produce embarrassing cross lights and reflections. [Illustration: FIG. 58.--Court of the Riccardi.] Vasari tells us that “after Brunelleschi, Michelozzi was held to be the most consistent architect of his time, and the one who with best judgment planned either palaces, monasteries or houses.” And concerning the Riccardi he adds, “All the more praise is due him since this was the first Palace in Florence built in the modern manner, and which has a disposition of apartments both useful and beautiful.”[86] He does not explain in what the superior planning of the Riccardi consists, and it is doubtful whether these remarks were based on any definite idea. But however this may be, the building is indeed a stately and magnificent one, of quiet aspect, and for the most part free from meaningless features. Hardly any other one of the Florentine palaces of the Renaissance equals the Riccardi in beauty and dignity. That part of the Pitti which was begun by Brunelleschi in 1435, though equally free from meaningless features, is almost too bald to be called an architectural design. Each story of its long façade is as monotonous as the Claudian aqueduct which it closely resembles.