History of mediæval art . UliW ISsi Fig. 366.—Plan of the Cathedral ofFlorence. Fig. 367.—System of the Cathedralof Florence. ical system of the Byzantines, the cupolas not being restricted, asin the Romanic style, to the intersection of transept and nave,—instance S. Antonio at Padua. In Italy there is scarcely a trace ofthat resolution of all the wall surfaces into pillars, or of that exces-sive multiplication of the vertical members so characteristic of theGothic of the North. On the contrary, the supports of the navewere diminished in number and placed farther apart, the open andbroad effe

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History of mediæval art . UliW ISsi Fig. 366.—Plan of the Cathedral ofFlorence. Fig. 367.—System of the Cathedralof Florence. ical system of the Byzantines, the cupolas not being restricted, asin the Romanic style, to the intersection of transept and nave,—instance S. Antonio at Padua. In Italy there is scarcely a trace ofthat resolution of all the wall surfaces into pillars, or of that exces-sive multiplication of the vertical members so characteristic of theGothic of the North. On the contrary, the supports of the navewere diminished in number and placed farther apart, the open andbroad effect of the edifices of the Italian Gothic contrasting strik- 572 THE EXTENSION OF GOTHIC ARCHITECTURE. ingly with the high, cramped aisles of Northern churches. Theenormous interior of the Cathedral of Florence has the fewest pos-sible supports. The termination of the choir by surrounding pas-sage and radial chapels occurs but rarely. Another arrangement,first introduced by the Cistercians, was frequently adopted, es

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Keywords: ., bookcentury1800, bookdecade1890, bookpublishernewyorkharperbros