File:A history of architecture in Italy from the time of Constantine to the dawn of the renaissance (1901) (14597545278).jpg

Identifier: historyofarchit01cumm (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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behind the galleries ispierced with windows of various forms, mostly two-light openingsunder a broad bearing arch, with deeply splayed jambs and threeorders of jamb-shafts and arch mouldings. In the fourth stage is asmall wheel window. The peculiar interest of this fa(;ade lies in itsextraordinary decoration, of which indeed the variety of columns justmentioned may be considered a i)art, and which shows how far, evenin his close imitation of the general design of the Pisan churches, thearchitect was removed from the Pisan spirit, and how strong wasthe influence of the older and wilder Lombards. The si)andrils ofthe arches and the small j)ortion of wall between the arcades and thestring courses are covered with an inlay of white marble on a groundof dark green ser))entine, in which geometrical patterns are mingledwith figure subjects representing mostly scenes from the chase, thesebeing in rectangular panels of various sizes and shapes, irregularly TIIK CKNriJAL noMANKSr^rK •jyr>
Text Appearing After Image:
FijT. 225. Lucca. S. Michele. placed, but of the greatest nicety and delicacy of execution, curiouslyat variance with the rudeness of the drawing. It is the Lombardthought expressed in the Pisan language, the spirited but barbarousstone sculpture of San Michele of Pavia being abandoned in favor ofthe marble mosaic of Pisa, but with the old subjects retained.^ The blind arcade of the first stage and the first arcade above itare continued on the flanks of the church, the aisle walls being ofunusual height. The clerestory, on the other hand, is very low% andits only feature is a series of small plain round-arched windows. The facade of the cathedral is much less loyal to the Pisan modelthan that of San Michele. It is in four stages, of which Luccathe first presents the unusual feature of an open porch ex- cathedral,tending quite across the front, with three broad round arches carriedon strong square piers, with an order of jamb-shafts and corresponding ^ Mothes, p. 302; Dehio and Van Bez

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