nave, above which is the choir and altar niche, approached by flights of steps in the aisles.  This general arrangement is followed more or less closely in the churches at Bittonto, Bari, Altamura, Ruvo, Galatina, Brindisi, and Barletta.  The scale of the southern churches is, however, much smaller than those of the north, the width of the nave of the cathedral at Trani being only 50 feet, and the length 167 feet, while the corresponding dimensions of the cathedral at Pisa, which is referred to by Fergusson as the most notable example of this style in the north, are 106 x 310 feet.

In these smaller churches, as far as external treatment is concerned, the main attention is devoted to the principal facade, and here most of the ornament is usually covered with a rich hood supported by pillars resting on monsters, following the custom prevalent throughout Italy during this period.  Above this is either a gallery or one or two windows, and the whole generally terminates in a circular rose window filled with tracery.

[Illustration:  X. The Principal Doorway to the Catherdral at Trani, Italy.]

Fergusson’s final summing up of the architecture of this neighborhood can scarcely be considered too enthusiastic in the light of the eight illustrations here given.  He says:  “No one who takes the pains to familiarize himself with the architecture of these Southern Italian churches can well fail to be impressed with their beauty.  That beauty will be found, however, to arise not so much from the dimensions or arrangement of their plans, or the form of their outline, as from the grace and elegance of their details.  Every feature displays the feeling of an elegant and refined people, who demanded decoration as a necessity, though they were incapable of rising to any great architectural conception.  They excelled as ornamentists, though at best only indifferent architects.”

The examples of doorways chosen for illustrating this number unquestionably show the work of men who labored for the enjoyment and satisfaction to be got from their work.  This is sufficiently evident in the results before us.  Its logical and constructive bearing can of course be called in question, as in fact is the case with all but the merest fraction of the architectural efforts of the world.  As decoration we can but admire the masterly way in which the ornament is distributed, the refined sense of scale and proportion, and the skilful and subtle treatment of light and shade, even if the detail of the ornament itself is crude and archaic.

In making the choice of these subjects this point was kept in mind, and they are not offered as material which can be cut out in portions of the size and shape desired and transferred bodily by the designer to embellish a modern masterpiece, in the manner in which the Gothic architects of Venice used their patterns of window tracery.  These plates show certain qualities in decorative design in their fullest and best development, and are on this account invaluable as suggestions to designers of the present day.  For “cribbing material” they do not stand for much; but this should not be counted as against their usefulness, for the draughtsman who has not advanced beyond the “cribbing” stage has much still to learn before he can do the best and most satisfactory work.