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Rh along the side walls and the cornice of the attic are the same in both instances; but the second pediment in the Pantheon façade Vignola has not reproduced. St. Andrea is thus a close, though a modified, copy of the rectangular part of the Pantheon, with the rectangle elongated and surmounted by a dome designed on the Pantheon model. It was not known in the sixteenth century that the ancient monument is not a homogeneous structure, but an awkward patchwork, the result of successive alterations and additions. Vignola took it entire as an example of that ancient style which he regarded as authoritative, and based his design for St. Andrea upon it, just as many modern architects have taken motives from Vignola himself. If it were proposed to erect a dome upon the Parthenon, few people would fail to see that the result would be an architectural monstrosity, yet this would not be very different from what was done in St. Andrea by an architect who has been looked upon as a champion of classic correctness in design.

M. Palustre has called attention to the fact that, in the interior of St. Andrea (Fig. 45), the two parts of the entablature which have no raison d'être under a vault have been omitted. But the impropriety of a complete entablature in connection with vaulting is no greater than that of any part of a classic order, which has no justification in such connection, as we have already remarked.

The pilgrimage church of Santa Maria degli Angeli, built over the oratory of St. Francis at Assisi, is a more extensive monument which was begun by Vignola in the year 1569. Though completed by other architects, and extensively restored in 1832, the building as it now stands is uniform in style throughout, and bears the marks of Vignola's manner of design. It is cruciform in plan, with a long nave and aisles, and a square chapel opening out of each bay of each aisle. The nave and transept have barrel vaulting, a half-dome covers the apse, and a dome on a high drum resting on pendentives rises over the crossing. The