File:A history of architecture in Italy from the time of Constantine to the dawn of the renaissance (1901) (14597548158).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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Text Appearing Before Image:
tympanum has no sculpture, but in its centre a small wheelwindow. The other doorway, that of S. Pietro at Pistoia, bears a closerresemblance to that of S. Giusto above described. The two pilasterswhich form the jamb of the opening do not project from the wall,and are made of several pieces of marble jointed in the most irregu-lar manner; their capitals are much in tin? Corinthian style, butvery freely treated, one of them having a grotesque Lombard beastin )>lace of a volute. Below the capitals is a flat necking, with aninlay of black and white marble with varied subjects in the style ofthose of the cathedral at Lucca. The heavy lintel bears on its face adelicate arcade with minute colonnettes, and a standing figure in each THE CKNTUAL UUMANKS(^l K 301 HYili — its (•ornirc cjirviMl with a mejiiidcriiij; viiu; in tluj triuj Hyzan-tiiic inaiUHT. Tlio anli is (()nip<)s<(l of larj^o stronj; inouldin^H,uudeeonittd, cxcopt tlio (Hitcr .ircliivolt, wliidi Is richly HculptiinMl.
Text Appearing After Image:
Fig. 22i». Lucca. S. Giovanni. Head of Central Doorway. The tympanum has no other decoration than a single standing figurerelieved against narrow courses of dark and white marble. In Pistoia, lying some forty miles east from Lucca, the Pisaninfluence is still to be plainly traced, although there is no pistoia, thesuch conspicuous instance of it as the two great churches Cathedral.of Lucca furnish. The cathedral was an eighth-century church, but,like so many others, was renewed in the twelfth century with radicalchanges both without and within. The present facade, the work ofGruamons or Gruamonte, — of whom only the name is know^n, butwhose work appears, certified by inscriptions, on various importantbuildings of this and the neighboring cities. — was simply built upin front of the older one, which is still visible behind the openarcades of which the new fa(^ade is composed. The first stage is 302 ARCHITECTURE IN ITALY covered by a somewliat ungainly porch stittehing across the wl

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