. A history of architecture in Italy from the time of Constantine to the dawn of the renaissance. have shown itself, with one or two brilliant exceptions, incapable ofproducing a really great example of complete and logical composi-tion in the line ofchurch the work whichwas done on the fa-cade and aisles of did at leastpromise a nearerapproach to such aresult than had beenreached in Italy sincethe cathedral of this work wassuspended, as I havesaid, very early in thefifteenth century, andwas never impulse whichinspired the greatconception was so
. A history of architecture in Italy from the time of Constantine to the dawn of the renaissance. have shown itself, with one or two brilliant exceptions, incapable ofproducing a really great example of complete and logical composi-tion in the line ofchurch the work whichwas done on the fa-cade and aisles of did at leastpromise a nearerapproach to such aresult than had beenreached in Italy sincethe cathedral of this work wassuspended, as I havesaid, very early in thefifteenth century, andwas never impulse whichinspired the greatconception was soonspent. But althoughlittle more was accom-plished, it was only acentury later that theidea of completing itwas definitively aban-doned. In 1647 thebuilding was finishedby the addition of a semicircular apse of somewhat mean aspect tothe great nave. In the mean time attempts had been made to com- ^ Not the original model, built by della Quercia and mentioned above, which wasdestroyed, as was also a second made by him of wood and paper. The model now exist-ing was made in 1514 or Fig. 379. Bologna. Sculpture of Doorway, S. Petronio. THE GOTHIC 217 plete at least thefa9ade, which hadretained, above themarbles of dellaQuerela, the roughwall of coarse brick-work which closedthe nave. Some-where about 1535,when the Renais-sance had quite es-tablished its suprem-acy, a competitionwas arranged inwhich Palladio, Vi-gnola, BaldassarePeruzzi, Giulio Ro-mano, and other greatarchitects of the Re-naissance took designs arestill preserved inthe sacristy of thechurch^ to the num-ber of thirty or contemporaryaccounts of the livelyinterest of the citi-zens of Bologna in the project afford but another illustration, notonly of the love of art, which is native to the Italian character, but ofthe habit of the people, at least in the more northern communities, toparticipate in, and to a certain extent, to control, the conduct of thegreat enterprises which gave celeb
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