The ascent of Julius II. to the papal throne was at that period, when the revived taste for classical architecture suddenly pervaded Italy, and left him assured of general support in his boldly formed resolution of demolishing the old building with all its subsequent amendments, and of erecting an entirely new structure, that should stand paramount in the modern world for vastness and splendour. It has been said, that the idea of the new church originated in a suggestion by San Gallo, that the gorgeous sepulchral monument which Julius, in honour of himself, had commissioned Michael Angelo to execute, should be placed in a church of corresponding grandeur, purposely built to receive it. Be this as it may, the new St. Peter’s was resolved on: designs were sent in by various architects, and several were submitted by Bramante, who proved, as might be expected, the successful competitor. His ideas were as colossal as the ambition of his patron:—“I will raise,” said the architect, “the Pantheon on the Temple of Peace!” Bramante’s plan was a Latin cross. The area of intersection was to be surrounded with massive piers, having columns between as in the Pantheon; and the noble dome of the latter edifice, in the august novelty of its exalted position, was to be freely imitated. A medal struck in honour of Bramante shows the façade of his design, having two _campaniles_, or towers, flanking a central compartment. In examining the practicability of his plans, he failed not to inspect the quarries of Tivoli, and was confirmed by the discovery that they would yield him blocks of nine feet in diameter. Into the pecuniary means of construction he did not however so closely examine. The contributions of a world would have been necessary to the full realization of his plans, which were considerably reduced by succeeding architects. The first stone of the new edifice was laid on the 18th of April, 1506; and the works proceeded with a rapidity more pleasing perhaps to the impatient spirit of Julius, than beneficial to the stability of so vast an edifice. Either to this haste on the part of the pontiff, or to a want of constructive care on his own part, must be attributed the failures which occurred to several of Bramante’s buildings; and it is said, that, in the fear of Michael Angelo’s superior scrutiny, he industriously sought to compass the removal of that great artist from Rome.