. A history of architecture in Italy from the time of Constantine to the dawn of the renaissance. ve windows in the apse. The apse has thus onthe exterior three stages, of which the lower two are (as are also theflanks of the church, both on the aisle walls and the clerestory)divided into bays by pilaster strips ending in arched corbel-tables,quite in the Lombard stjTe. The third stage is similarly treated,but more subdivided and with an arcaded gallery. The interiorhas been already noticed on page 268. On the facade, the disposition of whose parts indicates that of theinterior, the older Lomb
. A history of architecture in Italy from the time of Constantine to the dawn of the renaissance. ve windows in the apse. The apse has thus onthe exterior three stages, of which the lower two are (as are also theflanks of the church, both on the aisle walls and the clerestory)divided into bays by pilaster strips ending in arched corbel-tables,quite in the Lombard stjTe. The third stage is similarly treated,but more subdivided and with an arcaded gallery. The interiorhas been already noticed on page 268. On the facade, the disposition of whose parts indicates that of theinterior, the older Lombard archi-tecture, in which, however, thePisan influence may be traced,still retains its place on the frontwall of the aisles, which is facedon each side with a blind arcadeof four arches on slender ensraofedshafts, the middle shaft omittedto give place for the the wall terminates with ahalf pediment instead of the Lom-bard half gable, both the horizon-tal and raking cornice bearing,however, the characteristic arched corbel-table. The aisle doorways Fig. 230. Baptistery, 312 ARCHITECTURE IN ITALY are of rude Lombard character, in strong contrast to those of theTuscan churches which we have examined; without lintels, butwith the panelled slab of the tympanum resting directly on thecapitals of the inner jamb columns, and the arch mouldings loadedwith coarse and rude leaf -decoration. The lintel is replaced by athin string decorated with an eg<^ and dart ornament, with bead andreel above. The central division of the facade, wliich ])rojects sometwenty inches forward of the sides, is of strikingly different char-acter, and evidently of later date, and it is here that we see therefining influence of the Pisan school, though the Pisan forms arenuich modified. The composition presents a combination of featuresof remarkable elegance, and quite without a parallel except in thesister church of S. Maria. The central doorway still retains ingeneral the Lombard for
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