resulted in one of the loveliest pieces of composition in Italy. The date of this charming design, the cloister of S. Maria della Pace, may be set as the first decade of the sixteenth century. Fashions change even in neo-classic architecture, and when the Palazzo Borghese was under consideration in the last years of that same great century, the coupled column was in use as a favorite device. Long afterwards it appeared in Paris, adorning the famous eastern front of the Louvre; but here, as early as the days when Queen Elizabeth and her nobles were resisting the Spanish Armada, the coupling of the columns, almost unknown in antiquity, and never a device of the Rinascimento, finds itself in complete favor in that which we call the Classicismo.[47] Indeed this portico and loggia, [Plate X]LIX, has little real classical feeling about it, except the care with which the simpler Order, Tuscan or modified Doric, is kept in the ground story, and the Ionic Order above—the proportions of those columns being also carefully observed. The reader will hardly ignore the coldness of the design, the absence of flavor and freshness which marks it: the designer is so very sure of his methods and so fixed in advance as to his intentions that there is no longer any trace of the Rebirth left. If we cross the Alps, we shall find in buildings of this time the Renaissance in its full glory, but the Renaissance in France is nearly a century behind the Rinascimento in Italy.