File:A history of architecture in Italy from the time of Constantine to the dawn of the renaissance (1901) (14597887208).jpg

Identifier: historyofarchit02cumm (find matches)
Title: A history of architecture in Italy from the time of Constantine to the dawn of the renaissance
Year: 1901 (1900s)
Authors: Cummings, Charles Amos, 1833-1905
Subjects: Architecture
Publisher: Boston, New York, Houghton Mifflin and company
Contributing Library: PIMS - University of Toronto
Digitizing Sponsor: University of Toronto

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e disap-peared. But the tympanums of the doorway arches bear groups offigures in high relief ; the lintels and the faces of the flanking pin-nacles are divided into square panels, each with its delicate group offigures; and in all this decoration the treatment is restrained, andentirely subordinated to the forms of the architecture. (Fig. 379.) The flanks of the outer aisles are interesting and vigorous beyondwhat is common in Italian churches. The wall is divided by strongsquare buttresses into bays, each bay covered by a gable, and its fullbreadth occupied by a broad and high pointed window, with fivelights separated by slender twisted columns, — the head of the enclos-ing arch filled with rich and elaborate tracery. (Fig. 380.) Noother Italian church has such windows until Milan cathedral. Butin the upper part of the flank there is again the same poverty andfeebleness of treatment which we have seen so often in the Gothicchurches, in Florence, in Verona, in Venice, and elsewhere.
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Fig. 878. Bolog-na. Fagade of S. Petronio. 216 architecturp: in italy In the sacristy of S. Petroiiio is preserved a contemporary modelin wood ^ of the complete design. This shows the transept endsflanked by tall angle towers, and terminating in triple galjles, and apolygonal dome over the crossing, each face of whicli is covered by asharp crocketted gable. It is perhaps too much to assume that thecarrying out of this great project would have met with a success com-mensurate with its daring magnitude, since the Italian genius seemsto have shown itself, with one or two brilliant exceptions, incapable ofproducing a really great example of complete and logical composi-tion in the line ofchurch architecture.Yet the work whichwas done on the fa-cade and aisles of S.Petronio did at leastpromise a nearerapproach to such aresult than had beenreached in Italy sincethe cathedral of Pisa.But this work wassuspended, as I havesaid, very early in thefifteenth century, andwas never resumed.The impul

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