File:A history of architecture in Italy from the time of Constantine to the dawn of the renaissance (1901) (14761429266).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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ed horizontal cornice of somewhat classical design crownsthe first stage, the brackets having the form of Lombard beasts. Theupper stage of the faQade is obviously later than the lower, and isquite out of keeping with it, consisting of a great wheel windowwith tracery of intersecting pointed arches and an archivolt ofrather coarse grotesque sculpture, enclosed in a clumsy round archcovering the whole width of the nave, which springs from coupledcolumns resting on crouching lions. In the arcades of the flanksthe arch-heads and spandrils are decorated with inlays and bas-reliefs of various designs, and a portion of the arches enclose roundarched windows, and one a doorway of Pisan character similar tothat of the facade. On the south flank the clerestory has a blindarcade of eleven arches on slender columns,—the voussoirs blackand white; and each alternate arch has a simple round-archedwindow. The contrast so far in the whole expression of the exte-rior to the Lombard work is complete.
Text Appearing After Image:
Fig. l!55. Troja Cathedral. Lower Part of West Front. THE SOUTHERN ROMANESQUE 25 On the east end, how-ever, we find the Lom-bard again left to him-self. (Fig. 256.) Herethe apse is remarkablein having two tiers ofcolumns standing free;those of the first tier ona continuous stylobate,with foliage capitals, andstilt-blocks running backinto the wall, on whichstand the columns of thesecond tier, with capitalscharged with grotesqueLombard beasts and car-rying round arches. Un-der the middle arch isthe usual high apse win-dow, with carved lintel,carried on columns whichstand on lions issuingfrom behind the columnsof the arcade,—a curiousand most characteristi-cally Lombard caprice. At Siponto the half-ruined churchof S. Maria ■Maggiore shows also, butto a less degree, the Pisaninfluence. Of the origi-nal church of about 1100,only the external wallsremain, the interior hav-ing been reconstructed in^1508. It is a square ofabout sixty feet, with adoorway on the west front and apses on the

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