Even in the lifetime of Julius the planning of =S. Peter’s= had been taken from Michelangelo and given to Bramante, and it was not until his seventy-second year that Michelangelo was called in to supervise the work. He adhered to Bramante’s plan and added the supreme feature of the dome, which was completed after his death. Meanwhile, he finished, as we have noted, the =Farnese Palace= and remodelled the =Palaces of the Capitol=, the latter being his most characteristic work in architecture. For in the novel design of these he introduced the so-called “one-order” treatment, abandoning the horizontal lines that mark the stories and carrying up through them a colossal order of pilasters. The effect lends grandeur and unity to the design, but at the expense of a violation of the principle of fitting the character of the exterior to the constructive character of the interior. It was a sacrifice of parts to the whole such as Michelangelo employed in sculpture and by his genius justified. When, however, his example was followed by others who had not his genius, it led to the degradation of style of the Baroque that alike in sculpture and architecture resulted in pretentiousness and extravagance. The gradual decline from the purity of the Classic style to the showy and meretricious magnificence of the so-called “Baroque” period, was encouraged by the wealthy order of the Jesuits. It was characterised by a growing lack of architectural propriety, an increasing use of heavy and ill-applied ornament, and a general tendency to profusion of details for the sake of display--seen in broken and distorted pediments, huge scrolls, sham marble, excessive gilding, and a general riot of sculpture, often hysterical in its excess of emotional expression. The chief promoters of this decadence were =Carlo Maderna= (1556-1629), and =Borromini= (1599-1667), although the latter was an architect, capable also of finer achievement, as is proved by his colonnade enclosing the =Piazza of S. Peter’s=. =Palladio.=--In some degree a contributor to this decadence, through the misuse of his example by others, was Andrea Palladio (1518-1580), a native of =Vicenza=, where his most characteristic work is to be seen. In youth he studied the writings of the Roman author, Vitruvius, and of Alberti, and familiarised himself with the classic style by study in Rome. His own work, “The Four Books of Architecture,” which contains measured drawings of antique buildings many of which have since disappeared, had a wide and great influence upon architectural development throughout Europe. In England, for example, it was translated and furnished with notes by Inigo Jones, whose own style was largely based on Palladio’s.