History of mediæval art . l-tables of S. Pietro in Asti and S. Tomasoin Almenno near Bergamo {Fig. 185), on the other hand, may betaken as a proof of an extensive restoration of these edifices, ifnot of their later origin. With exception of the round building ofBrescia, the arches of which are supported upon clumsy piers, allthese structures resemble S. Costanza near Rome, or S. Maria Ro-tonda at Nocera, their domes being placed upon a circle of columns, 3H ARCHITECTURE OF THE ROMANIC EPOCH. while the surrounding passage is covered with barrel or cross , opened to the central s
History of mediæval art . l-tables of S. Pietro in Asti and S. Tomasoin Almenno near Bergamo {Fig. 185), on the other hand, may betaken as a proof of an extensive restoration of these edifices, ifnot of their later origin. With exception of the round building ofBrescia, the arches of which are supported upon clumsy piers, allthese structures resemble S. Costanza near Rome, or S. Maria Ro-tonda at Nocera, their domes being placed upon a circle of columns, 3H ARCHITECTURE OF THE ROMANIC EPOCH. while the surrounding passage is covered with barrel or cross , opened to the central space by arches, appear in S. Ste-fano and S. Tomaso. In like manner as the Cathedral of Bresciainfluenced the plan of the Minster of Aix-la-Chapelle, buildings sim-ilar to that of Almenno served as models for the round churches ofBurgundy, Normandy, and England. The Old Cathedral of Arezzo,built towards the end of the ninth century and torn down five hun-dred years later, was an octagonal structure similar to S. Vitale in. Fig. 185.—Section of S. Tomaso at Almenno. Ravenna. On the other hand, the great Baptistery of Florence, thefirst construction of which is without doubt referable to the Lom-bards, followed the antique circular system with arches in the sur-rounding walls, — exemplified in the Baptistery of S. Lorenzo inMilan, perhaps dating to the fourth century, and in that of theCathedral of Novara, which is a century later. The Baptistery ofParma, built in 1196, was imitated from that of Florence, withgreater magnificence than artistic success. The peculiarly Romanic forms—the cube capital, dwarf gallery, ITALY. 315 and arched corbel-table—do not seem to have been employed inItaly before the end of the tenth century. It is the opinion of thewriter that the reconstruction of S. Abondio in Como {Fig. 186)took place at the time when this church came into the possessionof the Benedictine monks, 1013 ; if this be true, it is not sur-prising that cube capitals sho
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