Architecture in Italy, from the sixth to the eleventh century; historical and critical researches . nning of these pages,I told you how Cordero thought tostrengthen his opinions about thecontinuity of the Latin style in Italyduring the whole liombard period,by indicating a few structures whichwere proved, according to his notionby irrefragable documents, to havebeen erected at that time. Now he restricted himself to fourexamples: the churches of S. Frediano and of S. Michael at Lucca,the Torn Palace at Turin, and the church of S. Saviour at examples are few, but they might have bee
Architecture in Italy, from the sixth to the eleventh century; historical and critical researches . nning of these pages,I told you how Cordero thought tostrengthen his opinions about thecontinuity of the Latin style in Italyduring the whole liombard period,by indicating a few structures whichwere proved, according to his notionby irrefragable documents, to havebeen erected at that time. Now he restricted himself to fourexamples: the churches of S. Frediano and of S. Michael at Lucca,the Torn Palace at Turin, and the church of S. Saviour at examples are few, but they might have been enough if thesupposed irrefragable documents with which Cordero endowedthem had not burst like a soap-bubble under a conscientiousand disimpassioned examination. We have, in fact, seen abovehow the two churches of Lucca and the gate of Turin belong toquite another epoch than those of the Lomljards; so it onlyremains to us to see if we can find Cordero in the right at leastas regards S. Sa^dours of Brescia. Reduced to this point theaffair becomes so slight that it is worth our while to spend a. * Fig. 60.—Capital of the Cryptin the Eotunda of Brescia—Vlllth Centm-y. 144
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Keywords: ., bookcentury1800, bookdecade1890, booksubjectarchitecture, bookyea
