=Capitol Palaces--Library of S. Mark.=--If we compare the Library with the =Capitol Palaces= we discover several important differences. In the Venetian building the divisions of the interior are indicated by the emphatic horizontal features; and the latter, as well as the deep openings of the arcade and of the windows, produce a depth of shadow effects, which in combination with the lighted surfaces results in great variety and richness. It is precisely these qualities, which are also elements in the design of Hellenic and Roman temples, that Michelangelo lost or discarded in his adaptation. Contrasted either with a temple or with Sansovino’s Library, the Capitol Palaces, grandiose although they are, seem tame and tight, lacking in structural vitality. Sansovino introduced vigour into his design by increasing the projection of his large and small columns and by using the latter in couples; also by giving a corresponding projection to all the decorative details and by introducing sculptured figures into the spandrels of the arches and the frieze. The principle of his design, stated in ordinary terms, was: If such and such things are good, more of them will be better. It was a principle that might well commend itself to the Venetians’ love of pageantry and display. Sansovino had sufficient taste to know how far to carry the elaboration; but in the hands of succeeding architects his restraint was exchanged for license, variety degenerated into fussiness, and elaboration became extravagance. =Pesaro Palace.=--These faults are discernible in the Pesaro Palace (1650-1680) by Longhena, a product of the Venetian Rococo spirit, and by no means an extreme example. For it preserves a certain dignity of mass notwithstanding that it is overcharged with ornament that gives it an effect of trickiness and restlessness. And the latter, it is to be noted, is partly due to the device, which for a long time had been prevalent, of carrying the horizontal moulding around the projecting capital of an engaged column or pilaster. Borrowed from Roman usage, it represents an element of decoration that tends to convert the contrasting quietness of the horizontal lines into a jiggety disturbance. This palace, however, can lay claim to the distinction that the superimposed orders are continued, with pilasters instead of columns, along the façade that abuts on the side canal. ECCLESIASTICAL BUILDINGS