. The story of architecture: an outline of the styles in all countries. Plate XXVII.—Interior of San Vitale at Ravenna. 236 THE BYZAXTEXE STYLE. with a cupola of smaller size, necklaced with a rowof small, round-headed windows. A vaulted atrium or narthex crested by a balus-trade precedes the building and is entered by five doorways orna-mented with col-umns of cipolin,jasper, and mar-ble, and flankedby two lateral ar-cades (Fig. 89).Five arches breakup the portion ofthe facade appear-ing above thenarthex, causinga curious inter-change of liirhtand shade, theiroutline stronglydefined by a cres
. The story of architecture: an outline of the styles in all countries. Plate XXVII.—Interior of San Vitale at Ravenna. 236 THE BYZAXTEXE STYLE. with a cupola of smaller size, necklaced with a rowof small, round-headed windows. A vaulted atrium or narthex crested by a balus-trade precedes the building and is entered by five doorways orna-mented with col-umns of cipolin,jasper, and mar-ble, and flankedby two lateral ar-cades (Fig. 89).Five arches breakup the portion ofthe facade appear-ing above thenarthex, causinga curious inter-change of liirhtand shade, theiroutline stronglydefined by a crest-ins: of elaboratesculpture. All thearches above andbelow are en-riched with mo-saics of exquisiteworkmanship. The interior is incrusted with orna-ments like those of Sta. Sophia, and in this respect isequal to any example of the Byzantine style in theEast; but the builders of the pendentives did not ap-parently understand that these supports should betreated as parts of a sphere, and their joints converge. Fig. S3.—Plan of Cathedral of St. Mark,Venice. BYZANTINE CHURCHES IN FRANCE. 237 to a centre. Hence, the spaces between the archesare filled with a collection of small superimposedarches, which lack the dignity of the bold curvingsweeps in Sta. Sophia. In the second half of the eleventh century a col-ony of Venetian artists and handicraftsmen emigratedto France and settled in Limoges, and it is to them
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