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of the inhabitants of this part of Italy. Southern French Romanesque is remarkable for its rich decor- ative fagades. Buttresses are generally mere strips, of slight projection, and the fa(ades were arranged in stor- ies, with window lights in pairs or groups. Imposing western entrances are characteristic of this period. The west fronts of the churches of the Charente District, in Aquitania, were elaborately treated with carved orna- ment representing foliage or figures of men and animals. On the ground story the capitals so treated were often continued as a rich, broad frieze. German Romanesque bears a strong resemblance to that of North Italy. In the facades the most richly ornamented parts are the doorways and capitals; there is also a wealth of circu- lar and octagonal turrets and areaded galleries. Ex- amples: The church of the Apostles, at Cologne, the cathedrals of Worms, Mainz, Trier, and Spires.

Gothic facades. — The first in point of dignity is un- doubtedly that of Notre-Dame de Paris; in richness, those of Amiens and Reims. The fa(ade of Amiens, of which only the three lower stories are of the thir- teenth century, would doubtless have been the noblest of all Gothic fac^ades, had it been finished according to the original design. The great French Gothic facades are often criticized on the ground that they somewhat disguise the true character of the edifice which they enclose; and it is, perhaps, true that an entirely satis- factory design for a western fagade was hardly ever realized in a large Gothic church.. As a rule, the fa(,"ade rarely wholly expresses the form of the building which it encloses, except in buildings of a very simple char- acter. In the facades of smaller churches where the towers are omitted, as at Nesle, Auvers, Heronville, and Champagne, the whole structural form of the building is expressed as fully as it can be. The west fronts of Senlis, Paris, Amiens, and Reims sufficiently illustrate the development and the characteristics of the French Gothic western facade.

In England, the Anglo-Norman western facade was, as a rule, both inappropriate as a termination to the building, and ill-composed as an independent archi- tectural design. Very few early facades remain. The most important extant fronts of the thirteenth century are those of Lincoln, Salisbury, Wells, and Peterborough. The facade of Lincoln exhibits four different styles of architecture — the work of as many different periods of construction. The portals of Eng- lish churches are in general insignificant and diminu- tive, and those of Wells are especially so. The facade of Peterborough is entirely unrelated to the building which it encloses. As a rule, the west front in England is devoid of Gothic character; but among exceptions is the western facade of Ripon cathedral. In the early pointed architecture of England, western towers, when they occur, are less imposing than those of the Gothic churches of France.

The western Gothic facades in Germany call for no extended remarks. The fagade of the Lorenzkirche of Nuremberg, dating probably from the second half of the thirteenth century, exhibits a strange combina- tion of Romanesque and Gothic features. Towards the close of the thirteenth century, in Germany, the west front began to receive more elaborate and pecu- liar treatment. Acute open gables over the portals, free-stainling muUions and tracery over the face of the wall above, and tall open gallery in front of the open- ings of the second stories of the towers, are among the new features. Entrances are often north or south, instead of being at the west end. Towers with spires were much used, open-work tracery in the spires is very characteristic. The typical examples of German Gothic are Strasburg, Freiburg, Ratisbon, Cologne, and Vieima cathedrals.

Italian (Jothic facades show the influence of Roman tradition in their classic forms of construction and decoration, which was so great that the verticality which marks the Gothic architecture in the north of

Europe does not pervade the Italian examples, to any- thing like the same extent. From the absence of ver- tical features and shadows in the fa(jade, flatness is the predominating characteristic. There was a general absence of pinnacles. Stone or marble of different colours, carried in systematic band-courses or patterns throughout the design, gives a special character, as at Siena, Orvieto, Verona, etc. A large central circular window was a general feature. Windows are often semicircular-headed, and have shafts with square capi- tals of Corinthian type, often twisted and inlaid with mosaic known as "cosmatesque".

Spanish Gothic facades exhibit a variety of treats ment; but in very few cases is the French form closely followed. The front of the early church of San Pedro of Avila is an entirely logical design of simple charac- ter. The fagade of Burgos is composed in the French manner. Toledo is a mixture of Gothic and Renais- sance, and the west front of Leon dates from the thir- teenth century, the later work being characterized by extreme, and even wild, ornamentation. Traceried open-work spires, as in Germany, were favoured, those at Burgos being worthy of attention.

Renaissance fagades agree essentially in architec- tural treatment, growing out of a close contact with ancient monuments, though with no strict conformity to them. Examples in Italy: S. Lorenzo and Santo Spirito, in Florence; Santa Maria della Pace, S. An- drea's, The Gesu, S. Peter's, St. John Lateran's, in Rome; S. Maria dei Miracoli, S. Zaccaria and S. Maria della Salute, in Venice; Milan cathedral; and the Certosa of Pavia. French Renaissance: St. Eus- tache, St. Etienne du Mont, the church of the Sor- bonne, the Pantheon and the Madeleine, at Paris. German Renaissance: St. Michael's at Munich and the Frauenkirche at Dresden. Spanish Renaissance: Santo Domingo at Salamanca; the cathedrals of Granada, Valladolid, Santiago, Malaga, and Carmona. English Renaissance: St. Paul's, London.

Thomas H. Poole.

Facciolati, J.\copo, lexicographer and philologist, b. at Torreglia, near Padua, Italy, 4 Jan., 1682; d. at Padua, 26 Aug., 1769. He was educated in the semi- nary at Padua, and later was made professor of logic and regent of the schools in the university of that city, continuing in this position for forty-five years. In 1719 he brought out a revised edition of the "Lexicon Septem Linguarum", a Latin dictionary in seven lan- guages, called the "Calepinus", from the name of its author, the monk Ambrogio Calepino. In this work Facciolati was assisted by his pupil, Forcellini. Their labours on the "Calepinus" convinced them of the need of a totally new Latin lexicon. Therefore, putting aside all other works, they undertook the com- pilation of a lexicon which should be the most com- prehensive vocabulary of the Latin language that had ever been made. For forty years, under the super- vision of Facciolati, Forcellini laboured, reading through the entire body of Latin literature, as well as the whole collection of Latin inscriptions, including those on coins and medals. Their great lexicon, which bore the title, "Totius Latinitatis Lexicon", was published in four volumes, at Padua in 1771, after the death of both the editors. This monumental work, on which all Latin lexicons now in use are based, gives every Latin word, with its Italian and Greek equivalents and copious citations illustrating the various meanings. Subsequent editions are the Eng- lish one of Bailey in two volumes (London, 1828), and that of De Vit (Prato, 1858-87). Facciolati also pub- lished a new edition of the "Thesaurus Ciceronianus" of Nizolius. He left .a number of letters, remarkable for their elegant Latinity, which were afterwards pub- lished. (See l'"(iUCEI.I,iNI.)

Kf.rkahi. Vifii ./,i,;il„ Facciolati (Padua, 1799); Gexnari. Vila di Jacopo Faccwlali (I'adua, 1818).

Edmund Buhke.