To the above list of architects of the Roman Renaissance may be added the names of Sansovino, Vignola and Bernini, the last-named being the author of designs for the Louvre at Paris. [Illustration: No. 79. Farnese Palace, Rome.] _Venice_ The Venetian States, since the twelfth century, had been growing in power, and the Republic’s rise in importance was favourable to the arts, particularly to architecture. Local influence is evident in the comparatively restricted ground areas, entailing the maximum accommodation possible. The Venetian school is distinguished by the profuse use of columns and arcading; also for the employment of circular-headed windows, frequently subdivided by tracery of smaller arched and circular forms, and by general lightness of effect. The founder of the Venetian school was San Micheli, born in 1484 A.D., who spent many years studying the ancient Roman monuments, and who was responsible for the Grimani Palace. Jacopo Tatti, a Florentine, more usually known as Sansovino, though mentioned in the Roman group of architects, was however more associated with Venice, his adopted city. [Illustration: No. 80. Vendramini Palace, Venice.] Prominent among his works is the Library of St. Mark, which consists of two orders, an upper of the Ionic, supported by an arcade in which the Doric is employed, the whole surmounted by a balustrade with statues on the piers. _Venetian Influence_ In the Venetian school must be included the name of Andrea Palladio, who possibly had a greater influence on the architecture of the time than any of his contemporaries; an influence that may be traced in the work of Inigo Jones, and in that of Sir Christopher Wren and his immediate school. Vincenzo Scamozzi, who died in 1616 A.D., like Palladio and others, was influenced by the antique, and was perhaps the last architect of the Venetian school to attain celebrity. [Illustration: No. 81. Library of St. Mark by Sansovino, Venice.] _Painted Decoration_ A conspicuous feature of the Italian Renaissance was the development of painted decoration, which had in Italy succeeded the Byzantine mosaic. As in this method of decoration, mouldings in relief were ineffective, and were replaced by decorative bands or borders, so in the succeeding painted work similar framings were adopted. [Illustration: No. 82. Painted Decoration. Palazzo Publico, Sienna, from a drawing by C. E. Bernard, Goldsmiths’ College School of Art.] [Illustration: No. 83. Painted Ceiling in the Castello San Angelo, Rome, by Giulio Romano, from a drawing by Miss Dora Bard, Goldsmiths’ College School of Art.] [Illustration: No. 84. Painted Decoration in the collonade of the Villa Papa Giulio, Rome, showing Pompeian influence, from a drawing by C. E. Bernard, Goldsmiths’ College School of Art.] [Illustration: No. 85. Ceiling-Painting from the Castello San Angelo, Rome, reminiscent of Graeco-Roman work, from a drawing by C. E. Bernard, Goldsmiths’ College School of Art.]