The face of the wall, whether ornamented with arcades or left plain, but more especially in the latter ease, is generally divided into panels as it were by pilasters or buttresses, if we may so term them, being carried vertically up the face of the building without interruption, and projecting slightly in front of the general surface of the wall. Such projecting strips of wall are generally plain, but sometimes very much ornament ed, as in the front of San Michele at Pavia. They are very narrow in comparison to their height, except at the angles of buildings, where they are usually wide; they reach also from the top to the bottom of the building, breaking through horizontal cornices, arcades, and anything which comes in their way, all of which are for the most part stopped by them, except the corbel table into which they merge, t he surfaces of both being flush. They certainly give an appearance of strength, especially when placed at the angles, and resemble buttresses to some extent, but probably were not intended to serve their purpose ; they would appear to be added rather for ornament than for any other end, as they are too shallow to afford much real strength to the walls.
Pinnacles are by no means frequent, and when present have the appearance of being set on the part they rise above, from which they arc divided by horizontal st•ing-courses; they are also very low, and look more like pedestals than pinnacles.
Windows in this style are generally very narrow, and sometimes mere slits. They consist of one, two, or more lights divided by shafts, and haying semicircular heads. `Xliere there are more than two lights, the centre one is not i:frequently higher than the others, and the whole are often included under one larger arch. At a late period in the style we find wheel or circular windows common in the west facades; they are composed of spokes radiating from a centre, connected at the fin timer extremities by small arches, and enclosed w ithin a moulded circle. These windows were first introduced in this style, and though adopted in later styles, may be said to be characteristic of Lombardie architecture.
While windows were sparingly introduced, and of small dimensions, and at the same time seldom enriched, so as to contribute but slightly towards the embellishment of the buildings ; doorways, on the other hand, became important features, and were much decorated. The aperture was mostly plain and square-headed, but it was enclosed in a recess formed by a series of arches standing one behind and within the other, and supported upon columns. The span drel also above the openings, was sometimes enriched with sculpture. The dressing to the doorway was occasionally so
deep as to be nearly as wide at the opening. The facade had frequently a central and two side doors.
The stone used in the construction of the walls, consisted of comparatively small blocks, but these were well tooled and put together. In the latter part of the eleventh century, the walls were composed of alternate courses of materials of different colours ; sometimes stone alternating with marble, and sometimes marbles of different hues being employed in the same manner. The walls were often white and black, and sometimes red and brown. During the twelfth century, brick was in general use, but still preserved the same parti-coloured appearance, by alternating with stone or marble. It is not improbable that this practice was borrowed from the Saracens.
In the eleventh century, another feature of some import ance and character was introduced, which was a projecting porch of imposing appearance, some such porches consisting of two stories in height. They had a large arched aper ture, and were usually covered with a vaulted roof supported on pillars, of which the two foremost rested on the back of lions or other animals, a feature which is characteristic of the style. Some of these porches are of the most elaborate description.
In the interior of churches, the peculiarities of style are not so readily observed, but are to be sought for rather in matters of detail, which are equally observable on the exterior. The arrangement is much the same as in the preceding methods of building. The plan is usually if not universally cruciform, the intersection of the two arms of the cross being covered by an octagonal or circular dome, some what similar to the Byzantine practice ; but the shape of the cross generally differs from the Byzantine, in haying one of the arms longer than the other, whereas, in the other case, the arms are all of equal length. Hence one form is termed the Greek. the other the Latin cross. Here we observe a mixture of tne Byzantine and Roman styles, the dome of the one and the ground plan of the other being oombined, and this is not the only particular in Which the combination of the two styles is observable ; the trifo•ia, which arc common in Lombardie churches, are an emanation from the Bc zantine, while a great many minor features are essentially Roman. The cast end is for the most part terminated in an apse, either semicircular or octagonal, as are also occasionally the aisles. Crypts are seldom omitted. The windows, as we before observed, are of small dimensions, and hence the buildings have a somewhat gloomy appearance in the interior.