ITALIAN ARCHITECICTIZE.—A style of architecture prevalent in Italy during the fourteenth and two following centuries, but more esp,2cially during the lifteenth, from which circumstance it obtained another designation, being known likewise under the name of the Cinque.cen to style. The term " Italian " does not include every style and class of build ing to be found in Italy, but is restricted to that style which was deduced from the ancient Roman or classical manner of building. To attempt to allix to this style anything like a precise or definite character would be perhaps impossible owing to the many varieties of design and different modes of treatment which it exhibits ; all we can do is, to give some genei.al notion of the prevailing character or the style.
Alter the fall of the Roman empire, its architecture declined into a state of semi-barbarism, and degenerated into what is eommonly termed the Romanesque style; the cities of Italy were adorned with edifices in either the Byzantine or Lom bardie manner, as their intercourse preponderated with Byzantium or Rome. Gothic architecture did not make its appearance, in Italy until a comparatively late period, nor even then did it possess any decided or la-sting influence ; it was, in vogue to some extent during the thirteenth century, and. although of a mixed character, may he said to have been the prevailing style of that date. Of the build ings of the Pointed style in existence previous to the revival of the Roman method, the palaee of the doge at Venice will form a fair example.
This edifice consists of' three stories, the lower two of' which are comprised in the lower half of the building. The first or lowermost story contains eighteen simple pointed arches springing ti.om low stunted columns. above which. and forming story, is an open gallery of thirty-six small pointed ogee arches having the intrados formed in the shape of a trefoil. In the centre of the upper arcade is a large. balcony with tabernacle-work above, to the right and left of which the wall is formed of masonry and containing six large pointed windows. In the centre of
the building is an attic crowned by statues, and the horizontal cornice is terminated with a pierced battlement.
This style ollmilding was not, however, destined to prevail much longer. At the close of the thirteenth century, a new cathedral was to be built at Florenee, and was vonnuenced on a grand scale in A.D. 1298. by Arnulfo di Cambio da Colic, or, as stated Icy other authorities, by Arnullo di Lapo. The design of this architect was, at the outset, of an original character, and ditThred materially from the style then in use ; this diffe renee, however, was much increased by the alterations of suc ceeding architects who where engaged upon the •ork, amongst whom may he enumerated the names of Giotto, Tacldeo Gaddi, Andrea Orgagna, and Felippo di Lorenzo. In 1•0S. a meet ing of architects was called by the citizens, to discuss the best means for completing the cathedral. and it was at this time that made his bold proposal to raise the dome, and it was he who completely effected the alteration of style. This building, which was of unusual size and magnificence, had great influence in etfecting a change of style throughout Italy, and led ultimately- to what is called the revival of Roman art. This, however, is not a fair designation of the mode of building prevalent in .Italy in the fifteenth century ; it was not a re-introduetion of the old classic styles, but rather an adaptation of classical details to buildings of entirely different elmracter, disposition, and arrangement. It is true that the artists who introduced this style adopted the classic, orders, reduced them to a system, and determined their form and proportions most minutely, yet, nevertheless, applied them in a very different manner to the ancients, and to build ings of entirely different composition. Even in their delinea tion of the orders, they were guided rather by the writings of Vitnivins, than by existing Roman examples. and endea voured rather to make the latter agree with the fb•incr, than the descriptions of the writer with actual examples.