In this state was the art, when Italy fell under the power of barbarian conquerors. This style they adopted in their own buildings; for, after conquest was secure, they patronised the arts of their subjects, introducing a still greater profusion of ornament, rudely executed, and in worse design. Yet the whole effect of such works is often not without grandeur. Beginning with Rome, we might instance, from our own observation, a continuous series of monuments, of a style such as now described, still remaining in different parts of Italy, especially the Gothic capitals of Lombardy, as Ravenna, Verona, Pavia, introducing the early revival in Pisa and the cities of Tuscany. Such a survey would unite the labours of Metrodorus, the first Christian architect under Constantine, with those of Buschetto and Diotisalvi, in the commencement of the eleventh century, leading to the mention of various architects of the Gothic kingdom, as Ciriades, of Rome; Aloisius, of Padua, author of the famous tomb of Theodoric, called the Rotunda of Ravenna; St Germain, of France; St Avitus, of Clermont; Agricola, of Chalons; Romnaldus, of France; Tietland, of Germany; with others. Such an inquiry, however, is not here necessary, inasmuch as it must now appear obvious, that the style just described might be termed Gothic, as practised by the mixed race of invaders, who, under the name of Goths, subdued Italy; but that such a style could not have been introduced by them from the forests of Germany and the wilds of Pannonia. From Italy, religion, and consequently ecclesiastical building, extended over the rest of Europe. In France and Germany, the names enumerated above, with the works still remaining there, might be examined in corroboration of the fact, that the circular arch prevailed at the same time in these countries. But as of most importance, attention is better limited to British art in the middle age. This species of building is distinguished, in native antiquities, by the appellation of Saxon or Norman,--displaying, as characteristics, low, thick, and rotund pillars, with bases and capitals often fantastically carved, with heavy semicircular arches, springing directly from the top, corresponding exactly with the corrupted Roman. Regarding the propriety of this designation, however, doubts may reasonably be entertained, since it by no means certainly appears that either the Saxons or Normans were the introducers.