Considering the particular arrangements and present mixed style of this noted Basilica to have been peremptorily insisted on by the public, we can then concede to Palladio the merit of an honourable conquest over difficulties. The adjoined wood-cut represents in simple outline one of the seven bays or compartments, which form the longitudinal elevation of the main building. The relative situations of the perpendiculars _a_ to _b_, as well as their height, were unalterable. The heights _a_ to _c_, and _c_ to _d_, were also fixed. If, therefore, simple arches had been adopted, affording the required superficies of aperture, their limited height must have borne a very disproportioned ratio to their extended breadth. If columns had been employed alone, the great width of the interspaces would have been offensively opposed to the laws which govern that department of architectural design. The application, therefore, of the smaller columns is here most admirable. By this measure, a central arch of good proportions is obtained, and a sufficient supply of light is secured to the interior by the lateral openings under the imposts, and by the circular apertures above them. [Illustration] In 1546 the building of St. Peter’s church was in active progress, when its third architect, San Gallo, died. Trissino, who was in Rome at the time, exerted himself to establish Palladio as San Gallo’s successor. It is well known however that Michael Angelo was appointed to that important post, and that he remains recorded on the scroll of fame as the most celebrated of the architects of St. Peter’s. In 1547 Palladio appears to have finally established himself as the leading architect of Northern Italy; nor was he less fortunate in opportunities for professional display, than competent to avail himself of them. Vicenza is literally a museum of Palladian design. Besides the Basilica, already noticed, and the Olympic Theatre, which was designed after ancient models, he constructed the great majority of the private palaces, the proprietors of which were content to impoverish their fortunes, that they might vie with each other in giving scope to the talents of their architect. The churches del Redentore and S. Giorgio, with other edifices public and private, evince the estimation in which Palladio was held at Venice; and most of the other cities in the north of Italy also contain examples of his genius. The country around exhibits a variety of his designs, among which is the Villa di Capri, called the Rotunda, which has been imitated by the Earl of Burlington, at Chiswick, and by other architects in several parts of England. It stands upon a hill, and commands a beautiful view on every side. This was the architect’s reason for adopting the four fronts and four porticoes.