Page:A history of architecture on the comparative method for the student, craftsman, and amateur.djvu/548

 490 COMPARATIVE ARCHITECTURE. by a bold and original treatment, in which he gave great extension to the use of rustication as a means of efifect. The Palazzi Pompeii (a.d. 1550) (No. 217 a), Bevilacqiia, and Canossa, are the best known examples of his style at Verona. The Palazzo del Consiglio (a.d. 1500) at Verona was erected by Fra Giocondo, and is chiefly remarkable for the colored " sgraffito work " of the fa9ade. Note. — Characteristic ornament is shown in No. 218. 4. COMPARATIVE. The Florentine, Roman, and Venetian Schools. A. Plans. Florence — The utmost simplicity and compactness, a style of planning adapted to town, rather than country buildings. Staircases inclosed by walls (Nos. igi, 193) were vaulted by ascending barrel-vaults. In church work, the Roman coffered and vaulted nave (No. 193 e), the Byzantine domical treatment (No. 193 a), and the Basilican (No. 193 j), were all followed. Rome. — More varied planning on a grander scale (Nos. 196, 198 and 199). Staircases, circular and elliptical, with columnar supports, are features, as those in the Barberini, Corsini, and Braschi palaces and the Scala Regia of the Vatican. In church work, the dome over a circular space (Roman type) (No. 199 c), and the dome on pendentives (No. 199 g), were used. Venice. — Where an open site permitted, a broken, complex, and picturesque disposition was adopted ; otherwise a straight front to the canals had to be adhered to (No. 208). Staircases, placed in a central area, surrounded with arcades, belong to this school. In church work, the Roman barrel-vaulted type (No. 211 d), the dome on pendentives and Basilican plan (No. 211), were used. B. Walls. Florence. — The style of fenestration and rusticated quoins (Nos. 191 and 192). The astylar treatment, which dispenses with orders and makes each story complete in itself, while subordinated as a whole by the great top cornice (No. 191) was adopted. In pure wall treatment it is akin to Egyptian art. Rome. — The style of pilasters (No. 195). Two or more stories are united by an order upon a grand scale (No. 200). Windows are disturbing elements, without which the designs would have the unity of Greek temples. Venice. — The style of columns (Nos. 207 and 209). Stories are defined by an order to each. Excessive separation by the entablatures is modified, and corrected by breaking them round the columns. In the multiplicity of parts the style allies itself to the Roman, as in the Colosseum,