Michael Angelo followed the lines of Bramante, the Greek cross, designed so that the cupola should be the dominant note of the building and its principal feature, whether from within or without, and from whichever side the building was approached.
Michael Angelo's intention may be realised at the back of the present building, and his work best judged as one walks round the great mass of masonry to the old entrance to the Sculpture Galleries of the Vatican.
Those who approach Rome in the best way at present open to the newcomer, by the light railway line from Viterbo, get a magnificent view of the cupola, apparently rising out of a green hillside, just before they enter the Eternal City, and then, on their way to the Trastevere station, they pass behind the building and get their first impression of St.Peter's from Michael Angelo's own work.( 160) Michael Angelo began his work by pulling down much of Sangallo's construction, and by severely repressing all sorts of jobbery in connection with the supply of materials.
Michael Angelo states in a letter to Cardinal Ridolfo Pio of Carpi,( 161) that the study of the nude human figure is necessary to an architect.

If he had also stated that it was an essential to all art workers, many good judges would have agreed with him.
"MOST REVEREND MONSIGNOR,--When a plan has divers parts all those which are of one type in quality and quantity have to be decorated in the same fashion and in the same style, and similarly their counterparts.

But when the plan changes form altogether it is not only allowable but necessary to change the said adornments and likewise their counterparts.

The intermediate parts are always as free as you like, just as the nose, which stands in the middle of the face, is not obliged to correspond with either of the eyes; but one hand is obliged to be like the other, and one eye must be as its fellow, because they balance each other.

Therefore it is very certain that the members of architecture depend upon the members of man.