ITALIAN GOTHIC. (See page 228 for Italian Romanesque.) '•I will give thee twelve royal images ("ut in glad gold, with marvels of wrought stone For thy sweet priests to lean and pray upon Jasper and hyacinth and chrysopas, And the strange Abian ihalamite that was Hidden twelve ages under the heavy sea, Among the little sleepy pearls to be A shrine lit over with soft candle flame." I. INFLUENCES. 1. Geographical. — German influence in Lombardy was effected through the connection of this part of Italy and Germany geographically by the Brenner Pass. The work at Venice was similarly influenced by an oversea trade connection with the East. ii. Geological. — The influence of materials in the develop- ment of this style was important. The colored marbles of Northern and Central Italy supplied abundant and beautiful material for the elaboration of plain wall treatment, as in Florence (No. 181), Siena (No. 182), Genoa, Orvieto, Lucca, and other places. Red, black, and white marbles were used in stripes, and also in panels, the architect relying much for effect upon their color and disposition. The brick and terra-cotta of Northern Italy has left a decided impress on the architecture of that district, many large buildings, such as the Hospital at Milan and the Certosa at Pavia, having been erected in these materials. iii. Climate. — The influence of the climate and brilliant atmosphere is apparent in the small windows, which, with thick walls, were necessary to keep out the glare and heat of the Italian sun, factors which also hindered the development of tracery. The preference for opaque treatment, such as mosaic work and fresco decoration, was inherited from the Romans, while the climate counteracted effectually any desire the Italians might have had for the suppression of the walls by the employment of large windows of stained glass, for the reasons mentioned above.
