. An encyclopaedia of architecture, historical, theoretical, & practical. New ed., rev., portions rewritten, and with additions by Wyatt Papworth. ses as for palaces. The style seems to have interdicted the use of columnsin the fa(,-ades, and on this account the stupendous cornices that were used seem actuallynecessary for the purpose of imparting grandeur to the composition. In the best and mostcelebrated examples of their palaces, such as the Strozzi, Iandollini, and others in Florence,and the Picolomini palace at Sienna, the cornices arc proportioned to the whole heiglit ofthe building cons
. An encyclopaedia of architecture, historical, theoretical, & practical. New ed., rev., portions rewritten, and with additions by Wyatt Papworth. ses as for palaces. The style seems to have interdicted the use of columnsin the fa(,-ades, and on this account the stupendous cornices that were used seem actuallynecessary for the purpose of imparting grandeur to the composition. In the best and mostcelebrated examples of their palaces, such as the Strozzi, Iandollini, and others in Florence,and the Picolomini palace at Sienna, the cornices arc proportioned to the whole heiglit ofthe building considered as an order, notwithstanding the horitontal subdivisions and smallinterposed cornices that are practised between the base and the crowning member. The CUAF. II. ITALIAN. 137 courts of these palaces are usually sunouiuled by columns or arcades, and tlieir ulterior isscarcely ever Indicated by tlie external distribution. IVoin among tlie extraordinary palaceswith Florence abounds, we place before the reader the exciuisite fa9ade of t- V^doWiu: palace, the design whereof (^iV. 166.) is attributed to the divine llatlaelle Ill-it almost all the requisites of street architecture are displayed. It is an examplewherein the principles of that style are so admirably developed, as to induce us to recom-mend it, in conjunction with the facade of the Farnese palace hereafter given, to theelaborate study of the young architect. Without further allusion to the double cupola of the Duoino, already noticed,the first of its si)ecies, and the prototyi)e of that of St. Peters at Rome afterwards rearedby Michael Angelo, the principles and character of the Florentine school are not somanifest in its churches as in its jjalaces. These nevertheless possess great interest; forihey were tiie bases un which those of the Roman school were formed, as well as of thoseexamples which, willi different degrees of purity, were afterwards erected in many of thecapitals of Eur()i)e. B
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