. A history of architecture in Italy from the time of Constantine to the dawn of the renaissance. Fig. 170. Pierced Panel from .*S. Apollinare Nuovo,Ravenna. Contrastwith theLombardsculpture trace. TIIK HY/ANIINK INFLIJKNCE 233. Fig. 171. S. Celso. Pier Capital. mosaic, so universal iu Byzantine churches and in those where theByzantine influence has been felt, falls at once out of use; it wouldseem as if the refinement and luxury of such adornment repelledthe rude and strenuous nature of the Lombard race. The samedistaste for delicacy and grace is visible in their sculpture. Nocontrast can be
. A history of architecture in Italy from the time of Constantine to the dawn of the renaissance. Fig. 170. Pierced Panel from .*S. Apollinare Nuovo,Ravenna. Contrastwith theLombardsculpture trace. TIIK HY/ANIINK INFLIJKNCE 233. Fig. 171. S. Celso. Pier Capital. mosaic, so universal iu Byzantine churches and in those where theByzantine influence has been felt, falls at once out of use; it wouldseem as if the refinement and luxury of such adornment repelledthe rude and strenuous nature of the Lombard race. The samedistaste for delicacy and grace is visible in their sculpture. Nocontrast can be more marked than that between the tranquil andgentle spirit of the Byzantine sculpture and symbolism and that ofthe Lombards. Yet even here we may trace in many of the mostcharacteristically Lombard monuments, from the ninth to the twelfthcenturies, an occasional feature which betrays either the hand of theGreek artist himself or his influence working: in the mind of theItalian. I can permit myself only a few instances. In San Micheleat Pavia, one of the most ancient of the Lombard buildino^s „. ,. ^ ^ ^ c Mingling: which remain to us, and that in which the wild and savao^e of Byzan-spirit of the Lombard sculptor finds
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectarchite, bookyear1901
