[37] Especially his work at Monte Oliveto, near Siena, and in the church of Monte Oliveto at Naples.  The Sala del Cambio at Perugia may also be cited as rich in tarsia-work designed by Perugino, while the church of S. Pietro de’ Cassinensi outside the city is a museum of masterpieces executed by Fra Damiano da Bergamo and Stefano da Bergamo from designs of Raphael.  Not less beautiful are the inlaid wood panels in the Palace of Urbino, by Maestro Giacomo of Florence.

[38] The churches and palaces of Lombardy are peculiarly rich in this kind of decoration.  The facade of the Oratory of S. Bernardino at Perugia, designed and executed by Agostino di Duccio, is a masterpiece of rare beauty in this style.

[39] Not to mention the Renaissance mosaics of S. Mark’s at Venice, the cupola of S. Maria del Popolo at Rome, executed in mosaic by Raphael, deserves special mention.  A work illustrative of this cupola is one of Ludwig Gruener’s best publications.

[40] South Italy and Florence are distinguished by two marked styles in this decoration of inlaid marbles or opera di commesso.  Compare the Medicean chapel in S. Lorenzo, for instance, with the high altar of the cathedral of Messina.

[41] The roof of the Duomo at Volterra is a fine specimen.

[42] It will not be forgotten that Raphael’s cartoons were made for tapestry.

[43] Bramante Lazzari was born at Castel Durante, near Urbino, in 1444.  He spent the early years of his architect’s life in Lombardy, in the service of Lodovico Sforza, and came probably to Rome upon his patron’s downfall in 1499.

[44] See Vol.  I., Age of the Despots, p. 342.

[45] See Vol.  I., Age of the Despots, p. 344.  See Gregorovius, Geschichte der Stadt Rom, vol. viii. p. 127, and the quotation there translated from Pallavicini’s History of the Council of Trent.

[46] See Vol.  I., Age of the Despots, pp. 296-298.  Vol.  II., Revival of Learning, pp. 161-166.  For his architectural designs see his Life, by Manetti, book ii., in Muratori, vol. iii. part ii.

[47] Gregorovius, vol. vii. p. 638.

[48] Besides the great work of Bonanni, Templi Vaticani Historia, I may refer my readers to the atlas volume of Illustrations, Architectural and Pictorial, of the Genius of Michael Angelo Buonarroti, compiled by Mr. Harford (Colnaghi, 1857).  Plates 1 to 7 of that work are devoted to the plans of S. Peter’s.  Plate 4 is specially interesting, since it represents in one view the old basilica and the design of Bramante, together with those of Antonio di S. Gallo and Michael Angelo.

[49] The subterranean vaults of S. Peter’s contain mere fragments of tombs, some precious as historical records, some valuable as works of art, swept together pell-mell from the ruins of the old basilica.

[50] See the original letter to Ammanati, published from the Archivio Buonarroti, by Signor Milanesi, p. 535.