History of mediæval art . e be assumed that, in Rome at least, this addition ofan atrium was exceptional; it was generally found sufficient tobuild before i;he front of the church a court {pronaos, propyld),which extended across the entire width of the facade, or appearedas a portico supported upon two or four columns. This court orportico was known as the narthex. When to an atrium there wasadded a transverse colonnade, before or inside the basilica, this wascalled the inner narthex. Having entered the portal of the basilicaitself, the visitor found himself upon the small side of an oblongspa
History of mediæval art . e be assumed that, in Rome at least, this addition ofan atrium was exceptional; it was generally found sufficient tobuild before i;he front of the church a court {pronaos, propyld),which extended across the entire width of the facade, or appearedas a portico supported upon two or four columns. This court orportico was known as the narthex. When to an atrium there wasadded a transverse colonnade, before or inside the basilica, this wascalled the inner narthex. Having entered the portal of the basilicaitself, the visitor found himself upon the small side of an oblongspace, the farther end of which was extended by an apse. In rare 24 EARLY CHRISTIAN AND BYZANTINE ARCHITECTURE. cases there was only one nave, without columns, as at Rome inS. S. Cosma e Damiano and in S. Balbina. The usual form of thebasilica was three-aisled, being divided by two rows of columnsextending along its length. The more magnificent edifices of thisclass were often five-aisled, like St. Peter and St. Paul at Rome. Fig. 13.—Plan of S. Clemente in Rome. {Figs. 12 and 14), and the churches of Constantine at Jerusalemand Bethlehem. The number of aisles, however, was not alwaysdetermined by the size of the building: instance the grand BasilicaLiberiana (Maria Maggiore), in Rome, which has only three aisles,while the small Basilica of St. Reparatus at Orleansville in Algiers,
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