Thus architecture in its third Renaissance period passed into scholasticism.
The masters of this age, chiefly through the weight of their authority as writers, exercised a wider European influence than any of their predecessors.

We English, for example, have given Palladio's name to the Italian style adopted by us in the seventeenth century.

This selection of one man to represent an epoch was due partly no doubt to the prestige of Palladio's great buildings in the South, but more, I think, to the facility with which his principles could be assimilated.

Depending but little for effect upon the arts of decoration, his style was easily imitated in countries where painting and sculpture were unknown, and where a genius like Jean Goujon, the Sansovino of the French, has never been developed.

To have rivalled the facade of the Certosa would have been impossible in London.