98
LIFE OF MICHAEL ANGELO.
adhered to, the eye of the spectator, on entering
the church, would at once have been smitten by the
sublimity of the dome, and by the fine arrange-
ment of the subordinate parts of the fabric in
connection with it.
Any such imposing effect was wholly frustrated
by a change which places the opening into the
dome at such a distance from the entrance portal
as scarcely to allow of its being visible. But
the elongation in question was still more fatal to
the exterior beauty of the church than to that
of the interior ; for the cupola, on approaching the
grand facade, is cut through in perspective by its
upper story, and is therefore half concealed from
the eye, instead of triumphing as the sublime and
presiding feature of the whole edifice.
But another departure from his plan remains to
be noticed. We refer to the substitution of the
present encumbered facade, frittered into so many
parts, in the place of a grand portico in the style of
the Pantheon, presenting a design of unexampled
hardihood and magnificence. The cupola was in-
tended to have been seen above it in all its glory.
The subjoined Plate, which places in contrast
St. Peter's as M. Angelo would have had it, and
St. Peter's as it is, will clearly explain the nature
of the injury done to its exterior beauty by the
elongation of the central nave.*
* Those who may wish for full and clear illustrations of the
various deviations to be found, in the present church of St.
LIFE OF MICHAEL ANGELO.
adhered to, the eye of the spectator, on entering
the church, would at once have been smitten by the
sublimity of the dome, and by the fine arrange-
ment of the subordinate parts of the fabric in
connection with it.
Any such imposing effect was wholly frustrated
by a change which places the opening into the
dome at such a distance from the entrance portal
as scarcely to allow of its being visible. But
the elongation in question was still more fatal to
the exterior beauty of the church than to that
of the interior ; for the cupola, on approaching the
grand facade, is cut through in perspective by its
upper story, and is therefore half concealed from
the eye, instead of triumphing as the sublime and
presiding feature of the whole edifice.
But another departure from his plan remains to
be noticed. We refer to the substitution of the
present encumbered facade, frittered into so many
parts, in the place of a grand portico in the style of
the Pantheon, presenting a design of unexampled
hardihood and magnificence. The cupola was in-
tended to have been seen above it in all its glory.
The subjoined Plate, which places in contrast
St. Peter's as M. Angelo would have had it, and
St. Peter's as it is, will clearly explain the nature
of the injury done to its exterior beauty by the
elongation of the central nave.*
* Those who may wish for full and clear illustrations of the
various deviations to be found, in the present church of St.