tecture_, book vi. chap. i.

[22] _Ib._

[23] See Gruener's _Terra Cotta Architecture of North Italy_, plates 3 and
4.

[24] Compare what Alberti says in his preface to the Treatise on
Painting, _Opere_, vol. iv. p. 12. "Chi mai si duro e si invido non
lodasse Pippo architetto vedendo qui struttura si grande, erta sopra i
cieli, ampla da coprire con sua ombra tutti i popoli toscani, fatta sanza
alcuno aiuto di travamenti o di copia di legname, quale artificio certo,
se io ben giudico, come a questi tempi era incredibile potersi, cosi
forse appresso gli antiqui fu non saputo ne conosciuto?"

[25] What the church of S. Petronio at Bologna would have been, if it had
been completed on the scale contemplated, can hardly be imagined. As it
stands, it is immense, and coldly bare in its immensity. Yet the present
church is but the nave of a temple designed with transepts and choir. The
length was to have been 800 feet, the width of the transepts 625, the
dome 183 feet in diameter. A building so colossal in extent, and so
monotonously meagre in conception, could not but have been a failure.

[26] Vol. II., _Revival of Learning_, chap, 1.

[27] The following passage quoted from Milizia, _Memorie degli
Architetti_, Parma, 1781, vol. i. p. 135, illustrates the contemptuous
attitude of Italian critics to Gothic architecture. After describing
Arnolfo's building of the Florentine Duomo, he proceeds: "In questo
Architetto si vide qualche leggiero barlume di buona Architettura, come
di Pittura in Cimabue suo contemporaneo. Ma in tutte le cose e fisiche e
morali i passaggi si fanno per insensibili gradagioni; onde per lungo
tempo ancora si mantenne il corrotto gusto, che si puo chiamare
Arabo-Tedesco."

[28] Observe, for example, the casing of a Gothic church at Rimini by
Alberti with a series of Roman arches; or the facade of S. Andrea at
Mantua, where the vast and lofty central arch leads, not into the nave
itself, but into a shallow vestibule.

[29] See Burckhardt, _Cicerone_, vol. i. p. 167.

[30] See De Stendhal, _Histoire de la Peinture en Italie_, p. 122.

[31] For a notice of his life, see Vol. II., _Revival of Learning_, p.
247.

[32] The Arch of Augustus at Rimini was the model followed by Alberti in
this facade. He intended to cover the church with a cupola, as may be
seen from the design on a medal of Sigismondo Pandolfo Malatesta. See too
the letter written by him to Matteo da Bastia, Alberti, _Opere_, vol. iv.