. A history of architecture in Italy from the time of Constantine to the dawn of the renaissance. — enclos-ing groups of figures in highrelief. The subjects are ofvarious character, those ofthe five upper rows, fortyin all, being from the lifeof Christ, the rest mostlyfigures of local designs show much vi-vacity and invention, butboth the figures and thedraperies have lost thetouch of Greek simplicityand grace which is percep-tible through all the rude-ness of the earlier is like a return to theforms of the Lombardsculpture of the Northernchurches.^ With the Norman work ^ S
. A history of architecture in Italy from the time of Constantine to the dawn of the renaissance. — enclos-ing groups of figures in highrelief. The subjects are ofvarious character, those ofthe five upper rows, fortyin all, being from the lifeof Christ, the rest mostlyfigures of local designs show much vi-vacity and invention, butboth the figures and thedraperies have lost thetouch of Greek simplicityand grace which is percep-tible through all the rude-ness of the earlier is like a return to theforms of the Lombardsculpture of the Northernchurches.^ With the Norman work ^ Serradifaico remarks, citingDAgincourt, upon the evidence ofByzantine influence in these doors,that in comparing them with thoseof St. Paul at Rome and with thoseof Pisa, made in Constantinople, asdrawn by Ciampini (for the doorsof Pisa as well as those of St. Paulwere destroyed by fire), it is mani-fest that all three were closely re-lated in subject and , Del Duomo di Mon-reale, pp. 9, 10, pi. iv. See, also,Hittorff, Architecture moderne de laSicile, p. 57, pi. Fig. 290. Trani. Half of Central Doors. 80 ARCHITECTURE IN ITALY
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