So early as the commencement of the eleventh century, the Italians began to depart from the ungraceful style of the first period; a departure which, if not a renovation, was at least an improvement, in some measure founded upon closer conceptions of ancient art, and with the Roman orders, though improperly applied. This style, heavy, highly decorated, but not unimpressive, continued to the close of the fourteenth century, and has been named the Italian. Its principal masters were the sculptors already mentioned as belonging to the period. With the commencement of the fifteenth century, a new and far higher school arose, which, though far from pure, was yet much improved; and would have been still more so, had not its patrons been chiefly painters, too ready to aspire to the bold and peculiar effects of their own art. Bramante, the first architect of St Peter's, Da Vinci, Raphael, Julio Romano, and, above all, Michael Angelo, were the masters of this era. The last mentioned mighty name, here, as in all the arts, created his own style: robust, even to the abuse of strength; incorrect, and sometimes barbarous, in detail; in general effect, always grand and original. In St Peter's, with many defects, and still greater beauties, he has left a monument of his genius, the most glorious structure that now adorns the face of the earth, unequalled in extent as in science. Yes, thou, of temples old or altars new, Standest alone, with nothing like to thee-- Worthiest of God, the holy and the true. Since Zion's desolation, when that He Forsook his former city, what could be Of earthly structures, in his honor piled, Of a sublimer aspect? Majesty, Power, glory, strength, and beauty, there are aisled.