History of mediæval art . e combined to a harmonioussystem which may directly betermed the Sicilian style, thisname certainly being more appli-cable than the common appella-tion of Norman. The basilicalplan in its Lombardic transforma-tion, the Byzantine treatment ofthe walls, especially those of thechoir, the Moorish pointed andsurmounted arches intersectingupon the exterior of the choir,and, finally, the Norman towersand general proportions, are in-deed to be distinguished, but in-stead of making the effect of anunrelated aggregate, as in the Capella Palatina, they are blendedto a whole of p
History of mediæval art . e combined to a harmonioussystem which may directly betermed the Sicilian style, thisname certainly being more appli-cable than the common appella-tion of Norman. The basilicalplan in its Lombardic transforma-tion, the Byzantine treatment ofthe walls, especially those of thechoir, the Moorish pointed andsurmounted arches intersectingupon the exterior of the choir,and, finally, the Norman towersand general proportions, are in-deed to be distinguished, but in-stead of making the effect of anunrelated aggregate, as in the Capella Palatina, they are blendedto a whole of perfect unity. With an extreme wealth of orna-mentation is combined the most careful and loving execution ofthe details, which are designed with great facility and Cloister of Monreale, especially, is one of the most charm-ing creations of mediaeval architecture. A preponderance of Nor-man elements is nowhere evident, and it is entirely misleading tobring this style into connection with that of Normandy and of. Fig. 197.—Plan and Section of S. Giovannidegli Eremiti in Palermo. ITALY. 333 England. On the other hand, it is not possible to trace any directinfluence of these methods of construction and decoration upon theGothic, although so consequential an employment of the pointedarch is indeed remarkable at this early period. The Cathedral ofMonreale is the best possible illustration of the flourishing conditionof Sicily during the reign of William II., who renewed the golden
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