. A history of architecture in Italy from the time of Constantine to the dawn of the renaissance. rs, it is])rol)al)le that the Loid of Milan, afterthe fashion of the time, elaimed mori;than his due, and that his work waseither in the nature of a restoration orconHned to the addition of a nave andaisles to the octagon which formed theoriginal church, and of which six sidesare still visible, half buried in the mod-ern Palazzo Keale. The tower is beautiful not only asan architectural composition, but alsofrom its coloring. The angles are de-fined by slender shafts of white marble,and these are r
. A history of architecture in Italy from the time of Constantine to the dawn of the renaissance. rs, it is])rol)al)le that the Loid of Milan, afterthe fashion of the time, elaimed mori;than his due, and that his work waseither in the nature of a restoration orconHned to the addition of a nave andaisles to the octagon which formed theoriginal church, and of which six sidesare still visible, half buried in the mod-ern Palazzo Keale. The tower is beautiful not only asan architectural composition, but alsofrom its coloring. The angles are de-fined by slender shafts of white marble,and these are relieved against a wallof very rich red brick, with ornamentsof terra-cotta, divided into stages bydelicate arched corbel - tables. Thehead of the tower is encircled by adouble arcaded gallery, the arches ofwhich are carried on small columns ;and the columns of the upper arcaderest on corbels which project from thecapitals of those below. The effect isone of singular elegance. Two stagesof smaller diameter surmount the mainportion of the tower, and the wholefinishes with a sharp conical Fiff. IIG. Tower of S. Gottardo. In these notices of the Lombardchurches and baptisteries, I have thus far omitted all consideration of one of their most importantand characteristic features, — their sculpture : preferringto consider the Lombard sculpture by itself, as perhaps on Lombard 1 i Sculpture. the whole a more complete and conclusive indication andexpression of the remarkable character of the masters of Italy, durii\gone of the most critical periods of its history, than even the architec- 17S ARCHITECTrRE IN ITALY ture of which it was the ornament. The Byzantine sculpture was, in itsway, a not less emphatic expression of the Greek character and si)irit,hut it was not the principal thing in the Byzantine whole idea of the typical Byzantine church, in construction,design, and decoration, was vastly more original and characteristicthan that of the Lombard church. The
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectarchite, bookyear1901
