178 ARCHITECTURE. 
brick wall and ornaments, contrasting with the yellow tone of the marble 
facade, produce a fine effect. The fagade formerly had points, which have 
been removed. It is very rich in sculptures, containing 44 statues, 60 
medallions, and many bas-reliefs. 3 
3. Peruera. In Perugia there are important buildings of every period 
of architecture, from the Roman arch down to the corrupt Italian style, 
and even the German style may there be met with in all its purity. Of 
the time of the Renaissance we shall mention the church of St. Francis, 
built from a design of Michelozzi. Pl. 48, jig. 4, represents the facade of 
this church ; jigs. 5, 6, 7, give the capitals of the pilasters in the statue- 
niches of the portal ; jig. 8, a detail from the consoles which support the 
four great statue-niches upon the facade; jig. 9, one of the medallions 
under the lower statue-niches; jigs. 10-12, ornamental panels ; jig. 13 
represents the foot and crown-cornice of the socle of the facade; jig. 14, a 
console of the lower niches; and jigs. 15 and 16, two of the patterns of 
the marble pavement in the interior of the church. The inside of the 
church is ornamented with beautiful paintings, and its fine architecture 
‘makes an agreeable impression upon the spectator. 
4. Narres. Among the many superb buildings in Naples, of which we 
will only mention the Cathedral of St. Januarius, no one more clefirly indi- 
cates the character of the period which we are now considering, than the 
triumphal arch erected to king Alfonso IV. of Arragon (Alfonso I. in 
Naples) upon his triumphal entry in 1445 into Castel Nuovo, and whose 
facade is represented in pl. 42, fig. 20. Pl. 43, jig. 23, is the capital, of the 
lower Corinthian order, drawn on a larger scale. A part of this facade is 
the work of Pietro di Martino, a Milanese architect and sculptor (d. 1470), 
who was rewarded by being knighted by king Alfonso himself. The build- 
ing, entirely of marble, is rich in ornaments, statues, and bas-reliefs. The 
most remarkable of the last, in the attic over the entrance-arch, represents 
the triumphal procession of the king; and the arrangement of this proces 
sion, in combination with the niches over the entablature, is remarkable 
The three statues which crown the summit are those of St. Michael, St. 
Antonio Abbate, and St. Sebastian. They are supplementary, placed 
here under the government of the viceroy Don Pietro di Toledo, and are 
works of the Neapolitan sculptor, Giovanni Merlano da Nola. This tri- 
umphal arch is so much the more remarkable, as it is the only structure of 
this kind that remains to us from that period. 
From Italy reawakening art soon found its way to France, especially as 
King Francis I. not only brought the choicest works from Italy to France, 
but assembled the most illustrious Italian artists at his court, employing 
them abundantly, and heaping gold and honor upon them. Hence there 
are many fine monuments in France which belong to this period, and which 
we shall consider in the order of the principal cities. 
1. Paris. Among the distinguished persons who in the 16th century 
generously furthered art, the Cardinal George d’Amboise, archbishop of 
Rouen, and Minister of Louis XII., occupies an eminent place. He built, 
178 
