It is with Christian Italy that we have to deal, the Italy of cathedrals, and it is at Ravenna and at Venice that we may trace the decline of Roman architectural methods and the gradual merging of these into Byzantine forms. Though the great Basilica Ursiana of the fourth century has disappeared, Ravenna has preserved many famous monuments of the fifth century: the votive church of Galla Placidia, sister of the Emperor Honorius, the Baptistery, the aulic church of the Gothic conqueror Theodoric, Sant' Apollinare Nuovo, and the churches of San Vitale and Sant' Apollinare in Classe. Venice, rising to power and splendour when Ravenna fell on evil days, secured the heritage of her glory, and carried on the Byzantine tradition in the cathedral of Torcello, the church of San Zaccaria, and above all in the incomparable San Marco. At Pisa the Romanesque evolution culminated in a unique group of buildings, famous throughout the world, while at Milan and in the surrounding district the local type of Romanesque became sufficiently individual to figure as an independent style under the title of Lombard architecture. Of this subdivision of Romanesque the prototype seems to have been the great church of Sant' Ambrogio at Milan, while San Michele at Pavia is another early and important example. Italy's essays in Gothic are scattered throughout the length and breadth of the peninsula, from Como to Naples. The Broletto at Como and the monastic buildings at Vercelli are said to have inaugurated them. Good examples are the cathedral at Como, the church of San Francesco at Assisi, the cathedral of Orvieto, San Petronio and San Francesco at Bologna, and San Lorenzo at Genoa.
But it is to the Renaissance architecture of Italy that many of us will turn as the most intimate expression of the Italian spirit, to the works of Brunellesco, Michelozzo, and Cronaca at Florence, of Palladio at Venice and Vicenza, of Bramante, and, above all, of Michelangelo at Rome, notably in his great life-work, the church of St. Peter. The exuberant later style that resulted from a too ardent application of the principles of Michelangelo and is known as Baroque, though generally reprobated at present, must not be too sweepingly condemned. It had an exponent of great talent in Bernini, and it will hardly be denied that it gave grandiose expression to the tendency of a splendour-loving age, and that Rome owes to its exponents much of the scenic effectiveness of her streets and the impressive magnificence of her interiors.