History of mediæval art . made by elevatingthe choir, and constructing beneath it a crypt, containing an disposition first appeared in St. Gall, but was adopted as earlyas 819 at Fulda, in both ends of the basilica, the tomb of St. Boni-face, which was much frequented by pilgrims, corresponding to thealtar and reliquary of the eastern crypt. ARCHITECTURE. 225 The example presented by the baptisteries and mortuary ro-tundas which had been adjoined to the larger basilicas of Italy ledto the addition of domed edifices to the more important a structure appears in the prim
History of mediæval art . made by elevatingthe choir, and constructing beneath it a crypt, containing an disposition first appeared in St. Gall, but was adopted as earlyas 819 at Fulda, in both ends of the basilica, the tomb of St. Boni-face, which was much frequented by pilgrims, corresponding to thealtar and reliquary of the eastern crypt. ARCHITECTURE. 225 The example presented by the baptisteries and mortuary ro-tundas which had been adjoined to the larger basilicas of Italy ledto the addition of domed edifices to the more important a structure appears in the primitive plan of Fontanellum. Avaulted hall of a similar kind was built in 820 in the Convent ofFulda {Fig. 117), under Eigil, the fourth abbot of this establishment,probably having been founded by Rabanus Maurus, a great patronof the arts, who died in 856 as Archbishop of Mayence. It was orig-inally intended as the tomb of the abbots, and was without doubtbuilt in imitation of the Church of the Holy Sepulchre at Jerusalem,. Fig. 117.—Plan of the Chapel of St. Michael in Ground-plan. b. Crypt. and of such concentric structures as the Church of St. Luke, re-cently discovered in the neighborhood of Ephesos, perhaps also be-ing influenced in some degree by the Constantine funeral monumentsand baptisteries of Rome. At all events, the building has no resem-blance to the Byzantine cupolas of Ravenna. The cylindrical wallof the central space, upon which rested the dome, is supported byeight columns, with capitals of the Corinthian and composite orders{Fig. 118 a and c), connected by archivolts. Beneath this superstruct-ure was a crypt of equal diameter, in the middle of which a thickcolumn, roughly imitating the Ionic forms {Fig. 118 b), supportedthe encircling barrel-vault; similar vaults covered the surrounding 15 226 THE CHRISTIAN ART OF THE NORTH. passage. Notwithstanding later additions and reconstructions, theplan and details clearly exhibit the influences of the early
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