Byzantine and Romanesque architecture . ^ the sculpture being more advanced thanthat of the church. It rests on an early Christian sarco-phagus, which one would like to believe really that of thegreat Stilicho, and on eight marble columns, some round,and others octagonal, with capitals of foliage or birds orother animals. The arches are enriched with scrolls orinterlaced knots ; figures of animals, men, and angels fillthe spandrils, and a cornice of running foliage intertwinedwith little beasts surrounds it at the level of its upper part is comparatively plain. The The sculpture both
Byzantine and Romanesque architecture . ^ the sculpture being more advanced thanthat of the church. It rests on an early Christian sarco-phagus, which one would like to believe really that of thegreat Stilicho, and on eight marble columns, some round,and others octagonal, with capitals of foliage or birds orother animals. The arches are enriched with scrolls orinterlaced knots ; figures of animals, men, and angels fillthe spandrils, and a cornice of running foliage intertwinedwith little beasts surrounds it at the level of its upper part is comparatively plain. The The sculpture both in atrium and nave shows scarcely sculpture ^^^. j^gj^^j.^ ^f ^lassic art (Figs. 59f 60, 61). The capitals are rudely shaped with little distinction betweenbell and abacus, and singularly little projection, some of Plate LXXVI. Lii^ S. AilBROGIO—MILAN CH. XVIl] MILAN 265 them being no more than a splayed face decorated with S. Am-surface carving. Many of them are composed of animals— ^°^^°rams, bears, and eagles—and the jambs and lintel of thedoorway are carved with interlacing patterns.
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Keywords: ., bookauthorjacksont, bookcentury1900, bookdecade1910, bookyear1913
