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142 ARCHITECTURE. 
given as examples the Bastille in Paris (Plates, Division V., pil. 46, figs. 
8-10), the tower of Montlhery (Div. V., pl. 44, figs. 5, 6), and the castle of - 
Vincennes (Div. V., pl. 44, figs. 14, 15). 
2. Tue Lomparpic Styte. The buildings erected by the Lombards in 
Italy, in the 7th and 8th centuries, principally churches, are in their main 
features Byzantine ; but for several peculiarities they have been grouped by 
themselves, and constitute the monuments of the Lombardic style. Their 
characteristics are the following: 1. Very small semicireularly arched 
windows. 2. Small arched niches, separated by thin pillars under the 
slopes of the gable, as in St. John’s church in Pavia (pl. 28, jig. 15), © 
which is the best example of the Lombardic style. 4. Half or three fourths 
columns at the entrances, grouped so as to form perspective gateways. The 
columns of the two sides are connected above by semicircular arches. Their 
bases, shafts, and capitals are decorated with rude foliated work or symbolie 
figures, whilst the Byzantine capital in a measure approaches the Corin- 
thian. The columns in the interior have generally rude cubic capitals sup- 
porting the arches. 5. The frequent spiral arrangement of the foliated 
decoration on the shafts. 6. The rude sculptures, frequently satirical repre- 
sentations of the abuses of priestcraft. These are found mostly in the 
entrances. 7. Festoons, wrought in stone, under the main cornices and 
under those marking the different stories of the churches or towers. 8. The 
invariably pyramidal spires on the towers. 
The Lombardic style has been frequently adopted in the churches of 
Germany. In attempting to classify the buildings of the middle ages, 
however, and to group them in the various styles, the duration of the con- 
struction must be taken into account and allowance made for additions to 
the original plans, since the later architects did not generally aim at uni- 
formity by following the style of the original designer, but frequently 
adopted the taste of their own period. Thus the cathedral of Bonn (pl. 31, 
jig. 9b), which we have considered among the Byzantine buildings modi- 
fied in their introduction into Germany, has been adorned with the festoons 
and the pyramidal spires peculiar to the Lombardic styles, in contradis- 
tinction from the Byzantine. 
D. The Arabian or Moorish Style. 
When the Arabians, after conquering Africa, 665-689, penetrated into 
Spain in 710, they introduced in the interior of their edifices a richness in 
mosaic work, slender columns, inlaid floors, and magnificent ceilings, which 
far surpassed that of all other decorations of that age. Their rich architec- 
ture chiefly flourished in the 7th and 8th centuries in Bagdad, Cairo, Alex- 
andria, Fez, Cordova, and Barcelona. It reached its climax in the palace of 
Alhambra, near Granada, of which we shall presently speak. Originally 
the Arabian edifices must have been wholly destitute of splendor, as is seen 
from the Kaaba at Mecca, built 100 z. c., which is quite plain. 
The Arabian or Moorish style, as it is usually termed, is entirely peculiar, 
differing from all other known styles. Among its prominent features are: 
1. The horseshoe-shaped arches, which generally occur exclusively, but 
142 
