An excellent type of the ornate architecture of the Renaissance period is the facade of the famous Certosa near Pavia. The designs for it were prepared by Borgognone, a distinguished Milanese artist of that time, one of whose pictures will be found reproduced in the chapter on Secondary Italian Painters. He was much more essentially a painter than an architect, and this the Certosa demonstrates. Many an architect, with no ambition outside of his own department, would be eminently well pleased, however, to have succeeded in producing so beautiful and harmonious a design as may be seen in the façade of the great Church of the Italian Carthusians. The architectural monument of the century is St. Peter's at Rome, designed originally by Bramante, whose design was developed and harmonized very beautifully by Sangallo, but only after Raphael had carried on Bramante's work for some six years and Baldassare Peruzzi had succeeded him for an equal term, though without accomplishing much. The defects so often noted come from this succession of architects. Sangallo's design has been preserved for us and shows what a magnificent conception he had. Michelangelo's dome might well have taken its place in this design without any of the overpowering effect that it has on the structure as completed. In spite of all the criticism that may be made of St. Peter's, because, as the editor of the recent edition of Fergusson's "History of Architecture" (Dodd, Mead & Co., 1899) says, "the {118} big pulls away from the beautiful and there must be a compromise," it is one of the most wonderful of churches and one of the most marvellous structures that ever came from the hand of man. Fergusson himself is severe in criticism, and yet he says, "in spite of all its faults of detail, the interior of St. Peter's approaches more nearly to the sublime in architectural effect than any other which the hand of man has executed."