. A history of architecture in Italy from the time of Constantine to the dawn of the renaissance. ng the older and higher, having a height of some sixteenfeet; and the two are separated by a solid wall pierced in the centreby a door of communication at which are four steps descending intothe older crypt. Both crypts are divided in the usual way by lowcolumns and round arches into square groined bays, and that underthe transept is lighted by two large round-arched windows at eachend, and one in the apse, which repeats the central apse of thechurch above, the side apses being represented by squa
. A history of architecture in Italy from the time of Constantine to the dawn of the renaissance. ng the older and higher, having a height of some sixteenfeet; and the two are separated by a solid wall pierced in the centreby a door of communication at which are four steps descending intothe older crypt. Both crypts are divided in the usual way by lowcolumns and round arches into square groined bays, and that underthe transept is lighted by two large round-arched windows at eachend, and one in the apse, which repeats the central apse of thechurch above, the side apses being represented by square niches inthe thickness of the wall. In the cathedral at Altamura (eleventh century, altered underFrederick II. in the thirteenth century) we may note a Aitamurawider departure from the Lombard type. In the interior Cathedral,the compound pier which we observed at Bitonto, dividing the navearcade into two groups of three arches each, is repeated in eacharcade, which is thus divided into three groups,the middle one of three arches, the others oftwo each. But here, unlike Bitonto, the evident. LJ i r i ,1 n LLL liiliffiMr ? ? T Fig. 260. Trani. Plan of Cathedral and Crypt. purpose of the piers is carried out — or at least partially so — bytransverse arches spanning the nave, carrying the wall, which ter-minates at the height of the triforium string, as at San Nicola,Bari. As at Bitonto, the aisles are groined and flanked each by aline of chapels, of which that nearest the transept becomes an openrecessed porch. But, unlike Bitonto again, and all the otherchurches I have heretofore noticed, the aisle bays are separated bypointed arches ; the transept, which is divided into three nearly 32 ARCHITECTURE IN ITALY equal square bays, has no apse ; and the east end is square andunbroken, within as without. This is a form which rarely appearsin the early churches of any country except England, though isolatedexamples occur in Normandy during the twelfth and thirteenth cen-turies.^
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