The walls of Italian buildings are frequently formed of rustic masonry of various descriptions, and this is more generally the case with basements, and the lower or less important stories, and in such a situation gives an appearance of great strength and massiveness, where it is most required ; it adds also to the apparent strength and durability of the entire edifice ; not, however, withont imparting at the same time a degree of heaviness. This method of decoration, if' it may be so termed, is sometimes applied to columns, but it is rather a barbarous ornamentation, as is also another practice very prevalent, of leaving projecting cubical blocks surround ing the shaft of the column at regular intervals in its height. In edifices of the astylar system, the angles are often finished with quoins.
We must not forget to allude to a feature which is common to almost all Italian buildings, and that is, the boldly pilijecting cornice, or eornicione, as it is termed, at the slim mit. It is of very unusual projection, proportioned to the entire building, and often very highly enriched ; it forms a noble finish or crowning, and adds considerably to the importance of the fayade. Sometimes the edifice terminates with an attic or cornice with a balustrade, which again is crowned at inter vals by statues or other acroteria. Columns and pilasters in this style are frequently set upon pedestals, which is an inno vation upon classic art, copied front the 1fonian triumphal arches, in which the practice was first resorted to. Columns also are frequently fluted in a spiral direction round the shaft, which gives them an appearance of weakness ; they are also twisted and crooked, which produces au effect no less disagreeable, than the construction is unscientific and bar barous. Another innovation upon ancient precedent con sisted in breaking the outline of the pediment by cutting it in the middle like a mitre ; this practice was even more unsightly and unscientific than the preceding ; for whereas the ancient pediment was formed tir the purpose of throw ing off the rain ; this, on the contrary, would seem to he shaped for the very purposu of collecting and retaining it. This barbarism is frequently accompanied by another equally unauthorised tind equally ugly : we allude to the practice, when the upper of two colonnades is narrower than the lower, of plaeing on each side of the upper story, a huge reversed cons,,le, or sort of volute, which has an exceedingly unsightly appearance. This arrangement is of common oc currence in churches, where the aisle-roofs are lower than than that of the nave, the difference oflevel being made up by these tasteless masses. These few last mentioned peen
liarities form some of the worst features of the style ; many building,, however, are entirely free from such defects, and are of chaste and elegant lesign.
As we have above stated, the first attempt towards the introduction of this style was made by Arnulfo di Cambio, in his design for the duomo of Florence ; but very little pro gress was made in this direction till the time who may be said to be the of the Italian style. From his time the style rapidly extended its influence throughout Italy, and was considerably varied, and in some instances improved upon, by his successors ; of the life and works of the principal of them, a short account will be found in the succeeding table :— Italian architecture is usually divided \Odell, with a very decided similarity in general treatment, have peenliarities sufficient to distinguish them from each other. The three classes are named after the cities in which they each prevailed, not that any one of the styles were in use at any place to the exclusion of the others. hut that each was in its own locality. The cities are thi 'se of Florence. Rome. and Venice, and the classes are styled after their names— Florentine, Roman, and Venetian.
The architecture of Florence, and more especially of its palaces. is very peculiar; strong, massive, severe. and from these very qualities, grand ; but at the same thne gloomy and heavy, presenting the appearance of fortresses rather than the residences of merchants. Nor was this appearance a false or deceitful one, fi. the strength of these mansions was required for purposes of defence. The rival parties of the Guelphs and Ghibellines, and, at a later period, of the Neri and Bianchi, were the cause of ceaseless civil discord, and their quarrels kept the city in a state of continual commo tion. from an early period of its history, to the time of the Medicis. It was this state of circumstances which originated the peculiar appearance of the buildings to be found in this city. Large blt t )e.:sofstone were readily procurable from the quarries ; and solidity and strength were, to sonic extent, demanded in residences which were not 'infrequently required to answer the purpose of a stronghold. Florentine buildings excel in dignity and grandeur those of Rome and Venice, but Bull far short of them in lightness and elegance ; they are inferior in the refinetnent of detail, hut surpass all others in bold and imposing masses.