172 Sloan's Architectural Review and Builders' Journal. [Sept., may be termed painter-like effects. A great license is also afforded in the ground plans, admitting of almost an endless variety in the arrangement of the apartments. The windows are of varied forms ; some with flat lintels, or heads ; and others, again, have the half-round arch, the latter generally when the po- sition of the opening is important ; and all dressings of doors and windows are, as a general rule, made very massive, having a tendency, throughout, rather to boldness than minuteness of decora- tion. The roofs are never steep, but flat, and, in Italy, generally composed of tiles ; but, with us, slate or tin, the lat- ter of more common occurrence. In' all cases, the eaves are heavy and pro- jecting, supported either on brackets or cantalivers. Heavy arcades, resting on round arched openings ; verandahs, with simple posts finished with brackets of tasteful design ; and chimney tops, of endless and neat pattern, prominent — and serving to give greater variety to the outline, are all marked traits of the style. But perhaps the one, which, above all others, is an almost universal and un- mistakable characteristic, is the Cam- panile or square tower, which has now come to be looked upon as an indispen- sable accessory to every design in this particular stjde ; and is always adopted when the building is of an irregular form. The above are some of the more important characteristics, which mark this style. But the irregularity of the ground plan, and of the vertical outline — the consequent wide field thereby opened out — and the great freedom per- mitted in general design, afford many opportunities for the exercise of in- genuity and taste on the part of a skil- ful architect. Novelty, an aspect which this stjde possesses above all others, is the one which makes the strongest im- pression on an observer. The great object in designing a build- ing, so far as the exterior effect is con- cerned, is the production of an harmo- nious and pleasing whole. In regular symmetrical architecture, this is com- paratively easy. A beautiful design may not be the result ; but viewed as a whole, it may bear some pretension to beauty. Italian architecture, on the other hand, from its very irregularity, and striking and bold contrasts, is of a more refined style ; and addresses itself to a highly cultivated taste. One other feature of the Italian, we might notice here: extension, and not concentration, is the abiding spirit of this style. The irregularity of its masses admits of a house receiving additions in every direction, thereby making it more suitable than any other to a pros- perous and ever-improving people, like ourselves. As we have before said, the peculiar features of this style are so adapted to effect, that it may be classed as one of its leading specialties. The towering Cam- panile, boldly contrasting with the hori- zontal line of roof, only broken by a few straggling chimney-tops ; the deep shadow produced by the heavy project- ing cornices and brackets, so charming, so inexpensive and so easily applicable ; the rows of circular-headed windows, with balconies, the effect of which is chiefly produced by the contiguity of the window-frames ; the prominent porticos, arcades and verandahs ; its adaptation to any kind of site, whether even, un- dulating, or broken ground — giving am- ple scope, in the latter case, for those magnificent terraces, which vary and dig- nify the architecture of the Palladian era ; — all these combine in one grand and picturesque -whole, to give Italian architecture that charm, which no other style possesses in any similar degree. A glance at the elevation of the build- ing, which we have shown in the accom- panying plate, will be sufficient to give a very clear idea of its general appear- ance and details. With the aid of the plan of the princi- pal story, and the following description,
