Italian Architecture Character

Central
New ideas rarely found. Constructive boldness not sought after, less
departure being made from the ancient Basilican type. The Italians
have always possessed a greater capacity for beauty in detail, than for
developing a bold and novel construction into a complete style.
The Byzantine influence was strong, especially in several districts as
Venice, Ravenna, and Pisa, which latter city in particular possesses a
distinct style of its own.
Arcades in several stories were employed as an ornament to the
facades. Marble facing was carried to such an extent as to form a style
in that material. The Basilican type was closely adhered to, and beauty
and delicacy of detail were preferred to the invention of fresh
architectural forms produced by a new system of construction. Detail
much affected by Classic remains and traditions, which resulted in the
production of carving and ornament of great refinement. At Pisa
ancient sarcophagi richly sculptured with figures existed, by whose
study the Pisani were influenced.
The churches were mostly roofed with plain open-timbered roofs, the
members of which were ornamented with bright coloring.

North
Arcades restricted to top of gables and apses. The character is less
refined owing to the use of stone and brick rather than marble. Wide,
flat, and severe facades are typical, covering the whole church, without
marking in any way the difference of nave and aisles. A rose window
and a porch resting on lions are often the chief relief. Details show a
breaking away from Classic precedent. In sculpture, hunting and other
scenes reflecting the life of the northern invaders are frequent, and in
these a grotesque element is prominent.
The churches were of the Basilican type, and were nearly all vaulted
and roofed. Side aisles are often in two stories, the cerestory is
omitted, the walls between the side chapels forming buttresses.

South
The change from the Byzantine to the Mahometan dominion and from
the latter to the Norman in the eleventh century is traceable.
Byzantine influence is shown in the plans of certain churches, as in the
Church of the Martorana at Palermo, where a square space is covered
by a dome supported on four freestanding columns.

Mahometan influence is evident, particularly in the decorative parts of

churches, as mentioned above.
Architecture developed considerably under the Norman rule by the
erection of cathedrals, and a school of mosaic was maintained in the
Royal Palace during this period.
The churches have either wooden roofs, or a Byzantine dome, but are
hardly ever vaulted. Dark and light stone was used in courses
externally, and rich mosaics and colored marbles were employed as a
facing internally. The architectural features of the interiors, of which
Monreale Cathedral has typical examples, were subordinate to the
mosaic decorations which clothe the walls.