. The story of architecture: an outline of the styles in all countries. ult,beneath which stood the font, and the same columnssupported a wall pierced by clearstory windows, thereby forming alantern for lightingthe upper portion ofthe interior. The earliest ex-amples are the tombbuilt by Constantinefor his mother, Hel-ena, in 328, the tombof Honorius andhis wives, and theChurch of St. An-drew. Of these, thetwo latter were ad-juncts to St. Petersbasilica, and stood on the axis or spina of the old cir-cus of Nero, where the good St. Andrew sufferedmartyrdom (Fig. 90). The next in chronological s
. The story of architecture: an outline of the styles in all countries. ult,beneath which stood the font, and the same columnssupported a wall pierced by clearstory windows, thereby forming alantern for lightingthe upper portion ofthe interior. The earliest ex-amples are the tombbuilt by Constantinefor his mother, Hel-ena, in 328, the tombof Honorius andhis wives, and theChurch of St. An-drew. Of these, thetwo latter were ad-juncts to St. Petersbasilica, and stood on the axis or spina of the old cir-cus of Nero, where the good St. Andrew sufferedmartyrdom (Fig. 90). The next in chronological se-quence was the tomb of Sta. Costanza, daughter ofConstantine, called at present the Baptistery of , after which were built the more elaboratetypes of San Stephano Rotondo, Sti. Angeli in Peru-gia (Fig. 95). and gorgeous San Vitale at Ravenna(Plate XXVTI), modelled on the idea of the templeof Minerva Medica at Rome, and held to be the mostbeautiful of all. Charlemagne is said to have copied this buildingin his tomb at Aix-la-Chapelle, and the architects of. Fig. 96.—Specimen of Lombard archi-tecture. LOMBARD ARCHITECTURE. 251 many other baptisteries of the time felt it no dis-grace to imitate this gem of early Christian art. During the seventh century the Lombards, havingmade their way through Germany from the shoresof the Baltic, overran the whole of Italy, so that theemperors were forced to confine their encourage-ment of art to Constantinople, where the Byzantinestyle was developing, and though Christian archi-tecture still continued to increase at Rome under thePopes, no radical steps in advance were taken. Butat Pavia, the town chosen by the conquerors for theircapital, and in other subjugated cities, architecturereceived a new impulse and so many innovationsthat it is sometimesclassified separately,and called the Lom-bard style. The Lombardswere great churchbuilders and theirarchitecture is main-ly confined to thatbranch. These churches combinedthe plan of th
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