File:A history of architecture in Italy from the time of Constantine to the dawn of the renaissance (1901) (14597992697).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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wide, the transeptbeing in three square bays, like the bays of the nave, those of thetransept ends having an eastern chapel opening from each bay, andflanking the square bay of the choir, — the Cistercian arrangement,but frequently adopted by the Dominicans and Franciscans.^ Two 1 The Cistercians had froni the first no monopoly in this effective arrangement.In S. Francesco at Pistoia (1294) the choir has two square chapels on each side, in 172 ARCHITECTURE IN ITALY great square chapels, probably of somewhat later date, open from thenorth and south ends of the transept,—their floors raised severalfeet above the floor of the transept. (Fig. 348.) The interior well illustrates the inevitable failure of the Italianbuiklers to catch the Gothic idea, either in construction or desiofn.The aisles are low, yet there is no proper clerestory; the sprino- ofthe nave vaults is below the crown of the arches of the nave arcades,and the nave is lighted only by round windows under the wall arches
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Fig^. 350. Florence. S. M. Novella. of the vaults. These vaults are buttressed in the Lombard mannerby ramping walls of masonry, built up on the transverse arches ofthe aisles, and carried up slightly above the aisle roofs. The same may be said, but more emphatically, of the exterior, ofwhich the only notable portion is the faQade. (Fig. 350.) Of this,the present aspect is due to Leon Battista Alberti, who remodelled itabout 1470, the only reminder of its original design being the blindarcade of four tall round arches on either side of the central door- S. Francesco at Pisa of the same date there are three, in S. Francesco at Siena four,and in S. Croce at Florence five. THE GOTHIC 173 way, — a feature veiy common in the Lombard churches of theeleventh and twelfth centuries, as the cathedral of Modena, SantaMaria Maggiore at Bergamo, Santa Sofia at Padua, and many others.The tall, slender campanile on the north flank of the church is whollyLombard. San Francesco at Bologna, an earlie

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