technical eye. To deny the church of Batalha to be beautiful, because it confuses for which in France or England belong to different centuries, would be the merest pedanti no one but the driest archæologian would quarrel with a building for a skilful applicat of some incongruous feature, though it might historically belong to some other age country. At the same time, this very confusion shows a lack of original genius, and pro Batalha to be, what antiquarians are fond of calling modern churches, imitation Gothic. I not the spontaneous effort of native skill, but the mere result of eclecticism." Th remarks, taken verbatim from Mr. Freeman, have an important bearing on those secti of this work which are devoted to Italian and Sicilian pointed architecture.

607. If the tower of Don Duarte at Viseu, and the Villa do Infante at Sagres can placed early in the 15th century, they hardly redeem that age from the charge of exhibit no structure of importance except Batalha. Even the flamboyant church, 150 ft lc with embattled tower, at Caminha, 1448-1516. and the similar clothing of the romanes cathedral at Braza, may be referred to that style of King Manoel, 1495-1521: to wh must be ascribed the sacristy at Alcobaça; the royal chateau at Almeirim; the fort San Vicente, and the monastic buildings at Belem; the restoration of the hieronym monastery of La Peña at Cintra; the church of San Francisco at Evora; the rich faça of the church called the Conceição Velha, by J. Potassi, with the restorations and additi to the church of Santa Maria de Marvilla at Santarem; the octagonal stone spire (rare Portugal) to the church of San João Battista at Thomar; the church, 1506, with rena sance additions at Alcantara; and the church, chapter-house, and cloister of Santa C (ascribed to a French architect), with part of the university and the bridge at Coimb The chapel of Santa Caterina with the palace, 1521-57, and the additions, 1495–1578, the church at Coimbra, exhibiting the richest flamboyant style merging into the renaissa work; the magnificent dominican monastery at Amarante, 1540, and the modest cathed at Miranda do Douro, 1545, and Montalegre, 1554, might close the list of structu belonging to the imitation, or rather the adaptation of Gothic architecture, which does appear to have been more successful in Portugal than in the rest of Southern Europe.

Italy.

608. An attempt has been made to divide the pointed architecture of Italy into w defined schools: the Venetian is supposed to carry its character in its name, and influence the district between St. Mark's and Brescia; the Lombard is styled a pursuit the exuberant variety of French and German Gothic; the Tuscan is characterised having two phases, the earlier simple, and the later extremely beautiful; and the Geno is called a direct imitation of Arabian art. Besides this unsatisfactory view, each gr monastic order is said to have professed a particular variety, of course differently trea according to each district. To these the singular style peculiar to the Riviera (e.g., 1 cathedral at Vintimiglia) has to be added. We should prefer to this another system whi sees only two schools, one being native simplicity, the other extreme decoration brou from Germany, if there appeared any grounds for believing in this division of a style whi in its early period, is, like the early German, not very definite, and which had no ph resembling the perpendicular or the flamboyant. As a philosophical inquiry into t details of the edifices called Gothic, in Italy, the labours of Professor Willis have not been superseded; but we gather, from various pages of Mr. Street's work, Brick Marble Architecture in Italy in the Middle Ages, the following list of Italian Gothic details: 609. This consists of the trefoiled arcade used as an ornament for strings, for flat a raking corbel tables, and under sills; the great projection of the sills; the marble sha with square capitals, instead of moulded mullions; the rows of tufts of drooping folia (somewhat resembling French and German work) in the capitals; the classical charac of the carving; the traceried transoms; the combination of geometrical tracery as well of trefoiled ogee arches with the semicircular arch; the use of the keystone, frequent slightly decorated, to pointed arches; the square-headed panel by which the arches a surrounded; the use of iron ties instead of the buttress; the rarity of the dripstone brickwork; the peculiar crockets and finials of canopies; the masses of wall scarcely, if all, broken; the buttresses reduced to pilasters; the single gable to nave and aisles of t churches; the deep cornices without parapets; the low relief of tracery and carving; t squareness, with flatness, of mouldings; the employment of porches entirely unknow across the Alps; the use of the glass in wooden frames behind the stone work; t simplicity of groining; and the great width of pier arches.

610. It may be said that in Venice, as generally throughout the north of Italy, t pointed arch was first used in construction, and some time later, and very generally, in modified form for decoration also, yet in that city it is rarely used, constructionally, exce in churches; and even when employed the ogee arch was, from a very early date, preferr wherever the pure pointed arch was not indispensable. This fact is seen in fig. 269, whi shows the palace called the Ca Contarini Fasan, situated on the grand canal opposite t church of Sta. Maria della Salute; it is considered to give the only specimen in Venice a traceried balcony.

611. If there be no discrepancy between their dates and their details, the broletto at Como, 1215, and the monastic buildings of San Andrea, with the hospital at Vercelli, founded 1219-24, by Cardinal Guala Jacopo Bicchieri, must be considered to commence the Gothie buildings in Italy. At Como, however, round

arches are seen over pointed ones. At Vercelli, the exterior of the church is romanesque brick work with s one dressings, while the interior is decidedly a speeimen of early pointed art. Some writers assume that the design was furnished by the first abbot, Tommaso Gallo, and suppose that he was a Frenchman (callus), taken to Vercelli by the Cardinal, who, having been legate in England, 1216-18, and leaving that country with 12,000 marks, is supposed to have obtained the design there before he negotiated at the Gerinan court in the course of his return to Italy; others say that he sent a model from England.

612. The church of San Francesco at Assisi was erected 1228-30, by a German architect named Jacobus; the aisles being added soon afterwards by F. da Campello. This structure has attained the character of being the most perfect specimen of Gothic art in Italy, and therefore far superior to Sta. Chiara, erected 1253 by Campello in the same city. It is one of the most singular churches in Europe, as, in possessing a crypt discovered in 1818, and enlarged, 1820 by Brizi, it forms a sort of three-storied church. The middle church was built 1228-32; the upper church, a magnificent work, built 1232-53, is now only used on a few capitular and ferial occasions The low-pitched roof was placed 1447-70, and the massive buttresses were added 1480 by Pintelli, to prevent the threatened fall of this valuable example of early

art.

HOUSE AT VENICE.

613. Much uncertainty exists in the early dates Fig 269. given to the broletto at Monza, 1152-92; the broletto at Brescia, the end of the 12th century; the church to San Francesco, 1225, at Coni (or Cuneo); the fair example of pointed art, San Francesco at Terni, begun 1218, but not completed until 1265; and the yellow brick church of San Antonio at Padua, 1231, with its attempts at domes by N. Pisano. But in the middle of the 13th century were commenced, by himself or by his school, the brick churches of Santi Giovanni e Paolo, of the Madonna del Orto, and of Sta. Maria Gloriosa de' Frari (the finest of its class) at Venice. The churches of Sta. Caterina, finished 1272, by G. Agnelli; and of San Francesco at Pisa; the imposing specimen of Italian Gothic furnished by the cathedral at Arezzo, contained in the design, 1256, of Jacopo or Lapo, 1275-90, by Margaritone (not Marchione); the western front of the church of San Salvatore at Pistoia, 1270; the churches of San Domenico, 1250-94, by Maglione, and of San Francesco (apparently called by Professor Willis the Servi), 1286-94, at Arezzo; the transepts, 1288-1342, by B. Bragerio and G. de Camperio to the cathedral at Cremona, with the upper part, 1284, of its campanile; the foro de' Mercanti, 1294, at Bologna; the churches of San Domenico, 1284-1380, and of San Francesco, 1294, at Pistoia; the church of San Francesco, 1295, and the façade, 1284-90, as well as portions of the cathedral at Siena (which is remarkable for having the baptistery under the choir), date between 1270 and 1300.

614. The style of domestic architecture of the 13th Century is seen in many houses at Bracciano, at Corneto, at Frascati, at Galera, and at Lucca; also the building called La Quarquonia at Pistoia, with two houses of similar date, nearly opposite; and in the third cloister of Fig. 270.

HOUSE AT VITERBO.

the monastery of Sta. Scolastica at Subiaco. The house in fig. 270, known at Viterbo as the "palazzetto," belongs to the 12th century, and is here given for comparison with later examples. The sketch of a house belonging to the 13th, or perhaps even to the 12th

century, at Pisa (fig. 271), exhibits the local peculiarity of three stories, composed really or in appearance, by three piers and two arches. This is common. A fourth stor sometimes shows its windows under the arches; but generally is an independent additio

Fig. 271. HOUSE AT PISA.

to the design. At the level of each floor are put-log holes for the wooden cantilevers of the balconies perhaps more properly the tettoj or pent-house roofs, which will b noticed in the examples from Sa Gimignano. The palazzo Buonsig nori at the end of the via di Sar Pietro at Siena belongs to the brickwork of the 13th century the façade is about 56 ft. long, and consists, on each upper floor, o seven bays, four of which are giver in fig 272. A fountain in the piazza Carlano at Viterbo might serve as a type of several others designed in this century.

615. To the end of the 13th and early part of the 14th centu ries belongs the cathedral at Or vieto, one of the most interesting examples of Italian Gothic, and an instance of the use, internally as well as externally, of alternate courses of colour, which in this case is produced by black basaltic lava and yellowish-grey limestone Although the first stone was laid 1290 for the execu ion of a design by L. Maitani, who had just completed the front of the duomo at Siena and built this cathedral (fig. 273.) before his death, 1330, the works were in hand till the end of the 16th century. A list of thirtythree architects has been preserved. The building is 278 ft. long by 103 ft. wide, and 115 ft. high to the plain ceiling, made 1828, which rests on piers 62 ft. high. These piers are fronted by statues of the apostles, 9 ft. 6 in. high, on pedestals that are 5 ft. 6 in. high above the floor of the nave, which is made of Apennine red marble that has inlaid fleurs-de-lis

Fig. 273.

ELEVATION OF THE CATHEDRAL, ORVIETO.

before the choir. The windows have coloured glass in the upper parts, but diaphanous asbaster below it.

616. To the same period b.long the church of Sta. Maria sopra Minerva, at Rome, the only pointed editice which we can name in that metropolis; and the principal examples of pointed art in Florence, such as the church of Sta. Maria Novella, 1278-1357; the church of Sta. Croce, 1294, used 1920, but not consecrated till 1442; the cathedral. 1:94, consecrated 1436, with the campanile, designed 1332, by Gio.to; the church of San Ercolano, by Bevignate, 1297-1335, at Perugia, with that of Sta. Giuliana, 1292, outside that city; the octagonal baptistery called San Giovanni Rotondo, 1337, and portions of the church of San Francesco, 1294, at Pistoia; and the (then altered) brick and stone church of San Fermo Maggiore, at Verona. In the first half of the 14th century, the Italian artists exhibited their ideas of Gothic work in the chapel of Sta. Maria dell'Arena, 1303, at Padua; the alterations. 1308-20, of the interior of the cathedral at Lucca; the cathedral, 1312, at Prato, which has the effect of a northern late pointed structure; the fine cathedral, 1325–48, and the church of San Secondo, at Asti; and the church of San Martino, 1332, at Pisa, which is a fair specimen of common late Italian Gothic.

617. The large number of tombs and monuments of this and the next period, with pointed arches, renders difficult any choice of single examples among them; those of the Scaligeri, at Verona, especially that of Mastino II., 1351, contain a history in themselves.

618. To the latter half of the 14th century may be attributed the marble front, in grey and yellow courses, by Matteo da Campione, (a very fine example) before 1396 to the brick cathedral with particularly good detail, more than usually Gothic, built 1290–1390, at Monza; the palazzo della comunita, 1294-1385; and the palazzo pretorio, 1357-77, at Pistoia, which have been highly praised as fine specimens of very perfect Italian Gothic; the cathedral, 1315-1415, at Sarzana; and 1340 to 1369-1423, the upper portion or sala del consiglio of the ducal palace at Venice, although another authority considers that the work of this period was the loggia towards the canal and twelve columns on the piazzetta.

The

619. The general design of the existing cathedral at Milan is also of this period, although extreme doubt exists as to the date of the commencement of the work. But the statements are clear that the capitals of the great piers were being prepared, 1394-5, and that the piers themselves were being erected 1401. The records of the wardens of the church are deficient until 1987; in that year an official paper speaks of the building which “multis retro temporibus initiata est et quæ nunc fabricatur." Chronicles and an inscription concur in fixing March 15, 138€, as the date of commencement; but Simone da Orsenigo, probably an eye-witness of the facts to which he is evidence, stated that the work was begun May 28, 1385, but was destroyed, and that the existing structure was commenced May 7, 1387. He was employed as one of the architects at least as early as December 6, in that year. So that the date, 1336-87, usually given, as in the previous editions of this book, is possibly the period of attempts to begin the work, and explains the phrase "multis temporibus." cathedral has been much praised as an example of northern art modifying itself to suit the southern climate under the hands of a German or, at all events, of a foreigner rather than of a native; but facts seem to destroy this imputed credit. The official list of the "ingegneri," as the chief artists who laboured at the duomo were called, shows the earliest employment of foreigners in the case of Nicolas Bonaventure, of Paris. from July 6, 1388, till his dismissal, July 31, 1991; and the same evidence seems to divide the merit of the earliest direction of the works between Marco and Jacopo, both of Campione, a village between the lakes of Lugano and Como. The first name in the records of 1387 is that of Marco, supposed to be the Marco da Frisone who was buried July 8, 1390, with great honours; Jacopo occurs March 20, 1388, having apparently been engaged from 1378 as one of the architects to the church of the Certosa, near l'avia; he died 1398.

620. The official notes of the disputes that were constantly arising between the contemporaneous ingegneri-generali " and their subordinates, and the foreign artists, even record the fact that the Italian combatants disagreed on the great question of proportioning the building by the foreign system of squares, or by the native theory of triangles. If there be any merit in a work that was so clearly the offspring of many minds, much of it must be due to the wardens, who seem to have ordered the execution of little that was not recommended by the majority of their artists, or, in case of an equal division, by an umpire of reputation from some other city. From 1430, the names of Filippo Brunellesco and six or seven other artists precede the notice, 1483, of Johann von Grätz, who appears to have been invited for the purpose of constructing the central tiburio or lantern. As usual, the foreigner's work was condemned; and April 13, 1490, Giovanni Antonio Omodzo (Heinrich von Gmünden, employed so early as from Dec. 11, 1391, to May 31, 1392, was confused with Omodeo by M. Millia, whence the repute of Heinrich as "Zamodia"), began his long rule over the other artists, which lasted until August 27, 1522, by executing the present work. It is needless to give the names of his colleagues and successors until the appointment of Carlo Amati, 1806, under whom the completion of the works, including the three pointed windows of the front, was resumed and of his successor P. Pestagalli,1813

621. The cathedral (fig. 274,) is constructed of white marble. The plan is a Lati cross, the transepts extending but little beyond the walls of the church. From west to cas

its length is 490 ft. and its extrem breadth 295 ft. The length of the five aisled nave is 279 ft. and its widt 194 ft. The transepts are three-aisled The eastern end of the church is ter minated by three sides of a nonagon The architecture of the doors and windows of the western front is o the Italian or Roman style, and wa executed about 1658. for the first three bays of the nave were an addi. tion in front of the original façade, and were not vaulted until 1651-69. About 1790 the wardens determined to make the front Gothic, keeping the doors and windows by Ricchini, from designs by Pellegrini, on account of the richness of their workmanship; its apex is 170 ft. from the pavement. The central buttresses are 195 ft high. The central tower, 1762-72, by F. Croce, rises to the height of 400 ft., being in general form similar to those which appear in the western façade. All the turrets, buttresses, and pinnacles are surmounted with statues. The roof is covered entirely with blocks of marble fitted together with great

Fig. 274.

Fig. 275.

CATHEDRAL AT MILAN.

exactness.

622. The only town in Italy which has preserved so many as twelve of the mediæval domestic towers of great height, is San Gimignano; it possesses, also, several houses that were erected in the 13th and 14th centuries. The casa Buonaccorsi, with a single opening on the ground-floor, is a corner house and is attributed to the earlier period; the casa Boni is next to it, and belongs to the later time; they are shown in fig. 275, which is too small tc express the bandings of red and white brickwork, and the stucco border to the extrados of each arch; the penthouse roofs, here restored, were suppressed in the 14th century. The village of Coccaglio, between Bergamo and Brescia, is said to contain some valuable remains of domestic architecture. The Venetian palices of this and the following century have been so efficiently illustrated of late years, that it becomes unnecessary to describe their appearance.

623. Many architects have been engaged upon the marble cathedral at Como; from 1396, when L. de' Spazi was employed, down to the last century. The cupola or dome was completed about 1732, by Juvara. The three doors are in the richest Lombard style, and hence the rest of the facade (fig. 276.) has been called early Italian Gothic; but it was designed, 1460. by Lucchino da Milano, and completed between 1487 and 1526 by T. Rodario, of Maroggio, whose design for other parts was altered, perhaps not improved, by C. Solaro. The other sides of the exterior are renaissance work by Rodario, who added the canopies for the statues of the two Plinys, in the west front. The transepts and choir internally are renaissance; but the nave and aisles are Italian Gothic.

624 Amongst the structures produced in the 15th century, may be named the church of Sta. Maria della Grazie, 1399-1406, about six miles from Mantua; the beautiful cathedral, 1450 at Prato; the equally fine church of Sta. Anastasia, at Verona, which has been called the noblest of the distinctively Italian pointed churches in the north of Italy; that of San Bernardino, 1452, also at Verona; and the cathedral, 1467, at Vicenza. The church of San Agostino, at Bergamo; the highly interesting, because perfectly untouched, castle at