During the dark interval which followed the Gothic invasions, though constructive skill was immensely reduced, the preponderance of arcuated over trabeated architecture became yet more complete. The Greek element having during the later Roman period become merely decorative, and therefore no more than an artificial adjunct, it was natural that the overthrow of the ancient civilisation should at once sweep it away as a useless luxury, and that the real and useful portions of architecture should alone survive, though the actual skill in using them would be reduced. We find, accordingly, that during this interval architecture became purely arcuated, though in Western Europe the more difficult forms of arcuation, such as the vaulting over of large spaces, were usually avoided. This art, however, was never forgotten nor lost, but simply disused from diminution of skill, and the grand characteristic of the reawakening of architecture was the revival of these more difficult systems of construction; so much so, indeed, that nearly every structural change which we trace from the tenth to the thirteenth century arose, more or less, from the endeavour first to revive and then to carry on to higher and higher perfection the construction of arches and vaulting, and to elevate it from _mere_ construction into the highest place among the means of producing beauty of decoration and sublimity of effect. In the south of Italy the architecture continued all along to follow, in the main, the character of the Roman Basilica; and for a long period, it is probable, as I have before stated, that most of the Northern churches were rude imitations of this type; but gradually, in the countries north of the Po, a new form came over the architecture, which ever after distinguished _Northern_ from _Southern_ buildings, and which may be designated by the family name of GOTHIC, not only as being the progenitor of the style which has generally received that title, but as being actually in a great degree the style of the nations of Gothic extraction as distinguished from those of Roman parentage. This style has generally received the name of Romanesque, or Romane, to distinguish it from the pointed-arched style which succeeded it, but is by Mr. Fergusson more philosophically termed the _round_-arched _Gothic_, while he transfers the term Romanesque to the Christianised Roman or Basilican style. This is far more correct than the usual nomenclature; but as the latter is established by custom I shall not depart from it, but shall, for convenience, designate this round-arched Gothic style--as distinguished from the Christian Roman and from the Pointed style--by the customary name of _Romanesque_. Of this style the following may be enumerated as the leading characteristics:-- 1. Subordination of the arches. 2. Subdivision of piers to meet the subordination of arches. 3. Introduction of systems of moulding and decoration proper to subdivided arches.