An architecture of pompous ostentation and riotous overloading of ornament, the Baroque, now took the place of the classical beauty of the Renaissance and art degraded became the slave of wealth, until the great Cardinal Albani erected his villa to serve as her temple. We are ready to expect great results in the villas and palaces of the millionaires of the earlier half of the sixteenth century when we reflect that they were executed by Bramante, Peruzzi, San Gallo, Michael Angelo, and Raphael with a host of lesser men who would have been great in any other age, and that the ruins of imperial Rome furnished them with models for their designs and an inexhaustible quarry of statues, columns, mosaics, and other materials. The point of view of the present volume is the life rather than the art of these villas, but it is not possible to ignore the stimulus which the daily discovery of the masterpieces of ancient art afforded to the artists of the day, and the connoisseurship imposed upon the rivalling patrons and collectors. In the chapters entitled: "The Finding of Apollo" and "The Lure of Old Rome" I have striven to depict the influence of these discoveries upon such sensitive souls as those of Raphael and Ligorio, and the gradual education of the financier Chigi and Cardinal Ippolito d'Este in the refinements of dilettantism. But the Fornarina left a more potent impression on Raphael's art than the Apollo Belvedere, and her memory and that of Imperia still haunt the villa of the Farnesina indissolubly united with that of the master of art and the master of revels. In the noble Colonna palace the personality most vividly present to-day is that of Vittoria Colonna, making good the boast of Michael Angelo's sonnet,-- "So I can give long life to both of us In either way by colour or by stone, Making the semblance of thy face and mine, Centuries hence when both are buried thus Thy beauty and my sadness shall be shown And men shall say, 'For her 't was right to pine.'" But if Michael Angelo carved or painted Vittoria the portrait is lost; and it is to his love, not to his art that she owes her immortality. So from the history of these beautiful dwellings I have chosen as the focal point of each of the following chapters, the half-forgotten face of some woman, and were it not that the story of Vittoria Colonna is so well known that noble woman might well have led the procession. For the same reason, and because her castle of Spoleto could not be classed under my topic, I have laid aside a study of Lucrezia Borgia and of another Lucrezia who may have resided within its walls.