. The builders of Florence . ructive principle. One of the Tabernacles affords agood starting-point : the midmost of the three that face ViaCalzaiuoli, where Donatello set his work for the Parte Guelfa in1420. Here, in exquisite sort, the frieze and tympanum, with thecolumns, capitals and mouldings, tell their own tale ; we are look-ing on one of the first, and not least exquisite, achievements ofthe Renaissance. Now pass within the Church, and note thathere the style is not, as we should expect, the Gothic, even ofFlorence, but a later Romanesque that affirms itself beyond doubtor question. D
. The builders of Florence . ructive principle. One of the Tabernacles affords agood starting-point : the midmost of the three that face ViaCalzaiuoli, where Donatello set his work for the Parte Guelfa in1420. Here, in exquisite sort, the frieze and tympanum, with thecolumns, capitals and mouldings, tell their own tale ; we are look-ing on one of the first, and not least exquisite, achievements ofthe Renaissance. Now pass within the Church, and note thathere the style is not, as we should expect, the Gothic, even ofFlorence, but a later Romanesque that affirms itself beyond doubtor question. Double round-headed arches close the windowsabove ; the inner and higher slightly stilted so as to rise sicklewiseover the others. From the height thus gained a slight domingeasily brings the vaults to meet the crown of the nearly semi-circular diagonals ; a device, this, which was early discovered andconstantly repeated ere the pointed arch had come to do the samework more gracefully and with greater power. Note also how, in. f((v3 Dotvfellof fhrincftw OR SAN MICHELE 193 the capitals, the upper edge of each abacus is bevelled back tomeet the arch-lines at their springing; you will find the originalof this device in the crypt of San Miniato, where it is used franklyto mask the stilting that early builders knew not how better todissimulate. And the Gothic proper to the age, where is that tobe found at Or San Michele, unless in mere decoration ; amongthe foliage of the capitals, or the traceries that fill the windows ;in Orcagnas Tabernacle, or the niches under the external cornice ?One constructive arch, and one only, shows just a hint of thepointed form ; it is that which, on the first floor, springs from themiddle of the west wall to meet the nearest free pillar. To thisthen Gothic has been reduced at Or San Michele, a mere by-play ;and so this building has, in the matter of style, its supreme valueas asserting the peculiarly Italian continuity which carriedRomanesque forms and
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