File:A history of architecture in Italy from the time of Constantine to the dawn of the renaissance (1901) (14782173884).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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in-creased beauty anddelicacy both of ma-terial and detail, inthe walls of the tower.The composition ismasterly throughout.The tower covers asquare of about forty-five feet, and rises toa height of about twohundred and seventy-five feet. For rathermore than a third ofthis height it has noopenings except thedoorway on the eastside, which is incon-spicuous. The baseis in two stages, witha slight set-off at thetop of each stage,above which there isno diminution. The remaining height is in three stages, of which the two lower are ofequal height and precisely similar design, with two beautiful two-light windows in each face, of the utmost grace and delicacy of pro-portion and ornament, with traceried balconies and gabled arches ;while the third or final stage, that of the belfry, is of much superiorheight, with a broad three-light opening in each face, similar indesign and decoration to the smaller openings below. The towerfinishes with a strongly projecting arched corbel-table. The angles
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Fig-. 376. Florence. First Door, South Flank. 212 ARCHITECTURE IN ITALY of the tower are reinforced by octagonal buttresses rising fromground to summit, and all the strings and cornices are carried roundthem. The face of the wall is everywhere crossed by a panellingof white and green marbles similar to that of the cathedral, but ofgreater variety and richness, with a liberal, but not profuse additionof floral sculpture in the friezes, and many bands of marble inlay,much resembling the work of the Cosmati. The lower range ofpanelling in each stage of the base is enriched with admirable figure-sculpture, that of the lower stage being contained in a series ofhexagonal panels, and representing the arts and labors of primitiveEastern life. The design of these sculptures is believed to havebeen by Giotto; the execution partly his, with much assistance fromAndrea Pisano, Luca della Robbia, and other masters. The upperrange is a series of standing figures in small pointed arched niches,by Don

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