st, and has the
usual virtue of the barbarian,--a directness of attack at the problem in
hand and a simplicity in treating it which is invigorating to see.

[Illustration: XXV. Window in the Church of S. Teresia, Trani, Italy.]

[Illustration: XXVI. Window in the Church of S. Teresia, Trani, Italy.]

XXV. and XXVI.

WINDOWS IN THE CHURCH OF S. TERESIA, TRANI, ITALY.

These two windows have very little to suggest Byzantine influence in
their design. The form and detail are essentially Romanesque, although
there is a certain crispness and piquancy of treatment in the first
(Plate XXV.) which belongs to the Byzantine work.

[Illustration: XXVII. Window in the Facade of the Basilica at Altamura,
Italy.]

XXVII.

WINDOW IN THE FACADE OF THE BASILICA AT ALTAMURA, ITALY.

The employment of grotesque beasts supporting the columns at each side
of this window is a very common device in the Italian Romanesque work.
The use of a reversed capital in place of a base for the centre column
is also a peculiar treatment frequently found in Romanesque work.

[Illustration: XXVIII. Windows in the Facade of S. Gregorio, Bari,
Italy.]

XXVIII.

WINDOWS IN THE FACADE OF S. GREGORIO, BARI, ITALY.

[Illustration: XXIX. Triforium Window in the Church of S. Gregorio,
Bari, Italy.]

XXIX.

TRIFORIUM WINDOW IN THE CHURCH OF S. GREGORIO, BARI, ITALY.

The Byzantine architects used pierced stonework with great effect both
in exterior and interior detail. The examples here shown are rather
crude, but effective in the relative scale of parts.

[Illustration: XXX. Window in the Apse of the Cathedral, Bari, Italy.]

XXX.

WINDOW IN THE APSE OF THE CATHEDRAL, BARI, ITALY.

The ornament about this window, especially that in the long panel below
it and upon the cyma of the soffit above, is Byzantine in character,
while the columns, with the exception of the capital of the one at the
left, are much more Romanesque.

[Illustration: XXXI. A Window in Bittonto, Italy.]

XXXI.

A WINDOW IN BITTONTO, ITALY.

This is not an especially beautiful example, but is an illustration of
the direct and vigorous treatment of the early barbarian Romanesque
builders.

[Illustration: XXXII. Window in the Apse of the Cathedral, Bittonto,
Italy.]

XXXII.

WINDOW IN THE APSE OF THE CATHEDRAL, BITTONTO, ITALY.

In this case the beautiful and delicate Byzantine leafage can be seen on
the