Dalmatia, the Quarnero and Istria, with Cettigne in Montenegro and the island of Grado . er eachinterior arch, though they are all now blocked andhave been replaced by ugly lunettes like those atParenzo, So far all resembles the early Byzantinework of the fifth and sixth centuries, and the archesof the nave arcades spring in the same way as thoseat Ravenna and Parenzofrom spreading impost-blocks above the trueclassic bell and when we examinethe details and the cha-racter of the executionwe find that we are ina difierent age. Theserude capitals which stillretain a dim resem-blance to
Dalmatia, the Quarnero and Istria, with Cettigne in Montenegro and the island of Grado . er eachinterior arch, though they are all now blocked andhave been replaced by ugly lunettes like those atParenzo, So far all resembles the early Byzantinework of the fifth and sixth centuries, and the archesof the nave arcades spring in the same way as thoseat Ravenna and Parenzofrom spreading impost-blocks above the trueclassic bell and when we examinethe details and the cha-racter of the executionwe find that we are ina difierent age. Theserude capitals which stillretain a dim resem-blance to the debasedBoman work have alsobegun to take a freshdeparture, and speak ofthe coming romanesquestyle of Lombards andFranks; and the strange irregular arcades where no two capitals are at thesame level, and no two arches of the same height,could never have been built in the palmy daysof Byzantine architecture, either under HonoriusTheodoric or Justinian. To refer the church fartherback to the time of Constantine brings us towell-known examples with M^hich it is quite im- VOL. III. Z. Fig. 114. 338 6*. Lo7enzo in Pascnatico. [Ch. xxxil. possible it should have been contemporary. Thereis no choice left us but to attribute the church ofSan Lorenzo to the rising schools of romanesqueart in the eighth or ninth century, when, althoughthe traditions of classic art still survived, technicalskill had sunk so low that they could not be obeyed, and when the forms ofthe new art of mediae-val Europe had not yetbeen developed into ex-istence. The windows of thegreat apse have unfor-tunately been modern-ized, but the two sideapses retain each ofthem its original sin-gle round-headed are extremelycurious, being filled witha slab of stone threeinches thick carved witha romanesque pattern ofinterlacing circles, ofwhich the intervals arepierced to admit light. There was evidently noidea of glazing these openings, which if ever closedmust have been so by a shutter on the inside. On th
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Keywords: ., boo, bookcentury1800, bookdecade1880, booksubjectart, bookyear1887
