ITALIAN GOTHIC. 421 D. Roofs. — These are of low pitch, and of small importance in tlie design, being scarcely visible from below (Nos. 179 and 180). They are often in contradiction to the steep gables of the fa9ades, borrowed from northern Europe, and treated solely as a field for mosaic and other elaborate decoration. Iron tie-rods were often used to prevent ,the spread of roof timbers owing to insufficient buttressing. E. Columns. — The piers of the arcades in the churches are at times surprisingly clumsy in plan, four pilasters combmed back to back being a common section. Round piers, with capitals and bases, recalling Roman work, were also used, but the continuous sequence in the design of such features, as may be traced north of the Alps, is not observable. In Milan Cathedral the circular moulded piers, by their height and size, and peculiar treatment of tabernacle capitals, produce the effect of a columnar interior (No. 177). F. Mouldings. — These have a flatness and squareness often little changed from Roman work, and the section of an arch mould is often identical with that of the jamb, although there may be capitals at the impost. Mouldings are throughout subordinate to surface decoration, the most interesting being those due to the use of brickwork in the facades. G. Ornament (No. 184). — Opaque decoration was preferred to translucent; the art of fresco, by constant exercise upon the noblest subjects in the grandest buildings, leading up to the golden age of Michael Angelo and Raphael. Some buildings, such as Giotto's chapel at Padua, and the Sistine chapel at Rome, are shells for painted decoration, almost devoid of architectural features. In carving (Nos. 184 a, b, e, f, g, h, l) and sculpture Classic tradition led to a refinement and an elegance which contrasts with the grotesque element found in northern work, but on the other hand, the general design is often neglected in the attention bestowed upon accessories. It is in the carving and mosaics to the sumptuous altars and canopy tombs, the pulpits (No. 184 b), pavements and choir stalls, and in the veneering of the faqades with colored marbles, that the decorative character of the style is best seen. The Tomb of the Scaligers, Verona (1329-1380), is an example of rich decoration, and many of the churches at Rome have elaborate inlay mosaic work of " cosmato " design on their arches and twisted columns. 5. REFERENCE BOOKS. Anderson (R.). — " Examples of the Municipal, Commercial and Street Architecture of France and Italy." F"olio. 1877. Cummings (C. A.). — " A History of Architecture in Italy from the Time
