History of mediæval art . Fig. 193.—Portal of S. Giusto inLucca. * M. G. Rohault de Fleury, Les Monuments de Pise. Paris, 1866. 326 ARCHITECTURE OF THE ROMANIC EPOCH. transepts into three-aisled basilicas had appeared in the Con-stantine Church of the Apostles in Byzantium. The columnswere for the greater part taken from antique buildings, and thealternation of supports in the galleries had been common amongthe Lombards. The cross-vaults which were introduced into theside aisles were universal at that period in all two-storied structures,as were also the wooden ceilings of the other parts. The
History of mediæval art . Fig. 193.—Portal of S. Giusto inLucca. * M. G. Rohault de Fleury, Les Monuments de Pise. Paris, 1866. 326 ARCHITECTURE OF THE ROMANIC EPOCH. transepts into three-aisled basilicas had appeared in the Con-stantine Church of the Apostles in Byzantium. The columnswere for the greater part taken from antique buildings, and thealternation of supports in the galleries had been common amongthe Lombards. The cross-vaults which were introduced into theside aisles were universal at that period in all two-storied structures,as were also the wooden ceilings of the other parts. There is notrace of the vertical tendencies of the Northern style, horizontalmemberments being as predominant as in the early Christian basili-cas. The most remarkable of the innovations were of doubtful ad-vantage. The continuation of the two-storied aisles across the tran-. Fig. 194.—Plan of the Cathedral of Pisa. sept separated the latter from the body of the church, depriving itof all unity; moreover, the dome of oval plan, above the oblong in-tersection of the transept and nave, was not of good effect, eitherwithin or without, and. is to be regarded as an addition not contem-plated in the original design. Notwithstanding these drawbacks,the charm of the harmonious proportions is undeniable, the dimen-sions of the details increasing the apparent size of the whole, whilethe arcades in relief and dwarf galleries of the exterior repeat in or-ganic elaboration the forms of the interior {Figs. 195 and 196). The rotunda of the Baptistery was begun at a somewhat laterperiod, A. D. 1153. The central structure, supported upon columns, ITALY. 327 was of the form which had remained customary throughout Italyafter the early Christian period, but it was not of so good propor-tions as the before-mentioned Lombardic buildings, the height ofthe dome leading to a too
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