Its design, of which only the lower part of the façade was erected, was based on the Roman arch in Rimini, and along the south side Alberti constructed vaults to receive the bodies of his patron’s friends. Both these elements of design were introduced into his church of =Sant’ Andrea= in =Mantua=. Here the place of the side aisles is taken by successive chapels, separated by massive piers, which sustain the barrel vault of the nave. The piers are faced by coupled Corinthian pilasters, mounted upon pedestals. The intersection of nave and transepts is crowned by a dome, which was replaced by the present one in the eighteenth century. The façade of this church also is based upon the character of a triumphal arch, and =Sant’ Andrea= became a type that was followed in many subsequent churches. In Florence Alberti designed the marble-encrusted façade of =S. Maria Novella=, in which he connected the side aisles to the nave by means of flaring consoles, a device that was unfortunately imitated in later churches. He died in Rome in 1472. =Cronaca.=--Cronaca is to be mentioned as the architect of the =Strozzi= and =Guardagni= Palaces. PRINCIPAL ARCHITECTS OF THE ROMAN SCHOOL The Renaissance of the Fine Arts in Rome may be dated from the pontficate of Nicholas V (1447-1455), who vied with the Medici as a patron of scholars and artists. Alberti--we have noted--was employed by him, for as yet there was no Roman architect approaching the talent of the Florentine. And the dearth continued until the accession of Julius II in 1503, by which time Bramante had arrived in Rome and there began the golden period of Roman architecture, identified particularly with him and Raphael and Michelangelo. =Bramante.=--Bramante was born in Urbino about 1444 and as a young man studied painting as well as architecture, the latter presumably under Alberti. He travelled through Umbria and Lombardy, studying Roman antiquities and obtaining various commissions, and passed some years in Milan, where his work included the enlargement of the abbey church of =S. Maria della Grazie=, to which he added a choir, transepts, and dome, in a style that represents the transition between the Gothic and Classic. Then, settling in Rome, he was commissioned by Pope Alexander VI to erect the =Cancellaria Palace=, and shortly afterwards prepared designs for the =Palazzo Giraud=. In both of these the Classic tendency is developed. It is even more pronounced in the beautiful little church of =S. Pietro in Montorio=. Founded on the design of a small Roman circular temple, it consists of a circle the interior diameter of which is only fifteen feet, crowned by a dome and surrounded with a peristyle of columns of the Doric order. By the advice of Michelangelo Julius II entrusted Bramante with the design of the new =S. Peter’s=, which the Pope intended as a mausoleum for his own tomb. The work, which will be discussed later, was interrupted by Bramante’s death, which occurred in 1514.