44^ COMPARATIVE ARCHITECTURE. The grouping together of the independent commonwealths of Italy is a feature of this period, and, as in ancient Greece, one city bore rule over another. Pisa became subject to Florence in 1406, and the latter gradually became the chief power in Italy, and also in the fourteenth century the artistic capital. During this period the nobles were at constant feuds with each other, being divided into the hostile camps of Guelphs and Ghibellines (pp. 230, 259), the former being generally successful. Dante Alighieri (1265-1321) took part in these conflicts, but eventually the wealthy family of the Medici became the ruling power in the State (see above). In 1494 Charles VIII. of France occupied Florence, during his brief invasion of Italy, which arose from his claims on the kingdom of Naples. The short-lived republic of Savonarola (see above) followed, but the Medici, in spite of successive banishments, were finally reinstated by the Emperor Charles V., who, acting on behalf of the Ghibel- lines, took the town in 1530. During a siege of eleven months, Michael Angelo acted as the engineer of the republic. The suppression of political liberty followed, especially under Cosimo I. (1537-1564), who, however, greatly extended the Florentine dominions, Siena being ceded to him in 1557 by the Emperor. His successors, the Grand Dukes of Florence, followed, until in 1737, the House of Medici becoming extinct, the Duchy passed into the hands of Austria. In 1801, as the Republic, and afterwards as the Kingdom ofEtruria, it enjoyed political freedom with the exception of the years 1 807-1814, during which time it was incorporated with France, but in i860 it was united to the Kingdom of Italy. 2. ARCHITECTURAL CHARACTER. The massive blocks of rusticated masonry in the lower stories (No. 192) of the Florentine palaces give to these buildings that character of solidity and ruggedness for which they are remark- able. The palaces were all built round interior courts, possibly derived from the arcaded cloister of the mediaeval monastery, the walls resting on columnar arcades (No. 191). The general absence of pilasters, as decorative features, is specially noticeable in the design of the palaces, which are therefore called " astylar." The sparing use of carved detail, and in fact of features of any kind, gives a marked character of simplicity to the style. The grand effect of these palaces is considerably aided by the massive cornice which crowns tlie structure, being proportioned to the whole height of the building, as in the Riccardi Palace (No. 191 d). The columnar arcade is a special feature, as in the Ospedale degli Innocenti and the Loggia S. Paolo, and mural monuments and altars are exceedingly rich with sculpture and decoration.
