History of mediæval art . important and wealthycity of the country through her successesin Southern Italy, Corsica, Elba, etc. Butit was only after the plundering of. Paler-mo, A. D. 1063, that the means were pro-vided for the extraordinarily rich inte-rior, the magnificence of which had atthat time no parallel among the ecclesi-astical edifices of Italy. Even these re-sources were exhausted before the com-pletion of the building. The work wassuspended in 1095, and could only be re-sumed by means of pecuniary aid givento the undertaking by the Byzantine em-peror. After the consecration of the
History of mediæval art . important and wealthycity of the country through her successesin Southern Italy, Corsica, Elba, etc. Butit was only after the plundering of. Paler-mo, A. D. 1063, that the means were pro-vided for the extraordinarily rich inte-rior, the magnificence of which had atthat time no parallel among the ecclesi-astical edifices of Italy. Even these re-sources were exhausted before the com-pletion of the building. The work wassuspended in 1095, and could only be re-sumed by means of pecuniary aid givento the undertaking by the Byzantine em-peror. After the consecration of the Cathedral, in 1103, the interiordecorations were carried on until the thirteenth century. Imposingas was the enormous space of the body of the church, with its fourtwo-storied side aisles and its four hundred and fifty columns, theconstruction nevertheless offers but few important cruciform plan {Fig. 194) had been frequently adopted in Milanafter the early Christian epoch, and even the development of the. Fig. 193.—Portal of S. Giusto inLucca. * M. G. Rohault de Fleury, Les Monuments de Pise. Paris, 1866. 326 ARCHITECTURE OF THE ROMANIC EPOCH. transepts into three-aisled basilicas had appeared in the Con-stantine Church of the Apostles in Byzantium. The columnswere for the greater part taken from antique buildings, and thealternation of supports in the galleries had been common amongthe Lombards. The cross-vaults which were introduced into theside aisles were universal at that period in all two-storied structures,as were also the wooden ceilings of the other parts. There is notrace of the vertical tendencies of the Northern style, horizontalmemberments being as predominant as in the early Christian basili-cas. The most remarkable of the innovations were of doubtful ad-vantage. The continuation of the two-storied aisles across the tran-
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