Rome, as we know it - the splendid city of Palacios and squares dominated by the dome of San Pedro - was a creation of the papacy, remodeled and erected again at the end of the Middle Ages after a long period of abandonment. He embodied a new aesthetic: the classic ideals of symmetry, axiality, center, hierarchy and unity specified and exploited for the requirements of ecclesiastical power and civic responsibility. Rome was simultaneously product and cradle of the high Renaissance. In the hands of Bramante, Antonio Da Sangallo, Vignola and Della Porta, Los Palacios, developed from the austere Roman and Florentine tradition of the Quattrocento, became buildings of imposing nobility. Churches were erected to dozens; Designed after the facade of the temple from the principles of space and cosmic harmony, they deployed an endless stylistic versatility in terms of solution of formal and theological problems. The San Pedro de Bramante and Miguel Ángel, and the Gestu of Vignola and Della Porta, which are discussed here in detail, perhaps represent the apotheosis of the ecclesiastical architecture of the Renaissance, as well as the Palace Farnese de Sangallo and Miguel Ángel stands out as the culmination of civil architecture. Partridge also analyzes the sculptural and pictorial decoration of Rome in the altars, chapels and state rooms, including the masterpieces of the Sistine Chapel and the Vatican stays. Masolino and Fra Angelico, Perugino and Pinturicchio, Miguel Ángel and Rafael were among the calls to glorify the Church and legitimize the authority of it, and their achievements survive for the enjoyment and formation of the following generations.