File:History of mediæval art (1893) (14777035541).jpg

Identifier: historyofmedival00rebe (find matches)
Title: History of mediæval art
Year: 1893 (1890s)
Authors: Reber, Franz von, 1834-1919 Clarke, Joseph Thacher, d. 1920
Subjects: Art, Medieval
Publisher: New York : Harper & Bros.
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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came into common useafter the fifth century, therough bulls-eyes being of-ten of various colors, butlimited to the small holesof the perforated marbleslab which formed theframe. During this periodlead-glazing was graduallyadopted, the colored panesbeing arranged in mosaic-like patterns. The ceilingwas generally not panelled,the open timbered roof ofthe basilica being retained ;nevertheless, the way wasprepared for the vaultingof the nave by the introduction of transverse arches, and by thevaulting of the side aisles, this forming the floors of the galleries.The exterior had no other decoration than the patterns formedby colored bricks, while the cornices were restricted to projectingcourses and diagonal bonds of the same material (Fig. 184). Thelintels of the portals were commonly protected by a dischargingarch. The earliest campaniles known date to the sixth century,but such towers did not come into favor during subsequent ages,and were seldom erected in connection with the churches.
Text Appearing After Image:
Fig. 184.—Detail of the Cloister in the Convent ofGerusalemme, Bologna. Tenth Century. ITALY. 313 As has been shown in a former chapter, there are but few archi-tectural memorials referable in their present state to the time of theLombardic kings. In like manner the buildings erected in Lom-bardy during the Carolingian epoch have almost all been entirelytransformed by subsequent reconstructions. A notable exceptionis the Church of S. Ambrogio in Milan (Fig. 183), which has retainedin its apse and dome the original forms of the eighth century; whileamong its interior adornments there are still preserved the pulpitof Pemmo, dating to 784, above the sarcophagus of Stilicho, thegolden altar of A.D. 822, the tabernacle above it of 835, and nota-bly the mosaic of the apse, executed between 832 and 880. Thedome and the termination of the choir present some similarity toS. Lorenzo; but the low proportions of the apse, resulting fromthe introduction of the crypt, lead to the supposition that

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