242 COMPARATIVE ARCHITECTURE, was the model for Monreale Cathedral, and though of small size, is unrivalled for richness of the effect of the mosaics. It has a richly treated ceiling of stalactite forms. S. Giovanni degli Eremiti (1132) and the Martorana Church (1113-1143) are other examples at Palermo which show the blending of Saracenic and Byzantine ideas. S. Nicolo, Bari (1197), is a good and typical example of the churches of Southern Italy which are small in comparison with their northern contemporaries. The entrance front is always distinguished by a projecting porch, with the columns resting on lions' backs, supporting a projecting roof, above which is the characteristic wheel-window. The detail of these buildings is always refined and graceful, which may be due to some extent to the Greek descent of the inhabitants of this part of Italy. The crypts are a special feature, that at Otranto being noteworthy for the numerous points of support employed to carry the choir. 4. COMPARATIVE. Central, North, and South. A. Plans. — The plans of most of the churches were substantially the same as the basilicas, more especially in Central Italy ; in the North the churches are mostly vaulted, modifications being intro- duced on the lines of German work ; in the South, the low lanterns at the crossing, oblong in plan, are marked features, as at Monreale Cathedral (No. 97). The choir was occasionally raised to admit of a crypt beneath, reached by steps from the nave. A number of circular examples were built mainly as baptisteries, that at Novara being connected to the cathedral by an atrium. There is a fine atrium at S. Ambrogio, Milan. In the North the open arcades of the apses seen in conjunction with the usual arcaded octagonal lantern at the crossing, constitute the charm of the style. Projecting porches were preferred to recessed doorways, and are bold open-arched structures, often of two stories, resting on isolated columns, and placed on huge semi-grotesque lions, having a symbolic character. Towers, as at Piacenza and S. Zenone, Verona (No. 96), are detached, being straight shafts without buttresses or spires, which, when occurring, can be traced to German influence. B. 'Walls. — The flat blind arcades of the northern style were developed by the Pisan (Central) architects in their galleried facades. The west front, including the isles, was carried up to a flat gable, with arcading following the rake, and other arcades carried across in bands. The Northern facades are flatter, and sometimes have a large circular window to light the nave. In the South this feature is highly elaborated with wheel tracery, a.s
